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Coursework Training
Handbook
Cambridge IGCSE®
World Literature
0408
Cambridge Secondary 2
Cambridge International Examinations retains the copyright on all its publications. Registered Centres are
permitted to copy material from this booklet for their own internal use. However, we cannot give permission
to Centres to photocopy any material that is acknowledged to a third party even for internal use within a
Centre.
® IGCSE is the registered trademark of Cambridge International Examinations
© Cambridge International Examinations 2013
Contents
Introduction ....................................................................................................................... 3
Advice and guidance
Accreditation
Assessment of the work
Further help
Section 1: About the coursework ........................................................................................ 5
1.1
1.2
1.3
1.4
Content of the coursework portfolio
The advantages of coursework
Scheduling coursework
Scheme of work
Section 2: The critical essay ................................................................................................ 9
2.1 Guidance
2.2 Critical essay – assessment criteria
2.3 Examples of assignment 1 critical essay
Section 3: The empathic response ................................................................................... 21
3.1 Guidance
3.2 Empathic response – assessment criteria
3.3 Examples of assignment 2 empathic response
Section 4: Oral response ................................................................................................... 31
4.1
4.2
4.3
4.4
4.5
4.6
4.7
Guidance
Choice of texts
Preparing for the oral response
Oral response – assessment criteria
Conduct of the Oral response: for teachers
Types of question in the oral assessment: recorded conversation
Examples of assignment 3 Oral Responses
Section 5: Coursework administration ............................................................................... 37
5.1
5.2
5.3
5.4
5.5
5.6
5.7
5.8
5.9
Teacher supervision
Length of assignments
Technical accuracy in written coursework
Plagiarism in written coursework
Evidence of marking and annotation on candidate work
Presentation of assignments
Internal standardisation
Internal moderation
Individual Candidate Record Cards
Section 6: Accreditation .....................................................................................................43
6.1
6.2
6.3
6.4
6.5
What you need to do
On completion of the handbook
Critical essays A–D
Empathic responses E–H
Oral responses tracks 4–6
Appendix: Coursework Assessor Accreditation Forms ..................................................... 67
2
IGCSE World Literature
Introduction
Introduction
Advice and guidance
This handbook provides a guide to both the written and oral elements of the Coursework Portfolio,
Component 1, in the Cambridge IGCSE World Literature syllabus (0408).
It offers advice and clarification on:
•
The requirements of the two written coursework assignments (the Critical Essay and the Empathic
Response)
•
The requirements of the oral response: recorded conversation
•
Assessment standards
•
Marking candidates’ assignments
•
Preparing the written assignments for external moderation
Please note that, in the interests of having all information relating to coursework in one place, this handbook
reproduces some of the material that can be found in the Cambridge IGCSE World Literature Teacher Guide
(0408).
The written candidate work in this interim document is based on the Cambridge 0486 Literature (English)
syllabus, and the judgments made, focus on the quality of the writing. Cambridge will in due course publish
a revised handbook drawing on the coursework of 0408 Cambridge IGCSE World Literature candidates.
Accreditation
Teachers can seek accreditation by submitting a Curriculum Vitae (C.V.) to Cambridge for appraisal. Details
about this approach are available in the Cambridge Administrative Guide. Alternatively teachers can seek
accreditation by using this Coursework Training Handbook. To do this, teachers should assess:
•
the sample oral recordings which can be found on the accompanying CD
•
the accreditation scripts in Section 6.
Assessment should be carried out in the light of the guidance and advice in the main body of the handbook.
Marks and comments should be recorded on the Coursework Assessor Accreditation forms in the
Appendix, and sent to Cambridge.
Cambridge IGCSE Accreditation Coordinator (EDM)
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
Please note: If you have already been accredited to mark IGCSE Literature (English) 0486 you will not need
to apply for accreditation to mark IGCSE World Literature 0408.
IGCSE World Literature
3
Introduction
Assessment of the work
Please allow between four and six weeks for the moderator to assess the work that is submitted and for
Cambridge to inform you of the outcome.
You will be informed by post whether you have achieved accredited status. If you are successful you will
receive a Certificate. If the Moderator feels that more practice is required, you will receive a letter informing
you of this. A Moderator’s Report will accompany the letter providing guidance in the cases where
accreditation has not been achieved and feedback where it has.
Please note it is not usual practice for Cambridge to inform teachers or schools of accreditation outcomes
over the telephone or by email.
If accreditation is not awarded by the Moderator on one particular occasion this does not mean a teacher
cannot continue to teach, it simply restricts their ability to moderate Coursework until accreditation is
awarded. You may re-submit work for assessment as many times as is necessary for accreditation to be
awarded. There is however, a charge each time for doing so.
Further help
We hope that this Coursework Training Handbook will provide a thorough introduction to the requirements
and criteria for the assessment of coursework in IGCSE World Literature. However, if you have any further
questions or difficulties, please do not hesitate to contact Cambridge.
The address to which your queries should be sent is:
Customer Services
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
Telephone:
Fax:
Email:
Website:
4
+44 1223 553554
+44 1223 553558
info@cie.org.uk
www.cie.org.uk
IGCSE World Literature
Section 1: About the coursework
Section 1: About the coursework
1.1 Content of the coursework portfolio
The table sets out the key requirements of the Portfolio.
Assignment
1. Critical essay
2. Empathic
response
Total
marks
25
25
Requirements
•
800–1200 words (including quotations but not
references/bibliography).
•
Based on one text*.
•
The text must not be on the examination (Paper 3)
or the same text as for Assignment 2.
•
600–1000 words.
•
Assumes the voice of one character in one prose or
drama text.
•
The task prescribes a particular moment in the text
(which may be the end of the text).
The text must not be on the examination (Paper 3)
or the same text as for Assignment 1.
•
3. Oral response:
recorded conversation
15
•
4–7 minutes.
•
A conversation with the teacher on an aspect of the
candidate’s chosen text:
•
EITHER the way a novelist or playwright presents a
particular character
•
OR the way their chosen writer (from prose, drama
or poetry) presents a particular theme.
•
Text may be an examination (Paper 3) set text
or a text studied for one of the other coursework
assignments.
•
The conversation must be recorded.
This component carries 50% of the assessment of the syllabus as a whole.
Learners will submit a portfolio of two written assignments AND one oral assignment. [Note that this
Handbook relates to the written assignments.]
This component as a whole requires study of at least two different forms (poetry/prose/drama), with texts
drawn from at least two countries/cultures.
The assignments are set and marked by the teacher(s), and internally moderated where there is more than
one teacher doing the marking. They are subsequently externally moderated by Cambridge Examiners.
IGCSE World Literature
5
Section 1: About the coursework
Assignments should follow a programme of study undertaken by a teaching group and may be completed at
any stage during the course. It is advised that each learner undertakes more than two written assignments
during the course to provide a choice of work towards her/his portfolio, and that both teacher and learner
discuss which are the best assignments to submit. Leanrers should also have opportunities to prepare for
the oral responses.
Learners do not have to produce written assignments under examination-type conditions. The oral
assessment has to be recorded by the teacher. Guidance about the conduct of the oral assessment is
given in Section 4.5 of this handbook.
The Cambridge Handbook for Centres contains guidance and general regulations about internal (schoolbased) assessment of coursework.
1.2 The advantages of coursework
The Portfolio has been designed to test learners’ appreciation of literature in three strikingly different ways:
through critical or analytical writing; through more imaginative empathic writing; and by means of an oral
response.
Coursework allows you as a teacher greater flexibility and a degree of creativity in the way you design and
deliver your courses. Texts and tasks can be chosen which complement the study of the examination text(s)
and which take into account the interests and abilities of learners, as well as the literary enthusiasms of
teachers.
Coursework allows learners to re-draft their written responses, developing skills such as critical thinking,
editing and proof-reading, which will benefit them in other areas of the syllabus, in other subjects and in
future stages of their education.
1.3 Scheduling coursework
Careful consideration needs to be given to the scheduling of coursework assignments within the overall
course. Setting them near the beginning of the course may not lead to learners producing their best work.
For example, learners are likely to perform better in the Critical Essay assignment of the Portfolio if they
have developed suitable skills of textual analysis before they embark on this assignment. Similarly, it would
be prudent to offer opportunities for learners to practise empathic writing before working on the Empathic
Response assignment they are to submit. Centres will also need to give careful thought to the scheduling
and particular practicalities of the oral responses. Lessons leading up to the oral assessments should enable
learners to feel confident about:
•
the depth of their knowledge on their chosen topic
•
the requirements of the assessment.
Many Centres might conclude that coursework assignments are best not completed during the first term.
On the other hand, it is important to get all coursework assignments completed in such a way that sufficient
time is allowed for revision of the set text/s and for practice exercises for the Unseen paper. Schools also
need to allocate time for coursework administration so that relevant materials for external moderation arrive
at Cambridge by the deadline for coursework submission.
6
IGCSE World Literature
Section 1: About the coursework
1.4
Scheme of work
The Cambridge scheme of work for this syllabus can be found on Teacher Support (http://teachers.cie.org.uk);
it is designed to help Centres with medium-term planning. There are units on the three main literary forms
(Prose, Drama and Poetry) and on each of the coursework items:
Unit 5 Critical Essay
Unit 6 Empathic Response
Unit 7 Oral Response: recorded conversation.
IGCSE World Literature
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Section 1: About the coursework
8
IGCSE World Literature
Section 2: The critical essay
Section 2: The critical essay
2.1 Guidance
When framing coursework tasks, it is important to refer to the relevant assessment criteria. It can be seen
that for learners to attain the highest marks there must be an ability to probe texts critically. Successful
essays are those which explore the ways in which writers make their characters, themes or settings
memorable and vivid. These essays examine how the writer uses form, structure and language to create
and shape meanings. Characters are seen as fictional or dramatic ‘constructs’ rather than real-life people,
and there is a clear focus on the role of the writer in presenting characters. The strongest responses
combine succinct, pertinent, textual reference with precise, critical comment; quotations are used to
substantiate a point about how a writer uses a particular word or phrase to create certain effects. By
contrast, copious quotation without pausing to comment does not contribute to the development of critical
analysis; inert quotation of this kind cannot lead to high reward.
Critical vocabulary, properly deployed, can enhance an argument, but it is not very helpful if merely used
to log literary devices. The observation ‘“Time’s winged chariot” is an example of personification’ is an
accurate description but should not be confused with analysis, which involves a consideration of the effects
created by using these words. Learners should be taught that generalised comments such as the following
may be true but do not constitute analysis: ‘the writer’s use of language draws you in’; ‘the description
makes you feel as if you are there’.
In order that learners have the opportunity to realise their potential, they need to respond to tasks which
have a precise and manageable focus and which invite a detailed engagement with the literary aspects
of texts. Unhelpful tasks are those that encourage the production of mere plot summaries or character
sketches.
Essays should not be used as a vehicle for unloading extraneous background material about the author’s
life or times. The assessment criteria do not reward this, and learners should be discouraged from offering
paragraphs of background before they proceed to answer the question.
Examples of suitable tasks
The following tasks explicitly target the writing. It is important to include the writer’s name in the task. Clear
command or question words are used at the beginning of each task: e.g. ‘How?’, ‘In what ways?’, ‘Explore’.
The focus of each task is specific and manageable for an 800–1200 word essay.
1. In what ways does Kafka memorably convey the isolation of Gregor Samsa in Metamorphosis?
2. Explore the ways in which Ibsen presents the character of Nora at two different moments in A Doll’s
House.
3. To what extent does Shakespeare make you sympathise with the Nurse and her actions in Romeo and
Juilet?
4. How does Hansberry vividly capture the dreams of two of the characters in A Raisin in the Sun?
5. How does [your chosen poet] strikingly convey the loss of childhood innocence in two of the poems
you have studied?
6. Explore the ways in which two short story writers strikingly present conflict between a man and a
woman.
IGCSE World Literature
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Section 2: The critical essay
Note that in the last two examples there is no requirement to compare. The learner can deal with one short
story, and then the second.
Examples of unsuitable tasks
1. The House of Bernarda Alba
2. Write about what happens in Purple Hibiscus.
3. Nora in A Doll’s House
4. What does Orwell’s Animal Farm tell us about the Russian Revolution?
5. How do five of Neruda’s poems deal with nature?
6. Compare the ways in which two of the short story writers you have studied use first person narrators.
7. Explore the ways in which Ibsen presents the character of Nora throughout A Doll’s House.
Tasks 1 – 3 in the list above invite learners to write little more than plot synopses or unfocused character
sketches.
Task 4 does not have a literary focus.
Task 5 invites consideration of too many poems and the topic is somewhat vague; this would lead to a
superficial approach.
Task 6 asks for comparison, something which is not required, or rewarded, by the assessment criteria.
Task 7 has an engaging focus but could become unwieldy if the learner tries to cram too much into the
assignment, and in so doing produces a superficial commentary rather than a probing analysis.
It is certainly permissible for all your learners to study the same text for their critical essay. It is often
worthwhile offering a number of tasks from which learners can choose. They may, if they wish, propose
their own assignments, though you should check the wording of tasks in order to ensure that they meet the
assessment criteria.
Because the subject seeks to promote the importance of an informed personal response, it would be
disconcerting for an external moderator to see from any teaching group, essays which make the same
points and deploy the same quotations in the same order. Learners should be encouraged to think for
themselves rather than regurgitate what they have been told.
Learners should keep an eye on the word count as they draft and re-draft their essay. Very short essays
tend to be self-penalising as they fail to sustain critical analysis. Excessively long essays can lose focus.
The word count should be indicated at the end of the critical essay. The moderator will not consider work
beyond the 1200 word limit.
Remember that candidates must not submit a critical essay on a text being studied on Paper 3.
10
IGCSE World Literature
Section 2: The critical essay
2.2 Critical essay – assessment criteria
Band
Mark
Descriptors
Band 1
25
24
23
Answers in this band have all the qualities of Band 2 work, with further
insight, sensitivity, individuality and flair. They show complete and sustained
engagement with both text and task.
Band 2
22
21
20
Sustains a perceptive and convincing and relevant personal response
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Below Band 8
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
•
shows a clear critical understanding of the text
•
responds sensitively and in detail to the way the writer achieves her/his
effects
•
integrates much well-selected reference to the text
Makes a well-developed, detailed and relevant personal response
•
shows a clear understanding of the text and some of its deeper implications
•
makes a developed response to the way the writer achieves her/his effects
•
supports with careful and relevant reference to the text
Makes a reasonably developed relevant personal response
•
shows understanding of the text and some of its deeper implications
•
makes some response to the way the writer uses language
•
shows some thoroughness in the use of supporting evidence from the text
Begins to develop a relevant personal response
•
shows some understanding of meaning
•
makes a little reference to the language of the text
•
uses some supporting textual detail
Attempts to communicate a basic personal response to the task
•
makes some relevant comments
•
shows a basic understanding of surface meaning of the text
•
makes a little supporting reference to the text
Some evidence of simple personal response to the task
•
makes a few straightforward comments
•
shows a few signs of understanding the surface meaning of the text
•
makes a little reference to the text
4
3
2
Limited attempt to respond
0/0–1
No answer/Insufficient to meet the criteria for Band 8.
•
shows some limited understanding of simple/literal meaning
IGCSE World Literature
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Section 2: The critical essay
2.3 Examples of assignment 1 critical essay
This section contains three examples of assignment 1, together with commentaries on their strengths and
weaknesses. These should be read, together with all the guidance in this handbook, before the marking of
the sample assignments.
Script 1
How do you think Shakespeare makes Richard such a lively and humorous character?
12
IGCSE World Literature
Section 2: The critical essay
Comment
The response shows understanding of Richard’s character and some of the play’s deeper implications:
Richard is ‘an actor who masks his emotions’ and ‘he is in charge of the fate of most of the characters’.
There is some sense of the character’s dramatic impact evident in the opening sentences. However, the
comments on language are not developed in a clear response to the question. Richard’s ‘sugared words’
and use of words with double meanings are mentioned but not illustrated or explored in any detail. There
would need to be greater use of supporting evidence from the text for a higher mark than 14, at the
bottom of Band 4.
IGCSE World Literature
13
Section 2: The critical essay
Script 2
How does Fitzgerald make Tom Buchanan such an unpleasant character in The Great Gatsby? Support your
answer by close reference to Fitzgerald’s writing.
14
IGCSE World Literature
Section 2: The critical essay
IGCSE World Literature
15
Section 2: The critical essay
16
IGCSE World Literature
Section 2: The critical essay
Comment
The candidate engages confidently with the key words of the question right from the start: ‘Tom Buchanan
is presented…to be a villainous, unpleasant character’. The judgements made are supported by wellselected pertinent references which are skilfully integrated with clear critical comment:
e.g. ‘ “arrogant eyes” as a key feature of his appearance when creating an image of the man in our
heads, saying that these eyes had “established dominance over his face”. This could perhaps be a
metaphor for Tom’s personality – his arrogance has exceeded all other traits…’
This high quality of close analysis is in evidence throughout the essay, which shows a sensitive and
perceptive appreciation of Tom’s racism, hypocrisy and materialism. There is a sustained personal
engagement with both text and task, which places this essay at the top of Band 1, with a mark of 25.
IGCSE World Literature
17
Section 2: The critical essay
Script 3
Willy’s main support
A major reason for Willy’s tragedy
Which of these views of Linda do you think is nearer to the truth? Support your ideas with details from
Miller’s writing.
18
IGCSE World Literature
Section 2: The critical essay
IGCSE World Literature
19
Section 2: The critical essay
Comment
This essay glances at the task in the first sentence, but then digresses into areas that are not immediately
relevant to the actual question: e.g. ‘Shakespeare’s idea of a tragic hero’; ‘like Hamlet who is unable to
think’; ‘popularity is the way to success’. Points are made about Linda but largely at the level of description:
e.g. ‘As a good wife and supportive life partner, she is always there for Willy when he needs it’; ‘Linda’s help
comes in the form of kind words which affects Willy more. It keeps him going’.
There is some understanding of character and some use of supporting textual detail (though this tends to
be rather general in nature). The parts of the essay that are relevant ‘begin to develop a response’. This is
awarded a mark of 11, low Band 5. To achieve a higher mark, there would need to be a clearer focus on
the question, including explicit consideration of Miller’s writing.
20
IGCSE World Literature
Section 3: The empathic response
Section 3: The empathic response
3.1 Guidance
For this assignment, learners must assume the voice of one character in a prose or drama text. Tasks should
be framed in such a way that the author’s created world is central to any response. Responses should
assume the voice of a character at a particular moment in a prose or drama text. The most successful
empathic responses integrate a compellingly authentic voice for the character and a wide range of detail
convincingly rooted in the text.
Tasks should not be set at moments well outside the text, nor should they invite students to stray from
the recognisable world of the text. For example, it would be inappropriate to set alternative endings or the
‘voice’ of a character ten years into the future.
Examples of suitable tasks
The following examples indicate a precise moment for the learner to assume the voice of a particular
character in the prose or drama text. Each task ends with the instruction: ‘Write your thoughts’. This is a
formula that should be adopted by centres.
Hansberry, A Raisin in the Sun
You are Ruth. You are about to depart for the new family home in Clybourne Park.
Write your thoughts.
Ibsen, A Doll’s House
You are Torvald, just after Nora has left.
Write your thoughts.
Kafka, Metamorphosis
You are Grete at the end of the story, after Gregor’s death.
Write your thoughts.
Shakespeare, Romeo and Juliet
You are the Nurse after Tybalt’s death. Juliet has sent you to find Romeo at Friar Lawrence’s cell.
Write your thoughts.
These are well-framed empathic tasks, and challenging ones. In each task, character and moment are
clearly specified. Even where students cover the same text, the precise choice of character and moment in
the text should be left to the student. Students might be asked to submit their proposed choice of character
and moment to teachers so they can judge whether they are appropriate.
As with the critical essay, students should keep an eye on the word count as they draft and re-draft their
essay. The word count should be indicated at the end of the empathic response. Examiners will not mark
work beyond the word limit.
Remember that candidates must not submit an empathic response task on a text being studied on Paper 3.
IGCSE World Literature
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Section 3: The empathic response
3.2 Empathic response – assessment criteria
Band
Mark
Descriptors
Band 1
25
24
23
Answers in this band have all the qualities of Band 2 work, with further insight,
sensitivity, individuality and flair.
They sustain an entirely convincing voice.
Band 2
22
21
20
Sustains a perceptive, convincing and relevant personal response
19
18
17
Makes a well-developed, detailed and relevant personal response
16
15
14
Makes a reasonably developed relevant personal response
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Below Band 8
3.3
•
shows a detailed appreciation of character, rooted in the text
•
sustains an engagingly convincing voice
•
shows a clear understanding of character, rooted in the text
•
sustains a largely authentic voice
•
shows understanding of character and text, including some of the deeper
implications
•
uses suitable features of expression
13
12
11
Begins to develop a relevant personal response
10
9
8
Attempts to communicate a basic personal response to the task
7
6
5
Some evidence of simple personal response to the task
4
3
2
Limited attempt to respond
0/0–1
•
shows some understanding of character and text
•
begins to assume a voice appropriate to the character
•
•
•
shows a basic understanding of character and text
shows a few signs of understanding of character’s thoughts or feelings
shows some limited understanding of character’s thoughts or feelings
No answer/Insufficient to meet the criteria for Band 8.
Examples of assignment 2 empathic response
This section contains three examples of assignment 2, together with commentaries on their strengths and
weaknesses. These should be read, together with all the guidance in this handbook, before the marking of
sample assignments.
22
IGCSE World Literature
Section 3: The empathic response
Script 4
Jane Austen, Pride and Prejudice
You are Lady Catherine. You have just received the letter from Darcy telling you of his intention to marry
Elizabeth Bennett.
Write your thoughts.
IGCSE World Literature
23
Section 3: The empathic response
Comment
Knowledge of the text (of the arranged marriage of Darcy and his cousin) is clear from the first sentence.
There is also a sound understanding of Lady Catherine’s social attitudes: ‘Does Darcy realise how much
he is losing by marrying that low-class girl…’ Whilst the response captures something of Lady Catherine’s
arrogance and sense of position as head of the family, the voice is not always convincing. There are some
slightly anachronistic touches: ‘first I’ll have a chat with this Elizabeth girl’. The answer would have been
enhanced by the inclusion of a few more specific details, for example, about her knowledge of the Bennets.
The reference to Rosings Park seems to be a confusion with Pemberley. The answer is therefore placed in
Band 4, with a mark of 15: there are some suitable features of expression and a general understanding of
the character.
24
IGCSE World Literature
Section 3: The empathic response
Script 5
William Golding, Lord of the Flies
You are Ralph on the morning after Simon’s death. You have lied to Samneric about leaving the feast early.
Write your thoughts.
IGCSE World Literature
25
Section 3: The empathic response
Comment
This attempts to communicate a basic personal response to the character and moment. There is an
acknowledgement of Simon’s niceness and an awareness of Simon’s being confused with the ‘beastie’.
However, alongside this basic understanding there is also some misunderstanding: the allusion to Piggy’s
death shows confusion about the moment specified in the task. The voice is not really Ralph’s: e.g. ‘these
guys have become so savage’; ‘Well that is life, sometimes very nice and lovely and other times tragic and
with injustice’. Overall, this is an under-developed response, with uncertainty about the voice and moment
specified in the question.
This is awarded a mark of 9, in the middle of Band 6.
26
IGCSE World Literature
Section 3: The empathic response
Script 6
Arthur Miller, Death of a Salesman
You are Willy in Boston after Biff has discovered you with the Woman and has then left you.
Write your thoughts.
IGCSE World Literature
27
Section 3: The empathic response
28
IGCSE World Literature
Section 3: The empathic response
Comment
The opening sentence captures the moment precisely, with Willy kneeling on the floor as Biff departs. The
voice captured is recognisably Willy’s from the start: ‘I’m Willy Loman for God’s sake! I’m well-liked. I’m the
best goddam salesman this city’s ever seen. That lazy bum…’
This response captures in a short space Willy’s customary thoughts and echoes of the ways he speaks.
There is a wealth of compelling textual detail that enables the candidate to sustain an entirely convincing
voice for the moment specified: ‘He had some nerve calling me a fake! There’s nothing fake about Willy
Loman! I’m expecting an apology from that boy’. The response is developed and detailed, and to a very
great extent convincingly conveys Willy’s delusional thoughts. There is the occasionally slightly jarring note:
e.g. ‘It’s no use reaching the top in football if all you’re going to do is come straight back down because
you’ve gone and insulted somebody.’ This is nonetheless a Band 1 response, with a mark of 23.
IGCSE World Literature
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Section 3: The empathic response
30
IGCSE World Literature
Section 4: Oral response
Section 4: Oral response
4.1 Guidance
The Oral response: recorded conversation, offers an innovative way for an IGCSE Literature course to test
learners’ appreciation of literature. At the outset, it should be emphasised that this is not a test of spoken
language skills. A glance at the assessment criteria for the oral response reveals that the following are being
tested:
•
quality of personal response and level of understanding
•
use of textual detail to support views.
As with written coursework, it is important for learners to select tasks which have a clear and manageable
focus. With this in mind, learners have to choose a particular character from a prose or drama text or a
particular theme from a prose, drama or poetry text. Here is a reminder of what the Syllabus states:
The conversation will be based on either the way a chosen writer presents a particular character or the way
a chosen writer presents a particular theme.
The focus should, therefore, be on the writer’s presentation of character or theme. Earlier questions in the
recorded conversation may well address character traits or explanations of themes. Subsequent questions
should deal with the writer’s methods.
4.2 Choice of texts
The text can be one used for:
•
Paper 3 (Set Text)
•
one of the written coursework texts
•
a totally different text.
If poems or short stories are being used, the oral response should deal with a minimum of two poems/
short stories. Dealing with too many poems/stories should be avoided, as this may lead to a fragmented
approach.
4.3 Preparing for the oral response
Before deciding on their chosen aspect, learners should be given opportunities to research their chosen
text. Research involving a range of secondary texts (e.g. print, online, video) is likely to give learners the
confidence to make appropriate choices. Notes made will inform their understanding and appreciation,
though it should be remembered that they may not refer to notes in the actual recorded conversation.
Learners’ performance in the oral assessment is likely to be strengthened by taking part in a range of
classroom activities designed to probe the detail of texts. For example, small group discussion could centre
on reasons for sympathising, admiring or disliking characters. Drama-focused work could explore how
writers present characters and themes.
Learners should be given concise details of the way the Oral response will be conducted as well as the
requirements of the assessment.
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Section 4: Oral response
Examples of suitable tasks
The titles below include the name of the writer as well as the chosen character or theme. This is to remind
learners of the need to explore the writer’s techniques in presenting character or theme.
Kafka’s presentation of Gregor in Metamorphosis
How Ibsen portrays Nora in A Doll’s House
Mishima’s portrayal of Hatsue in The Sound of the Waves
How Dangarembga presents Tambu in Nervous Conditions
The ways Heaney presents childhood innocence in two poems from Death of a Naturalist
The ways Hansberry presents racism in A Raisin in the Sun
How Ibsen depicts corruption in An Enemy of the People
The ways writers convey ideas about the future in two short science fiction stories
The wording in the examples is deliberately varied: e.g. how a writer presents/portrays/depicts/conveys.
Centres are encouraged to adopt wording that is most useful for their own learners.
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Section 4: Oral response
4.4 Oral response – assessment criteria
Band
Band 1
Mark
15
14
Descriptors
Demonstrates all the Band 2 qualities, together with insight, sensitivity,
individuality and flair
•
Band 2
Band 3
Band 4
Band 5
Band 6
Below Band 6
13
12
11
10
9
shows complete engagement with both text and task
Sustains a perceptive, convincing and relevant response
•
shows a detailed critical appreciation of how the writer presents character or
theme/ideas
•
integrates specific, well-selected references for support
Makes a well-developed, detailed and relevant personal response
•
shows a clear and sustained understanding of how the writer presents
character or theme/ideas
•
makes specific and relevant references for support
8
7
6
Makes a reasonably developed relevant personal response
5
4
3
Begins to develop a personal response to the task
2
1
Attempts to communicate a basic personal response
0
•
shows understanding of how the writer presents character or theme/ideas
•
makes some appropriate use of textual evidence for support
•
shows some understanding of character or theme/ideas
•
uses some textual detail for support
•
shows a basic understanding of character or theme/ideas
•
makes a little reference to the text
Does not meet the criteria for Band 6
•
responses are very hesitant and/or digressive, showing a very limited
understanding of task/text
4.5 Conduct of the Oral response: for teachers
Before the recording
1. Check that recording equipment is working properly.
2. Make a note of potential questions (this will most likely be done well in advance of the recording), but do
not give them to the learner in advance.
3. Welcome the learner and explain briefly and in general terms the way the conversation will be
conducted.
4. Put the learner at ease by asking a question or two about themselves. (Remember this is not assessed.)
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Section 4: Oral response
During the recording
1. Begin by stating clearly the centre number, candidate number, candidate name and the chosen aspect.
2. Ask questions from the start of the conversation. Do not allow candidates to begin with a rehearsed
commentary.
3. Ask open questions as far as possible, as these enable the candidate to answer at reasonable length.
4. Ask follow-up questions which build on the points the candidate makes. Less confident speakers
are likely to need more prompt questions to help them to develop their points. Intervene when less
confident speakers are in need of positive encouragement.
5. Appear interested and supportive, doing nothing to distract. Do not make notes during the recording.
6. Do not correct mistakes, give the impression there is a ‘right’ answer, interrupt with your own views, or
show surprise or impatience.
7. Do not extend the conversation beyond 4 minutes if there is no benefit for the candidate.
8. After 6 minutes 30 seconds, begin to draw the conversation to a close.
9. Stop the recording after seven minutes have elapsed, saying ‘That concludes the conversation.’
10. Do not give your opinion of the candidate’s performance e.g. ‘That was very good’ or ‘You made some
excellent points’.
After the recording
Files should be organised in such a way that moderators can retrieve them easily. They should be labelled:
0408_01_Centre number_Candidate number_Candidate surname
e.g.
0408_01_AB123_1234_Chan
4.6 Types of question in the oral assessment: recorded
conversation
This list of possible questions is by no means exhaustive. The main aim is to ask open questions that allow
candidates to demonstrate a personal engagement with the detail of their chosen aspect. It is important,
too, to ask follow-up questions in the spirit of a conversation. This will enable learners to demonstrate
that they can ‘think on their feet’. The ways in which learners respond to open questions and follow-up
questions will be discriminators in the oral assignment. Less confident learners are likely to need more
closed questions to give them confidence, particularly in the first minutes of the assessment.
Some questions should focus explicitly on the role of the writer if the learner is to meet the various
assessment criteria. A conversation that neglects the role of the writer and, for example, treats a character
like a real-life person cannot score highly.
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Section 4: Oral response
Examples of teacher questions
Discussion with other teachers in your school and from other schools will help you to build a repertoire of
useful questions. The following list provides a starting-point.
1. What were your initial impressions of your chosen character?
2. To what extent do you think it’s possible to admire or sympathise with your chosen character?
3. Do you think your chosen character is a hero or a villain? (Such a question used with characters
eliciting opposing judgements, for example, saint v. sinner, or hero v. villain, can provoke lively personal
responses.)
4. What, in your opinion, does the character contribute to the overall text?
5. Why do you think the writer made this such an important theme?
6. What do you find striking, dramatic, moving, amusing about your chosen aspect?
7. How effective do you find the opening or the ending in relation to your chosen theme?
8. What significance, in your view, does a particular chapter, scene or stanza have to the presentation of
the chosen theme?
9. What do you find powerful (or memorable/striking/vivid/ironic etc.) about the way the writer uses
language to present the chosen character or theme – with specific examples?
10. Why did you choose this topic?
11. How do you think the title relates to the theme?
Useful follow-up questions
It is important for teachers to respond to what learners actually say in order to develop and sustain the
conversation. Examples of follow-up questions include:
•
Why do you say that?
•
Is there any evidence to support that particular view?
•
What did you feel at that point in the play/story?
•
What effect does that have on you as a reader (or member of an audience)?
•
Is there another significant moment you could talk about?
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Section 4: Oral response
4.7 Examples of assignment 3 Oral Responses
On the CD accompanying this handbook you will find six samples of recorded oral responses. The first three
tracks have been marked by a Cambridge moderator using the assessment criteria available in the syllabus
and reproduced on page 33 of this handbook.
The moderator’s comments are detailed below.
The final three tracks on the CD form part of the accreditation test. Instructions for this can be found in
Section 6.
All three recorded conversations are about characters in Yukio Mishima’s The Sound of Waves.
Comment on Track 1
Topic: the character Shinji
The candidate’s responses to a series of questions show understanding of Shinji’s character: he is a
fisherman, athletic and swims very fast. There is a grasp of the difference in class between Shinji and
Yasuo: the latter is ‘very rich and arrogant’; the former ‘not very rich’. There is some reference to textual
detail but it is not very developed. The conversation reveals a grasp of character but only an implicit
awareness of characterisation (i.e. the ways in which Mishima portrays Shinji). Some of the teacher’s
prompts are not taken up by the candidate who simply replies ‘Yes’ to the questions ‘Does he show
courage?’ and ‘Would you describe him as a religious person?’ Overall, there is ‘some understanding’ and
‘some textual detail for support’ in a Band 5 response.
Comment on Track 2
Topic: the character Shinji
The conversation begins with a well-developed response to the question ‘What do settings show about
his character?’ There is reference to Shinji’s role as fisherman and his bravery in saving the boat. There is
a clear understanding of the importance of the latter incident in what it reveals about Shinji’s character.
The candidate sustains a clear response to a range of questions about Shinji in relation to class, the title
of the book and in comparison with Yasuo. The candidate indicates the contrast between Shinji’s natural
relationship with Hatsue and Yasuo’s ‘forcing’ himself. Overall, this is a well-developed and detailed personal
response, in the middle of Band 3. A more detailed critical probing of Mishima’s writing would have lifted
the response.
Comment on Track 3
Topic: the character Chiyoko
The candidate makes a confident start to the conversation discussing the way Mishima describes Chiyoko,
making well-selected references to the text to support her view that the character is ‘cocooned in the
idea that she doesn’t look good’. There is some insight into the way Chiyoko contrasts with Hatsue: the
former is more learned and represents civilisation; the latter more natural, representing the culture of the
island. There is a sustained appreciation of the importance of the character to the novel. The candidate
notes that Mishima uses her to create the plot, move it on and resolve it. The extended responses to the
teacher’s questions are focused, well-developed and supported in a Band 1 response showing a complete
engagement with the ways in which Mishima presents this character.
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Section 5: Coursework administration
Section 5: Coursework administration
5.1 Teacher supervision
Texts should be taught in such a manner that learners are encouraged to think for themselves rather than
merely reproduce what their teachers tell them. Teachers may suggest ways of approaching tasks and
planning assignments.
Written coursework
Sufficient work must be done under the supervision of the teacher so as to confirm the authenticity of a
learner’s work. The syllabus states that ‘if plans and first drafts are completed under teacher supervision,
then teachers can be reassured of the authenticity of the final assignment’ (Syllabus, section 4).
Teachers should give only general guidance about re-drafting. They might comment, for example, on the
need for a student to:
•
develop points more fully and/or more clearly
•
substantiate assertions
•
integrate quotation more succinctly
•
structure an argument more effectively
•
adopt a suitably formal critical register
•
edit or extend the piece of writing.
The learner must then be able to make a further draft without any help. Teachers should not mark,
correct or edit draft assignment material. Learners should not produce a fair copy after the teacher’s
detailed marking.
Additionally, a clear line needs to be drawn between the teacher offering opportunities in lessons for
exploring the text and the teacher giving a tightly structured framework which simply requires candidates to
regurgitate the same points, quotations and conclusions. Such an approach gives the mistaken impression
that there is such a thing as a correct answer, and this would not be in the spirit of the World Literature
syllabus.
Oral response
Details of the conduct of the oral assessment can be found in Section 4.5 of this handbook.
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Section 5: Coursework administration
5.2 Length of assignments
Centres should not submit critical essays longer than 1200 words or empathic responses longer than 1000
words. Candidates should indicate the word count at the end of each assignment.
Oral assessments should not exceed 7 minutes. Teachers are advised not to extend the conversation
beyond the minimum of 4 minutes where there is no benefit for the candidate.
5.3 Technical accuracy in written coursework
You should note that learners may show a detailed appreciation of literature in spite of technical inaccuracies
in their writing. Conversely, a learner with a fluent and accurate control of English may not necessarily
demonstrate a good understanding of the literary aspects of a text. Because you are assessing literature,
there is no need to indicate errors of spelling, punctuation and grammar, though at the drafting stage
teachers are likely to want to remind learners of the need for accuracy and clarity of expression – in order to
practise those areas important for success in their language studies.
5.4 Plagiarism in written coursework
It is the school’s responsibility to make sure all coursework is the original work of learners. Teachers need
to make clear the consequences of plagiarism, both at the outset of the course and at intervals thereafter.
Teachers can generally detect writing which is not consistent in quality with a learner’s usual output. There
may, for example, be a lifted paragraph which sits oddly with the writing before and after it. Perhaps there is
some uncharacteristically ambitious phrasing; a simple enquiry about the meaning of the phrase will settle
doubts one way or the other.
The teacher’s role in detecting plagiarism is crucial. If you have doubts about the authenticity of an
assignment, it should not be included, even if this means an incomplete folder must be submitted.
5.5 Evidence of marking and annotation on candidate work
As well as providing comments on the overall quality of the Portfolio on the Individual Candidate Record
Card, teachers must mark each assignment, indicating strengths/weaknesses as appropriate, and providing
a final comment, making clear reference to the assessment criteria.
In the examination papers, examiners are instructed to tick points which are interesting, sensitive and
thoughtful. This is good practice, too, when marking written coursework assignments. The very occasional
tick with very little comment is not helpful to the moderation process. Indeed, such an approach betrays
a misunderstanding of the process. By contrast, the precise ticking of points and brief comments in the
margin (relating to the assessment criteria) allow both other teachers in the department and also external
moderators to see how the original teacher’s mark was arrived at. Unfocused ticking, at the end of every
page, paragraph or even sentence, does not contribute usefully to the dialogue between the original teacher
and others engaged in the moderation process. Likewise, unspecific comments such as ‘This work is very
good!’ do not assist the moderator.
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Section 5: Coursework administration
5.6 Presentation of assignments
Assignments should be completed on A4 paper and may be handwritten or word-processed. If word
processed, the font size and type should be such as to guarantee readability. Small fonts are to be avoided
in word processed work in the same way as illegible script is in handwritten work. Discretion should be
exercised in choice of font and font size. Arial, point 11 or Times New Roman, point 12 are very good,
whereas ‘exotic’ fonts are not. Line spacing should ideally be set at 1.5. Whether word processed or
handwritten, the assignment should have margins that are sufficiently wide to enable teachers to make
suitable annotations.
Each piece must bear:
•
centre number
•
candidate number
•
candidate name
•
page numbers.
For the critical essay, the full title (not an abbreviation or approximation) must appear at the top of the first
page.
e.g. In what ways does Ibsen make you sympathise with Nora in A Doll’s House?
For the empathic response, both the name of the character and the chosen moment must be indicated at
the top of the first page:
e.g. Lady Macbeth – after the Banquet Scene (Act 3 Scene 4)
The written coursework should be attached by means of a treasury tag to the Individual Candidate Record
Card, in the following order:
•
Critical Essay
•
Empathic Response.
There is no requirement to submit drafts. Portfolios should not be submitted in plastic wallets, card folders
or ring-binder files.
5.7 Internal standardisation
This should take place at intervals during the course in order to ensure that work in the three separate
coursework assignments is being assessed to a common standard. For example, teachers might discuss
a number of unmarked critical essays (covering the whole range of responses) and arrive at agreed marks
for each essay. This would take place before the close marking of the assignments by individual teachers.
The discussion would reveal whether any teacher is not marking to the agreed standard, perhaps as a result
of placing excessive or insufficient emphasis on a particular aspect of the criteria. Similar standardisation
exercises should take place in respect of the Empathic Response and the Oral Response.
Over time, it is useful to develop, for the purpose of departmental reference, an archive of responses
representing all bands.
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Section 5: Coursework administration
5.8 Internal moderation
If several teachers in a school are involved in internal assessment, then the school must make sure that all
learners are assessed to a common standard in order to produce a reliable order of rank. Each school must
have one teacher responsible for internal moderation who must ensure that all work is marked according to
the assessment criteria, and not the teachers’ views of the personal qualities of learners.
Each of the three coursework assignments needs to be moderated separately using the relevant
assessment criteria.
Using the Empathic Response as an illustration, a sample of ten assignments could be marked by two or
more teachers (one of whom should be the Internal Moderator). Any differences in marking between the
Internal Moderator and other markers should be talked through and resolved. Then a further sample of ten
from another teacher’s marking might be compared with the standard of the first set and any adjustment
made. Marks can be adjusted from any part of the range of marks, and if there is a discernible trend of
leniency or severity, marks should be adjusted for other coursework in that range. If the trend is consistent,
it is possible to scale marks upwards or downwards without the need to re-mark all assignments within the
range affected.
If, however, there is no clear pattern and if learners are at risk of being awarded the wrong mark, more
assignments from that teacher’s marking should be marked and adjustments made until all doubt about the
accuracy of the marking has been removed. Samples should be re-marked from the remaining teachers’
marking until the process is complete. The Individual Candidate Record Cards should bear evidence of
amendments made as a result of internal moderation.
5.9 Individual Candidate Record Cards
The card, together with teacher annotation of assignments, is the main contact between the school and
Cambridge’s external moderator. The card should set out the school’s definitive judgments on items in the
Coursework Portfolio.
Teachers should record a brief description of each assignment in the small box provided:
•
the author and title of the critical essay text (the full title will be at the top of the essay’s first page)
•
the character and moment for the empathic response
•
the text and chosen character/theme for the oral response.
Space is provided for comments and marks for each of the three coursework assignments. The marks
should be the final moderated marks, and not the teacher’s original marks (where these differ).
Comments should justify the award of a particular mark by referring to the relevant descriptors in the
assessment criteria. The tone should be objective; there is no room for summaries of candidates’ personal
qualities or histories, which can play no part in the final judgment. For example, the fact that a candidate has
been a model student, has loved reading and has worked hard are not relevant to the moderation process.
Comments must relate to a candidate’s work and draw on the wording of the band descriptors.
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Section 5: Coursework administration
The following are, respectively, examples of helpful and unhelpful comments relating to the Critical Essay:
Helpful
Shazia produced perceptive and convincing exploration of Heaney’s use of imagery, integrating clear critical
comment with pertinent well-selected references.
Unhelpful
Omar was absent from school during many of the lessons on Kafka’s short stories – so all things considered
he did very well in his assignment which can be best described as good work.
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Section 5: Coursework administration
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Section 6: Accreditation
Section 6: Accreditation
6.1 What you need to do
For accreditation, you must assess the following 12 assignments:
•
6.3 Critical essays A-D
•
6.4 Empathic responses E-H
•
6.5 Oral response tracks 4–6
Use the relevant assessment criteria and exemplar assignments in Sections 2, 3 and 4 when determining
your marks.
The criteria are arranged in eight bands; if read from the bottom of the grid, each band describes a more
assured performance than the one preceding. Read the assignment and make a ‘best-fit’ judgment as to
which band to place it in. Often you may see qualities that appear to fit more than one band; so look at two
bands and come to a decision between them.
Your personal details, your marks and commentaries on the accreditation scripts and your declaration of
authenticity should be recorded on copies of the assessment forms supplied in the Appendix. You should
then send these documents to:
Cambridge IGCSE Accreditation Coordinator (EDM)
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
6.2 On completion of the handbook
Assessment of the work
Please allow between four and six weeks for the moderator to assess the work that is submitted and for
Cambridge International Examinations to inform you of an outcome.
You will be informed of the Moderator’s decision regarding accreditation (the outcome) by post. This
will take the form of a Certificate in instances where accreditation is awarded, or in the cases where
accreditation cannot be awarded, a letter informing you of this. A Moderator’s Report may also be enclosed
which will give guidance in the cases of accreditation failure and feedback in the event that accreditation is
awarded.
Please note it is not usual practice for Cambridge to inform teachers of accreditation outcomes over the
telephone or by e-mail.
If accreditation is not awarded by the Moderator on one particular occasion this does not mean a teacher
cannot continue to teach, it simply restricts their ability to moderate Coursework until accreditation is
awarded. You may re-submit work for assessment as many times as is necessary for accreditation to be
awarded. There is, however, a charge each time for doing so.
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Section 6: Accreditation
Further Help
We hope that this Coursework Training Handbook will provide a thorough introduction to the requirements
and criteria for the assessment of coursework in IGCSE World Literature. However, if you have any further
questions or difficulties, please do not hesitate to contact Cambridge and we will do our best to help.
The address to which your queries should be sent is:
Customer Services
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
Telephone:
Fax:
Email
Website:
44
+44 1223 553554
+44 1223 553558
info@cie.org.uk
www.cie.org.uk
IGCSE World Literature
Section 6: Accreditation
6.3 Critical essays A–D
Script A
What does Lee make you feel about Robert Ewell in To Kill a Mockingbird? Refer to details in the novel in
your answer.
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Section 6: Accreditation
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Section 6: Accreditation
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Section 6: Accreditation
Script B
How do you think Miller manages to make Danforth such a cold and terrifying character in The Crucible?
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Section 6: Accreditation
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Section 6: Accreditation
Script C
How do the poets create a vivid picture of the places they describe in Lament by Gillian Clarke and in Report
to Wordsworth by Boey Kim Cheng.
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Section 6: Accreditation
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Section 6: Accreditation
Script D
Explore some of the ways in which Heaney uses imagery to powerful effect in two of the poems from
Death of a Naturalist that you have studied.
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Section 6: Accreditation
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Section 6: Accreditation
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Section 6: Accreditation
6.4 Empathic responses E–H
Script E
Fitzgerald, The Great Gatsby
You are Tom Buchanan on hearing of the deaths of Gatsby and Wilson.
Write your thoughts.
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Section 6: Accreditation
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Section 6: Accreditation
Script F
Fitzgerald, The Great Gatsby
You are Daisy.
Write your thoughts.
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Section 6: Accreditation
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Section 6: Accreditation
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Section 6: Accreditation
Script G
William Golding, Lord of the Flies
You are Ralph on the morning after Simon’s death. You have lied to Samneric about leaving the feast early.
Write your thoughts.
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Section 6: Accreditation
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Section 6: Accreditation
Script H
Shakespeare, Much Ado about Nothing
You are Benedick. Beatrice has asked you to kill Claudio.
Write your thoughts.
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Section 6: Accreditation
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Section 6: Accreditation
6.5 Oral responses tracks 4–6
Using the assessment criteria for assignment 3 which you can find on page 18 of the syllabus or reproduced
on page 33 of this handbook, listen to and mark tracks 4–6 of the accompanying CD.
Record your marks and comments on copies of the forms provided in the Appendix.
When you have completed the marking of all three assignments send your work, together with the Cover
Sheet provided, to the address indicated on the forms.
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Appendix: Coursework Assessor Accreditation Forms
Appendix: Coursework Assessor Accreditation Forms
Complete your personal details and sign the declaration that this submission for accreditation is your own
work on the form below. Enter your marks and comments on the accreditation scripts on the mark sheet
overleaf.
Send all documents to the address on the declaration form.
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Appendix: Coursework Assessor Accreditation Forms
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Appendix: Coursework Assessor Accreditation Forms
Evidence for Cambridge IGCSE® coursework assessor accreditation
Cover Sheet
Cambridge IGCSE World Literature (0408)
Please complete this form in BLOCK CAPITALS.
Centre number
Centre name
Teacher’s name
Contact email
Declaration of authenticity
I have read and understood the training materials and certify that the evidence submitted with this
form is my own original work.
Signed
Date
(DD/MM/YY)
Name
Return this form to
Cambridge IGCSE Accreditation Coordinator (EDM)
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
UK
Save a copy of the form for your own records.
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Appendix: Coursework Assessor Accreditation Forms
IGCSE World Literature
Critical Essays A–D
Your comments should draw on the wording of the descriptors in the relevant assessment criteria.
Script
Mark
/25
A
B
C
D
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Comment
Appendix: Coursework Assessor Accreditation Forms
IGCSE World Literature
Empathic responses E–H
Your comments should draw on the wording of the descriptors in the relevant assessment criteria.
Script
Mark
/25
Comment
E
F
G
H
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Appendix: Coursework Assessor Accreditation Forms
IGCSE World Literature
Oral responses
Your comments should draw on the wording of the descriptors in the relevant assessment criteria.
Track
Mark
/15
Track 4
Track 5
Track 6
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Comment
Appendix: Coursework Assessor Accreditation Forms
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Cambridge International Examinations
1 Hills Road, Cambridge, CB1 2EU, United Kingdom
Tel: +44 (0)1223 553554 Fax: +44 (0)1223 553558
Email: info@cie.org.uk www.cie.org.uk
® IGCSE is the registered trademark of Cambridge International Examinations
© Cambridge International Examinations 2012. v1 3Y04
*9523253832*
Unseen Poetry Revision Booklet
My progress record of the unseen poetry questions
FIRST TASK:
Date:
HOW TO IMPROVE:
SECOND TASK:
Date:
HOW TO IMPROVE:
THIRD TASK:
Date:
HOW TO IMPROVE:
ASSESSMENT PIECE:
Date:
TEACHER FEEDBACK:
Grade:
1
Index Page
1. Purpose of this booklet.
2. What the exam looks like
3. Understanding the assessment objectives
4. Differences between language, structure
and form
5. The Poetry Moves
6. Annotation of a poem
7. Converting notes into an essay
8. Practice poems for Section C Question 1
9. Section C Question 2: The unseen
comparison
10. Practice poems for Section C Question 2
11. Mark Scheme
12. Sentence starters
13. Core knowledge
14. Other links and resources
2
The purpose of this booklet.
 This homework booklet has been designed as a revision guide. It will help you to
practise the skills you will need to answer the unseen poetry questions.
 There are six sample questions which you can work your way through as either
timed or untimed tasks.
 The last task is a formal assessment which you can give to your teacher for
written feedback and a grade.
 Sample answers have been provided so that you may check your responses
against them to see where your current standard rests.
 There are links to online resources which may help to strengthen your
understanding of the unseen poetry questions.
FAQs
 What is the unseen poetry question about?
It is about comparing the poets’ ideas and language in two short modern poems
you haven’t seen before. Examiners are interested in what you make of the poems
and how they affect you. You can revise this question by reading through class
notes and practising past questions. This is where this booklet will help you.
 When will I be tested on unseen poetry?
The unseen poetry assessment appears on the English Literature exam on paper 2
section C.
 How much is the unseen poetry worth?
It is worth 32 marks in total, which is around 25% of the total English Literature GCSE.
 Which skills are being assessed?
Language (AO2) and understanding (AO1).
What do I need to do?
 You will read a modern poem and write an essay on how the poet presents their
ideas and which methods they use to show these ideas. It is marked equally for
AO1 and AO2. It is worth 24 marks.
 Next, you will be asked to read a second, shorter modern poem. You will compare
the poets’ attitudes and how they use language to suggest these. This piece is
only marked for A02 and is worth 8 marks. Aim for 1-2 SWAn paragraphs.
What the exam looks like
Part a) In ‘To a Daughter Leaving Home’, how does the poet present the speaker’s
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feelings about her daughter? (24 marks)
Part b) In both ‘Poem for My Sister’ and ‘To a Daughter Leaving Home’ the speakers
describe feelings about watching someone they love grow up. What are the similarities
and/or differences between the ways the poets present those feelings? (8 marks)
Notice, there are two tasks. The first task is an essay on one unseen modern poem. It will be about
familiar topics like family relationships, nature and experiences. Here, you will be assessed for
AO1 (understanding) and AO2 (understanding). The second task is a short comparison with
another poem, which is linked by theme. This task is an extended SWAn, which will assess AO2
only. Students usually pick out one image and one element of the form or structure to compare in
both poems e.g. compare the use of the metaphor and the rhyme in both poems.
It is worth noting at this stage that it is your interpretation of the poem which is important, rather
than knowing the right answer. The unseen poetry section is about giving students a poem they
haven’t had a chance to prepare and seeing what you make of it. The examiners want you to
know that they “are looking to reward a candidate for their comments” and praise the overall
quality of the response. This means you will receive the most marks for engaging with the poem’s
ideas and forming a clear, critical argument on how the poet presents the speaker’s feelings about
it. Marks will be awarded for understanding the poet’s ideas and how the poet uses language,
form and structural choices reinforce those ideas.
Follow this format and you will automatically cover both assessment objectives: AO1
(understanding) and AO2 (language).
Q1) AO1 What the poem is ABOUT:
speaker, form, overall purpose.
Q1 and Q2) AO2. For Q2 Compare
one image and one aspect of form
or structure. TECHNIQUE
Q1) AO2 Analyse the MOOD and
IDEAS through the language choices.
Q1 & 2) AO1 Give YOUR VIEW on the
effectiveness of the poem.
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Understanding the Assessment Objectives.
You know already that you will be assessed for showing an understanding the poet’s ideas (AO1)
and how the poet uses language, form and structural choices reinforce those ideas (AO2).
The emphasis of this exam is on how the writer creates meaning through their choices rather
than on how the reader might feel sympathetic towards the character in the poem.
AO1 – Inferences.
AO1 is simply shorthand for providing inferences into why the poet may have chosen to show this
particular aspect of human nature or nature. An inference is the reader’s way of explaining what
they understand about the poet’s ideas, from the words the poet has used. The deeper and more
developed your explanations are, the more interesting and personal your response becomes, the
more marks you are likely to gain. Questions you could ask are;
-
What is this text trying to say?
Why might it have been written?
What is it encouraging the reader to think/feel?
What ideas is it presenting/exploring?
AO1 – The Speaker.
What is interesting when we read a poem for the first time is not only what the speaker of the
poem is thinking but also why they might be feeling this way. It is always a good idea to explore
what motivates a character to talk in the way they do. Questions the reader could ask are:
-
What might someone who talks like this be thinking?
Given this, what does the speaker reveal?
What is it about the speaker’s experience that makes it interesting to me?
It is almost as if the reader is playing the role of the psychologist to uncover the truths that the
poet gradually reveals as the poem progresses. Don’t expect to find the ‘answer’ of the poem in
the first line: poetry is a gradual experience, you need to work through the whole poem to see
how the speaker’s mood changes throughout.
AO1 Linking the poet’s ideas to the big ideas about life.
Stepping outside of the text. This is where you will be rewarded for saying something about what
it is to be human. Poets use their poems as a way of expressing something about the human
experience. If you understand that poetry is only a construct (something created on purpose), you
will be able to look at the deeper, broader picture. The best responses are likely to fully develop
their explanations then step out of the poem to link the poet’s ideas to the big ideas we all
experiences as humans: love, loss, anger, innocence, truth, lies etc…. Poets, just like the rest of us,
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want to share their thoughts on these experiences and emotions. The more you look beyond the
story of poem and connect the poem to the world in which it was written, the more marks you can
achieve.
Questions you could ask to help you look beyond the content of the poem.
· How does someone, coming from this perspective, present the big ideas in the poem?
· What is the speaker’s strongest opinion on this particular theme?
· What is the speaker experiencing?
· Is the poet right to share these ideas?
· What is your stance in this debate?
What does an AO1 response to a poem look like?
In this narrative poem, which works well as it allows the speaker, the voice of a parent, to describe
a memory of watching her daughter learn to ride a bike. The mother describes her fear of her
daughter coming to harm with the use of ‘loping along beside you’, as if she is terrified of letting
go and letting her daughter move away from her. This is then reinforced with the verb ‘wobbled’
to suggest the daughter’s vulnerability and fear that she may come to harm. However, the
daughter is confident and shows this through the dramatic verbs ‘pulled away’ and ‘screaming
with laughter’ – she doesn’t appear to have any fear of her new skill and is excited by the ability to
‘pull ahead’ The contrast between the parent and the child is shown through the language used to
describe them; the mother’s mouth ‘rounds in surprise’ whereas the daughter is ‘pumping,
pumping for your life’
Notice how the student’s interpretation comes first, then it is supported by the quotes and
techniques. The highlighted blue sections would achieve the AO1 marks for showing an
understanding of the speaker’s ideas, thoughts and feelings.
A ‘response’ in its broadest sense refers to your ability to understand what the text might mean –
to you, possibly, and to other readers. A response refers to:
What is this text trying to say?
Why might it have been written?
What is it encouraging the reader to think/feel?
What ideas is it presenting/exploring?
In other words…. What do you think it means?
What does an AO1 response to a poem look like?
In this narrative poem, which works well as it allows the speaker, the voice of a parent, to describe
a memory of watching her daughter learn to ride a bike. The mother describes her fear of her
daughter coming to harm with the use of the phrase ‘loping along beside you’, as if she is terrified
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of letting go and letting her daughter move away from her. This is then reinforced with the verb
‘wobbled’ to suggest the daughter’s vulnerability and fear that she may come to harm. However,
the daughter is confident and shows this through the dramatic verbs of ‘pulled away’ and
‘screaming with laughter’ – she doesn’t appear to have any fear of her new skill and is excited by
the ability to ‘pull ahead’ The contrast between the parent and the child is shown through the
language used to describe them; the mother’s mouth ‘rounds in surprise’ whereas the daughter is
‘pumping, pumping for your life’
The highlighted yellow sections would achieve the AO2 marks for showing an understanding of
how the writer has deliberately chosen language, form and structure to share the key ideas.
AO2 – Commenting on language. AO2 means explaining the poets’ use of
language/structure/form and it refers to how the text has been constructed; in other words, the
deliberate decisions the writer has made in order to get their meanings across to the reader.
Students working at the highest level would be expected to consider all three aspects of writer’s
craft: language and structure and form. However in most cases, students will be selecting the
most relevant area: language or structure or form. If you go to the glossary at end of this booklet,
you will find explanations and examples of all three areas of the writer’s craft.
AO2 – The Writer. Less successful students tend to leave out the writer in their analysis, using
phrases like ‘it’ and ‘we know this because…’. More successful students tend to use sentence
starters like ‘the poet chooses..’ and ‘the poet portrays/show/suggests this by…’ if you learn the
core knowledge of subject terminology you have given yourself a shorthand for explaining the
ways in which a writer uses language, structure and form to communicate meaning to the reader.
This in turn will give you more time to comment on the effect of the writer’s choices rather than
describing them, which will allow you to gain extra marks.
This assessment objective asks you to explain the writers’ use of language/structure/form and how
the text has been constructed; in other words, the deliberate decisions the writer has made in
order to get their meanings across to the reader. This might, in some cases, include aspects of
language and structure and form. Students working at the highest level would be expected to
consider all three aspects of writer’s craft; however in most cases, candidates will be selecting the
most relevant aspect either language or structure or form.
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What is the difference between language, structure and form?
AO2 – Language
Language analysis will require zooming in closer to look at sentences, phrases and words –
essentially this is the SWAn part. It is not important that you identify the writer’s words but rather
that you talk about them to explain their impact on the reader.
Some areas you could look at are:
-
consider the meaning of title
highlight the verbs
circle the punctuation
pick out three neon lines/ vivid words/phrases think about first and last lines
highlight emotion words
find examples of imagery
highlight alliteration, assonance, onomatopoeia
highlight structural features
-
AO2 – Structure
The structure is the framework which holds the whole poem together; it is like the scaffolding that
supports a building as it is being built. Poetry is designed to be heard and the structural features
help the reader to naturally pause at the important parts of the poem, which carry the meaning.
The writer plays with the way they organise their ideas in order to make the reader land on
important words which highlight the precise meaning the writer wants to convey. Ideas can be
repeated, echoed, separated into chunks of meaning, made faster or slower with punctuation
marks, continued over several lines or just stopped - dead. These are the names of the structural
features which do all these things:
•
•
•
•
•
•
•
•
beginnings/endings – echoed meaning
repetition – if it is repeated, the writer intends to emphasise something important
use of white space – gaps in sentences encourage the reader to pause and reflect.
pace - created by punctuation, lots of full stops slow down the pace, commas speed it
up.
enjambment – a run on line to carry meaning over several lines.
Plot – how the story of the poem gradually or suddenly unfolds
caesura - deliberate stop in the middle of an idea
rhythm – a regular or irregular pattern to the sounds of words.
Structure can be as complicated as analysing cesaura and enjambment or as simple as looking at
how the plot unfolds or the character develops. All of these areas will help you to achieve good
marks. As students of structure, it is our job to ask why the poet may have chosen to use this
particular structural technique at this point in the poem. We need to ask ourselves how it
improves the meaning of the poem.
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If you look at the opening lines of ‘Anthem for Doomed Youth’ by Wilfred Owen, you will notice
that the poet opens with a question, as if he is questioning how hopeless a situation it is when
people die as animals. The hyphen to separate the ‘passing-bells’ emphasises how the church
bells, which once sounded out joyful occasions of births and marriages, are relegated to ‘passing’
the men by, as if the church no-longer provides the answers to life. What possible reasons could
there be for the use of hyphen at the beginning of line two? Why choose enjambment for the last
two lines of the stanza?
What passing-bells for these who die as cattle?
— Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
AO2 – Form
The form is the overall shape of the poem. If we use the building metaphor again, it would be
whether the building is an office, a tower block or a stadium. The writer chooses the form which
best fits the speaker’s views on the topic the poet has chosen to share. For example, a personal
account would be best shared as a monologue as it offers only one point of view. However, a
shared personal account might come across better as a conversation, as if the speaker is inviting
the reader into the conversation. A philosophical idea like the wonder of nature might be more
effectively presented as a rational argument in a sonnet form. The most common poetic forms
are:






Sonnet
Monologue
Dialogue
Free verse
Lyric
Apostrophe
It all boils down to:
WHAT? What is the writer writing about?
HOW? How do they choose words to show it?
WHY? Why has the writer written this text?
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Hitting the language marks (AO2)
You may have noticed in the exam question, that you asked to comment on ‘how’ the poet present
their ideas, thoughts and feelings.
Part a) In ‘To a Daughter Leaving Home’, how does the poet present the speaker’s
feelings about her daughter? (24 marks)
From our lessons we have learned that the word ‘how’ generates ideas about the structure,
language and form of the poem. If you look in the appendix, you will see a list of
techniques which can be revised. Whilst it helps to have a range of techniques under your
belt, it is more important to explain what the writer is doing with these techniques, rather
than to learn their names.
Take it from the perspective that you need to explain your interpretation of the speaker’s
feelings first (AO1). To give a clear interpretation, you will need to comment on how the
poet’s choices (AO2) reinforce your interpretation. If you take this approach, you are
looking for things that mean something to you, the reader, rather than searching for that
illusive right answer, which doesn’t exist. Poetry is a writerly text, where the reader needs
to construct their own narrative in order to make sense of the poem. Make up your own
interpretation of the poem. Look at the example below:
My Grandmother
She kept an antique shop – or it kept her.
Among Apostle spoons and Bristol glass,
The faded silk, the heavy furniture,
She watched her own reflection in the brass
Salvers and silver bowls, as if to prove
Polish was all, there was no need of love.
Example response:
The speaker describes the cold relationship her grandmother has
with her antique shop, as if she doesn’t care about her work.
The dismal mood may reflect the grandmother’s feelings of
disinterest or tiredness. Maybe the ‘faded silks’ and ‘heavy
furniture are metaphors for her own life; things of the past
which no longer seem cared for. The phrase ‘no need of love’
reflects this sentiment, suggesting the speaker feels her
grandmother could feel neglected.
Make a game out of the poem: see how many different interpretations you can find. Ultimately,
this will help you to achieve higher marks because you will be ‘exploring’ the poem, rather than
trying to find a right answer which doesn’t exist.
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The Poetry Moves
BEFORE YOU BEGIN: Read the question. This will give you important clues as to
what the poem is about.
First, read it
Second, start to ask questions: ABOUT who is speaking? Who to? Where are
we? When? Why do you think the writer has written the poem? What
‘snapshot’ of human experience are they trying to capture?
Third - Reread slowly, line by line, stanza by stanza – each stanza offers a
‘picture’. How does the poet ‘unfold’ his or her IDEAS?
Fourth – revisit second step, adding in more details as the poem starts to
relinquish its secrets….
Fifth - MOOD – revisit the structure/stanzas in turn, and decide the speaker’s
thoughts and feelings, ‘tarot cards’. Wistful/angry – how does the change in
mood add to the message/theme of the poem?
Sixth – TECHNIQUES – which techniques does the writer use to paint their
picture/create the mood/effect the reader?
Seventh – What is YOUR RESPONSE to the poem? How does it change your
ideas about the subject/mood that is presented?
These moves can be condensed down to AMITY: A = about M = mood, I
= ideas T = techniques Y = your view.
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Phenomenal Woman by Maya Angelou
Pretty women wonder where my secret lies.
I’m not cute or built to suit a fashion model’s size
But when I start to tell them,
They think I’m telling lies.
I say,
It’s in the reach of my arms,
The span of my hips,
The stride of my step,
The curl of my lips.
I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.
I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It’s the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.
Men themselves have wondered
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What they see in me.
They try so much
But they can’t touch
My inner mystery.
When I try to show them,
They say they still can’t see.
I say,
It’s in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.
Now you understand
Just why my head’s not bowed.
I don’t shout or jump about
Or have to talk real loud.
When you see me passing,
It ought to make you proud.
I say,
It’s in the click of my heels,
The bend of my hair,
the palm of my hand,
The need for my care.
’Cause I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.
Take time to practise the poetry moves with this poem.
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THE POETRY MOVES.
BEFORE YOU BEGIN: Read the question. This will give you important clues as to what the
poem is about.
First, read it
Second, start to ask questions: About. Who is speaking? Who to? Where are we? When in
their lives is it taking place? Why do you think the writer has written the poem? What
‘snapshot’ of human experience are they trying to capture? (ABOUT = A)
Third - Reread slowly, line by line, stanza by stanza – each stanza offers a ‘picture’. How
does the poem ‘unfold’ its ideas? (IDEAS = I)
Fourth – revisit second step, adding in more details as the poem starts to relinquish its
secrets…. (IDEAS = I)
Fifth - Mood (MOOD = M)– revisit the structure/stanzas in turn, and decide the mood,
‘tarot cards’. Wistful/angry – how does the change in mood add to the message/theme of
the poem.
Sixth – techniques (TECHNIQUE = T)– which techniques does the writer use to paint their
picture/create the mood/effect the reader?
Seventh – What is your response to the poem? How does it change your ideas about the
subject/mood that is presented? (YOUR VIEW = Y)
The poetry moves can remembered with the acronym AMITY.
A = about
M = mood
I = ideas
T = techniques
Y = your view
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Annotation of a poem: a student model
This is what it looks like on paper. A previous student has read the unseen poem and
showed their thinking on the poem.
Who? Mother (talking to daughter)
What? Surprised, delighted, abandoned
How? A conversation.
Why? Realise daughter can survive
To a Daughter Leaving Home
Mother gives her skills. In
charge> feeling in control.
MEMORY.
Idea 1: Memory of child
needing mother.
Mother’s delight.
Reinforced by metaphor.
Lovely picture of joy.
Verb emphasises the
pace as the mother tries
to keep up with her child
Idea 3: Mother’s loss at child’s
growing independence.
Handkerchief used as a
symbol of tears. Is mother
in grief? Juxtaposition of
daughter’s joy and
mother’s loss.
When I taught you
at eight to ride
a bicycle, loping along
beside you
as you wobbled away
on two round wheels,
my own mouth rounding
in surprise when you pulled
ahead down the curved
path of the park,
I kept waiting
for the thud
of your crash as I
sprinted to catch up,
while you grew
smaller, more breakable
with distance,
pumping, pumping
for your life, screaming
with laughter,
the hair flapping
behind you like a
handkerchief waving
goodbye.
Snapshot of human
nature: mother’s
feelings about
daughter leaving
Proud.home.
Innocence is
sweet. Verb = still needs
her mother.
Expectation child will fail.
Mother always needed.
Idea 2: Gradual hint child no
longer needs her.
Ideas of vulnerability.
Reflected in comparatives.
Continuous verbs increase
pace. Represent daughter
moving away from mother
into independence. Feelings
of regret.
By Linda Pastan
Teacher’s comments:
Notice how the student has looked for the initial idea, the change and which idea we are left with at the end.
Each section has been ruled off to signal the poem’s structure. This is then supported by one-word comments
on the mood, which are written in red. Looking closer, the student has given their comment in blue. Then, in
green, look at how the language reinforces their personal interpretation. At the very first stage, the
annotation stage, the student is forming a clear, coherent argument.
15
Read through the poem below and practise going through the poetry moves: read, question, reread, re-read, mood, technique, your view. The poetry moves can remembered with the acronym
AMITY. This time, make notes on the poem to keep a record of your thoughts as they come to
you. Expect your understanding and response to change as the poem progresses.
In ‘Poem for My Sister’, how does the speaker describes her attitudes to being an
older sister?
Poem for My Sister by Liz Lochead
My little sister likes to try my shoes,
to strut in them,
admire her spindle thin twelve year old legs
in this season's styles.
She says they fit her perfectly,
but wobbles
on their high heels, they're
hard to balance.
I like to watch my little sister
playing hopscotch,
admire the neat hops and skips of her,
their quick peck,
never missing their mark, not
overstepping the line.
She is competent at *peever.
I try to warn my little sister
about unsuitable shoes,
point out my own distorted feet, the callouses,
odd patches of hard skin.
I should not like to see her
in my shoes.
I wish she could stay
sure footed,
sensibly shod.
 Peever is a game of hopscotch
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Converting notes into an essay: the note stage
Poem for My Sister by Liz Lochead
Possessive
pronoun:
responsible for
sister? Older
child.
Structure: begins
description memory.
Dressing up.
Perspective:
distance.
Onlooker.
Older sister. Look
after. Responsible.
Experienced.
My little sister likes to try my shoes,
to strut in them,
admire her spindle thin twelve year old legs
in this season's styles.
She says they fit her perfectly,
but wobbles
on their high heels, they're
hard to balance.
I like to watch my little sister
playing hopscotch,
admire the neat hops and skips of
her,
their quick peck,
never missing their mark, not
overstepping the line.
She is competent at peever.
Metaphor ‘spindle’ =
stair rods. Homely
image. Endearing.
Loving. Vulnerability.
Idea: innocence.
Speaker = thinks
cute.
Onomatopoeia:
pace = fast.
Admiration.
Expert. Skill.
Confidence.
I try to warn my little sister
about unsuitable shoes,
point out my own distorted feet, the callouses,
odd patches of hard skin.
I should not like to see her
in my shoes.
Ends in wistful,
I wish she could stay
reflective tone:
sure footed,
sibilance Fear of
sensibly shod.
harm.
17
Converting notes into an essay: the essay stage.
In this poem, the speaker is the voice of an older sister, describing a memory of
watching her sister dress up in adult’s shoes. The fact that she begins with the
possessive pronoun ‘my’ indicates how she feels responsible for her younger sister
and wants to look out for her. The older sister describes her fear of her sister
coming to harm, which is reflected in the ending with the wistful tone in the
sibilance of ‘wish’ and ‘sure-footed’ demonstrating her hope that her sister will not
come to harm as she grows into an adult. The fearful mood is foreshadowed by the
word ‘wobbles’ when the sister was walking in ill-fitting shoes, emphasising her
vulnerability. However, the sister is expert in ‘hop-scotch’ highlighted in the
onomatopoeia of ‘their quick peck’ – she doesn’t appear to have any fear of life as
her footsteps are never ‘missing their mark’. The contrast of the mood between the
older sister and the younger sister is shown through the language used to describe
their actions: the younger sister is ‘playing’ whereas the older sister can only
‘watch’ and ‘warn’.
There is a tension between the sister’s idea of the world and the younger child’s
innocent idea of life. The main metaphor which stands out to suggest this is her
‘spindle thin’ legs, described by the speaker in an endearing image but also
highlighting the girl’s vulnerability. The poet contrasts this with the image of the
‘neat hops and skips’ of the younger sister: even though her legs are ‘spindle thin’,
she doesn’t seem to let that prevent her from enjoying life to the full. Instead, she
enjoys the independence and freedom of life, whereas her older sister is waiting for
the snap of her weak and vulnerable limbs.
Overall, the poem uses this event, often seen as a staging post in childhood, as an
extended metaphor to explore attitudes about growing up. It is effective at
showing a contrast between the speaker’s anxiety and the younger sister’s
confidence because of the language it chooses to show each sister’s different
perspective on life.
Go back to the annotated poem on the previous page. Re-read the student annotations in
the boxes. Highlight in this student response where the annotations have been used.
You will notice that the notes have been written up almost word-for-word into full
sentences. The only things linking the ideas are connectives like however, the contrast and
overall.
Next, highlight where AMITY has been used. How does the student use AMITY as a
framework?
18
TASK ONE Write your own interpretation of the poem ‘Poem for my Sister’ by Liz Lochead
using the model as a guide. Self-assess your response using the mark scheme on pages 3233. Write your mark and comment on the front cover.
Read through the poem below and practise going through the poetry moves and using your
notes to complete the essay a student has started on this poem. Self-assess your response
using the mark scheme on pages 32-33. Write your mark and comment on the front cover.
In ‘Power’, how does the speaker describes his attitudes to the effects of darkness
on a community?
Power by Andrew Forster
The last time the electricity failed,
we watched through the window in settling dusk
as vans rumbled into the field next door
and workers in yellow tunics gathered by
the telegraph pole like pilgrims. Floodlights,
like artificial moons, cast the grass
in a white sheen. One worker shimmied up, others
rapt beneath, mumbling what looked like prayers.
No sudden blaze, but as they pulled away
we felt the certainty of returning light.
Back in Yorkshire, during the strikes,
powercuts were balanced around districts.
With no television, we were forced
to talk to each other, while we played Scrabble
in the glow of candles, ignoring shadows
flickering around us, and when light
returned everything to its proper place
I ran to the window to watch
the small miracle of darkness
as it took over the estate below us.
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In this poem, the speaker is the voice of a young person, describing a memory of the black outs
during their childhood. He begins by describing ‘the last time’ it happened, as if it is a common
occurrence. The reader gets the impression the speaker is a family house, watching the effects of
the power cut as he uses the pronoun ‘we’ to suggest it is a shared experience. The poem begins
by describing the repairmen as miracle workers by emphasising how they mumbling ‘prayers’ and
the heavenly imagery of ‘rapt’ and ‘light’ reinforce the faith the young man has in their ability to
reconnect them to the electric supply. However, as the poem reveals itself, the mood changes ….
Add your ideas here. Remember to use your annotations to help you.
20
Further Practice Poems for Section C Question 1
Walking Away by C Day-Lewis
It is eighteen years ago, almost to the day –
A sunny day with leaves just turning,
The touch-lines new-ruled – since I watched you play
Your first game of football, then, like a satellite
Wrenched from its orbit, go drifting away
Behind a scatter of boys. I can see
You walking away from me towards the school
With the pathos of a half-fledged thing set free
Into a wilderness, the gait of one
Who finds no path where the path should be.
That hesitant figure, eddying away
Like a winged seed loosened from its parent stem,
Has something I never quite grasp to convey
About nature’s give-and-take – the small, the scorching
Ordeals which fire one’s irresolute clay.
I have had worse partings, but none that so
Gnaws at my mind still. Perhaps it is roughly
Saying what God alone could perfectly show –
How selfhood begins with a walking away,
And love is proved in the letting go.
Part a) In ‘Walking Away’ how does the poet present the speaker’s feelings about his
child? (24 marks)
21
Catrin by Gillian Clarke
I can remember you, child,
As I stood in a hot, white
Room at the window watching
The people and cars taking
Turn at the traffic lights.
I can remember you, our first
Fierce confrontation, the tight
Red rope of love which we both
Fought over. It was a square
Environmental blank, disinfected
Of paintings or toys. I wrote
All over the walls with my
Words, coloured the clean squares
With the wild, tender circles
Of our struggle to become
Separate. We want, we shouted,
To be two, to be ourselves.
Neither won nor lost the struggle
In the glass tank clouded with feelings
Which changed us both. Still I am fighting
You off, as you stand there
With your straight, strong, long
Brown hair and your rosy,
Defiant glare, bringing up
From the heart’s pool that old rope,
Tightening about my life,
Trailing love and conflict,
As you ask may you skate
In the dark, for one more hour.
Part a) In ‘Catrin’ how does the poet present the speaker’s feelings about
motherhood? (24 marks)
This is Task 2. Write your response. Use the mark schemes on
pages 32-33. Record your comments on the front cover.
22
Eating Poetry
Ink runs from the corners of my mouth.
There is no happiness like mine.
I have been eating poetry.
The librarian does not believe what she sees.
Her eyes are sad
and she walks with her hands in her dress.
The poems are gone.
The light is dim.
The dogs are on the basement stairs and coming up.
Their eyeballs roll,
their blond legs burn like brush.
The poor librarian begins to stamp her feet and weep.
She does not understand.
When I get on my knees and lick her hand,
she screams.
I am a new man.
I snarl at her and bark.
I romp with joy in the bookish dark.
Mark Strand
Part a) In ‘Eating Poetry’ how does the poet ideas about imagination and reality?
(24 marks)
23
Winter Night: Edinburgh
Night falls quickly as turning back a clock
But the City is alive with night.
Shops and cafes deny the darkness,
Throw light at the street like baited hooks.
Offices spill workers onto pavements,
The yellow drip of lamps washing colour
From their faces as they pass beneath.
Cars, trapped in a magnetic flow, controlled
By coloured lights, thrust beams at the blackness.
It can be seen for miles, this metropolis:
Glowing orange like a prehistoric fire.
Andrew Forster
Part a) In ‘Winter Night: Edinburgh’ how does the poet present ideas about living in a
city? (24 marks)
24
Section C Question 2: The unseen comparison
Now that you have written an essay on the first unseen poem, you have done the hardest and
longest unseen task. The final question on the exam paper asks you to make links between a
poem that you have written about already, with a second modern poem: it is a comparison. It is
worth only 8 mark and therefore will be assessed for language analysis only (AO2). You will have
time to write a one-sentence introduction, an extended SWAn and a one-sentence conclusion.
Limit the poem titles e.g. ‘the Rich eat Three Full meals’ would be reduced down to ‘The Rich…’ in
order to save time. Keep it concise.
Introduction
Write about both poems at once. Start with a single-sentence introduction that explains what the
message of the two poems is about and make a link between them. This could be a similarity or a
difference. You first sentence should start with the word both. Typical sentence starters you
could use are:




Both speakers feel… however,….
Both poets suggest …..
Both poets present ideas on…., whereas the first poet….
Both poems include ideas of…
Full comparative SWAn paragraph
Next, most students will choose one image which stands out as being interesting in both poems as
the basis for their SWAn. Students who wish to aim higher however, will want to discuss a
structural feature or an element of the form as well.
A model comparative Swan may look like this:
In ‘The Rich…’ the poet uses positive natural images to show the beauty of the world; ‘my
paintings are mountains and rivers’ which gives the sense that he sees the world as a work of art
and something precious to be admired. Although the poet in ‘How to’ also uses positive imagery,
she uses it to show the power and size of the natural world as ‘immense and wordless’, as if the
natural world is bigger and much more important than the human world. This suggests that Barber
sees the natural world as something bigger that we can’t own, whereas the poet in ‘The Rich’
seems to suggest something different, as if the natural world belongs to humans. This is reinforced
by the ways both poets position the idea of ‘peace’. In ‘The Rich’ it is in the opening section of the
poem to introduce it as an important idea, however Barber puts the verb ‘breathe’ right at the end
of the poem as a lasting thought.
Conclusion
Finish with a one-sentence conclusion which explains the effect of the poets’ message.
Overall, Forster celebrates the beauty of nature whilst Barber emphasises the freedom of
nature.
25
Practice Poems for Section C Question 2
To a Daughter Leaving Home
When I taught you
at eight to ride
a bicycle, loping along
beside you
as you wobbled away
on two round wheels,
my own mouth rounding
in surprise when you pulled
ahead down the curved
path of the park,
I kept waiting
for the thud
of your crash as I
sprinted to catch up,
while you grew
smaller, more breakable
with distance,
pumping, pumping
for your life, screaming
with laughter,
the hair flapping
behind you like a
handkerchief waving
goodbye.
—Linda Pastan
26
Poem for My Sister by Liz Lochead
My little sister likes to try my shoes,
to strut in them,
admire her spindle thin twelve year old legs
in this season's styles.
She says they fit her perfectly,
but wobbles
on their high heels, they're
hard to balance.
I like to watch my little sister
playing hopscotch,
admire the neat hops and skips of her,
their quick peck,
never missing their mark, not
overstepping the line.
She is competent at *peever.
I try to warn my little sister
about unsuitable shoes,
point out my own distorted feet, the callouses,
odd patches of hard skin.
I should not like to see her
in my shoes.
I wish she could stay
sure footed,
sensibly shod.
In Poem for My Sister, and ‘To a Daughter Leaving Home’, the speakers describe
watching someone they love grow up.
What are the similarities and/or differences between the ways the poets describe
these feelings?
[8 marks]
27
The Rich Eat Three Full Meals
The rich eat three full meals, the poor two small bowls
But peace is what matters.
Thirsty, I drink sweet plum tea;
Warm, I lie in the shade, in the breeze;
My paintings are mountains and rivers all around me,
My damask, embroidered, the grass.
I rest at night, rest easy,
Am awake with the sun
And enjoying Heaven’s heaped-up favours.
Nguyen Binh Khiem
28
How to Leave the World that worships Should
Let faxes butter-curl on dusty shelves.
Let junkmail build its castles in the hush
Of other people’s halls. Let deadlines burst
And flash like glorious fireworks somewhere else.
As hours go softly by, let others curse
The roads where distant drivers queue like sheep.
Let e-mails fly like panicked, tiny birds.
Let phones, unanswered, ring themselves to sleep.
Above, the sky unrolls its telegram,
Immense and wordless, simply understood:
You’ve made your mark like birdtracks in the sand –
Now make the air in your lungs your livelihood.
See how each wave arrives at last to heave
Itself upon the beach and vanish. Breathe.
Ros Barber
In both ‘The Rich eat Three Full Meals’ and ‘How to Leave the World that Worships
Should’, the speakers describe attitudes towards the world around us.
What are the similarities and/or differences between the ways poets present these
attitudes?
[8 marks]
This is Task 3. Write your response. You may wish to ask your
teacher to mark it as a formal assessment piece.
29
Autumn
Autumn arrives
Like an experienced robber
Grabbing the green stuff
Then cunningly covering his tracks
With a deep multitude
Of colourful distractions.
And the wind,
The wind is his accomplice
Putting an air of chaos
Into the careful diversions
So branches shake
And dead leaves are suddenly blown
In the faces of inquisitive strangers.
The theft chills the world,
Changes the temper of the earth
Till the normally placid sky
Glows red with a quiet rage.
Alan Bold
30
Today
If ever there were a spring day so perfect,
so uplifted by a warm intermittent breeze
that it made you want to throw
open all the windows in the house
and unlatch the door to the canary’s cage,
indeed, rip the little door from its jamb*,
a day when the cool brick paths
and the garden bursting with peonies**
seemed so etched in sunlight
that you felt like taking
a hammer to the glass paperweight
on the living room end table,
releasing the inhabitants
from their snow-covered cottage
so they could walk out,
holding hands and squinting
into this larger dome of blue and white,
well, today is just that kind of day.
Billy Collins
* jamb – the sides of a doorway or opening
** peonies – flowers
In both ‘Today’ and ‘Autumn’ the speakers describe attitudes towards the
seasons.
What are the similarities and/or differences between the ways the poets
present these attitudes?
[8 marks]
31
Mark Scheme
What went well:
Comments for improvement:
Areas for improvement (tick the most relevant one):
 Make sure that you quote more frequently in your response.
 Refer to more language features in your response.
 Refer to aspects of form and structure (rhyme, rhythm, sentence length /
structure, enjambment etc)
 Refer to writer’s intentions.
 Consider the effects on the reader.
 Make your comparisons between poems more detailed and specific.
 Make multiple interpretations in your response.
32
Poetry unseen (non-comparison task)
Mark
A.O.
Level 6
21-24 marks
A01
Ao2
Convincing
critical analysis
and exploration
Level 5
17-20 marks
A01
AO1
AO2
Supported
relevant
comments.
Level 1
1-4 marks
A01



Critical, exploratory, conceptualise response to task and whole text.
Judicious use of precise references to support interpretation(s).
Analysis of writer’s methods with subject terminology used
judiciously.
Exploration of effects of writer’s methods on reader.
Thoughtful, developed response to task and whole text.
Apt references integrated into interpretation(s).
Examination of writer’s methods with subject terminology used
effectively to support consideration of methods.
Examination of effects of writer’s methods on reader
Clear, explained response to task and whole text.
Effective use of references to support explanation.
Clear explanation of writer’s methods with appropriate use of
relevant subject terminology.
Understanding of effects of writer’s methods on reader.

Some explained response to task and whole text.
References used to support relevant explanation.
Explained / relevant comments of writer’s methods with some
relevant use of subject terminology.
Identification of effects of writer’s methods on reader.
Ao1


Supported response to task and text.
Comments on references.
AO2


Identification of writers’ methods.
Some reference to subject terminology.
A01




Simple comments relevant to task and text.
References to relevant details.
Awareness of writer making deliberate choices.
Possible reference to subject terminology.
A02
Simple, explicit
comments




A02
Explained,
structured
comments
Level 2
5-8 marks




Clear
understanding
Level 3
9-12 marks




A02
Thoughtful,
developed,
considered.
Level 4
13-16 marks
Typical features
comments:
33
Tick
Sentence starters to encourage a personal and
critical response
The poet might by suggesting…
Alternatively, the poet may be …
The speaker could be expressing opinions of…
Maybe the poet wants the reader to realise…
Perhaps this phrase could raise issues of….
Sentence starters to encourage a discussion of
the writer at work
The poet has chosen the simile…..
They both use metaphors to show this,
The poet describes his/her feelings …….
The use of repetition suggests …..
Overall, the poet uses this event to ….
34
Core Knowledge (terminology)
•
•
•
Green = expected knowledge (Levels 1-4)
Amber = strong knowledge (Levels 5-6)
Red = advanced knowledge (levels 7-9)
Form – whole text level
Structure – Stanza and
sentence level
Language – word level
Monologue – a poem in the form of a
speech, which presents one side of a
conversation.
Dialogue – a poem which acts as a
conversation between two speakers.
Narrative – a poem which tells a story.
Often in metred verse.
Stanza – a unit of poetry, like
a paragraph in a story.
Verb –an action word or a
being word.
Chronological order – told in
order of time.
Flashback – looking back to
the past.
Sonnet – a 14 line poem set out as an
argument, with the final clincher in the
last rhyming couplet.
Lyric – a non-narrative poem with
strong emotion.
Memory – a thought about
the past.
Adjective – a word which
describes a noun.
Simile – a comparison of an
idea to an object using like or
as.
Metaphor a direct comparison
of two ideas.
Apostrophe – a poet directly addresses
a specific person.
Free verse – no rules in rhythm, rhyme
or stanza length. It mirrors the natural
speech.
First person – the poem is told from the
speaker’s point of view. Using I, me,
my or mine.
Third person – the poem is told about
another person. Using he, she, we, they
etc…
Conversation – an informal, colloquial
style of writing.
Quatrain – 4 line stanza.
Blank verse – a regular poem written in
unrhymed lines, which has a regular
metre.
Monosyllabic language – one beat
words to create a blunt, childlike feel.
Change – a change in
viewpoint, perspective, tone
or mood.
Juxtaposition – two ideas
side by side which contradict
one another.
Enjambment – lines which
run on to the next line.
Personification – giving human
qualities to something which
does not live.
Imagery e.g. religious, warlike,
domestic, light…
Repetition – say the same
thing again.
Assonance – the repetition of
a vowel sound.
Rhythm – the pattern of
beats in a poem. Sometimes,
it is regular, sometimes
irregular.
Rhyme – words which share
the same sounds. Usually at
the ends of lines.
Direct speech – conversation
in speech marks.
Contrasts – ideas or images
which present the opposite
side of something.
Caesura – a deliberate break
in a sentence.
Emotive language – words
which convey feeling.
35
Alliteration – the repetition of
a consonant sound.
Mood – the feelings the
readers gain from the poem.
Tone - the poet’s attitude e.g.
heroic, violent, awestruck
Atmosphere – the feeling of
the place.
Visceral language – words
which rely on instinct, often
describing traumatic events.
Dramatic Monologue – The speaker
reveals aspects of their character to the
reader in a one-sided conversation.
Petrarchan Sonnet – a sonnet names
after the poet Petrarch. A poem of two
halves: 8 lines to question, 6 lines to
resolve an argument.
Iambic pentameter – five stressed
beats in a line of poetry.
Refrain – a repeated line, like
the chorus in a song.
Natural speech – the rhythms of every
day speech.
Internal rhyme – words
within a line which share the
same sounds.
Regular rhyme – a regular
pattern of rhyme. E.g. ABAB
or AABB
Irregular rhyme – words
which rhyme unevenly across
the poem.
Half rhyme – half of the
sounds rhyme, the other half
doesn’t.
Colloquialisms – informal,
everyday language.
Anaphora - the use of a word Irony – words which convey
referring back to a word used the opposite meaning to the
earlier in the poem.
ones they state.
Monosyllabic phrase – a
group of words, all of which
have one beat in them.
Iambic tetrameter – four stressed beats In medias res – starts in the
in a line of poetry.
middle of the action.
36
Anthropomorphism – human
characteristics given to a god,
animal or object.
Ambiguity – the poet creates
meanings which areopen to
more than one interpretation.
Ambivalence – having mixed
feelings or contradictory ideas
about something or someone.
Cognitive dissonance – the
clash of thoughts/feelings.
Dissonance – the clash of two
sounds.
Other Links and Resources
These online resources your teachers recommend you visit to clarify and deepen your
knowledge.
All Poetry Classics
Poetry Out Loud
Scottish Poetry Library
The Poetry Foundation
GCSE Bitesize
AQA website for sample and past papers:
https://filestore.aqa.org.uk/resources/english/AQA-87022-SQP.PDF
The Student Room
TES: a free resource is https://www.tes.com/teaching-resource/year-11-unseen-poetryexample-questions-for-8702-11498914
37
Y11 Homework Booklet
Unseen Poetry
In GCSE Literature Paper 2 you will have to write answers on TWO poems you have
never seen before. We call those poems “Unseen Poetry.”
There will be two questions. In the first question you will be asked to write about one
poem (24 marks). In the second question you will be asked to compare that poem to
another (8 marks).
So, 32 marks altogether; that makes 32 marks and about 20% of your GCSE Literature
grade.
Question 1 (24 marks, 30 minutes)
The question will likely be as follows: “In “Poem”, how does the poet present “X”?
There are two ways you will be marked:
A01: Respond showing understanding, using selections/ examples from the poem.
A02: Explain how language, structure and form make meaning.
Advice for the first 10 minutes:
1- Read the question, title and any other information given—it may give you a “way in.”
2- Read the poem patiently and openly- it doesn’t have to make sense.
3- Read it several times- what words/ feelings emerge?
4- Look again at the question- can you answer it in one sentence: The poet presents “X” as
being……
5- Now, read the poem again, annotating using WORDS F.I.R.S.T.
(Words, form, imagery, rhyme and rhythm, sound, tone) but identifying anything you
like).
Writing your answer (20 minutes):
1- Start with a conceptualised overview:
“Throughout the poem, the poet presents “X” as …..by using methods such as
imagery and alliteration.”
2- Then write 3 or more paragraphs, explaining how the poet has used language structure
and form to present their view:
“In line 3 the poet uses a strange simile (“simile”) which makes us compare
“X” to….
3- If you must do a conclusion, consider how the title and last line interplay…
Homework 1. Using the advice above and the poem below, answer the question that follows.
Slow Reader
He can make sculptures
And fabulous machines
Invent games, tell jokes
Give solemn, adult advice
But he is slow to read.
When I take him on my knee
With his Ladybird book
He gazes into the air
Sighing and shaking his head
Like an old man
Who knows the mountains
Are impassable
He toys with words
Letting them grow cold
As gristly meat
Until I relent
And let him wriggle freeA fish returning
To its element
Or a white-eyed colt
Shying from the bit
As if he sees
That if he takes it
In his mouth
He’ll never run
Quite free again.
VICKI FEAVER
The poem “Slow Reader” is about a mother trying to get her son to read.
In the poem how does the poet present the boy’s feelings about reading? (24 marks)
Homework 2. Using the advice above and the poem below, answer the question that follows.
POEM FOR MY SISTER
My little sister likes to try my shoes,
to strut in them,
admire her spindle-thin twelve-year-old legs
in this season's styles.
She says they fit her perfectly,
but wobbles
on their high heels, they're
hard to balance.
I like to watch my little sister
playing hopscotch,
admire the neat hops-and-skips of her,
their quick peck,
never-missing their mark, not
over-stepping the line.
She is competent at peever*.
I try to warn my little sister
about unsuitable shoes,
point out my own distorted feet, the callouses,
odd patches of hard skin.
I should not like to see her
in my shoes.
I wish she could stay
sure footed,
sensibly shod.
Liz Lochhead
*hopscotch- a game played by jumping on a pavement.
In the poem how does the poet present the relationship between the sisters? (24 marks)
Homework 3. Using the advice above and the poem below, answer the question that follows.
The Apple’s Song
Tap me with your finger,
rub me with your sleeve,
hold me, sniff me, peel me
curling round and round
till I burst out white and cold
from my tight red coat
and tingle in your palm
as if I’d melt and breathe
a living pomander*
waiting for the minute
of joy when you lift me
to your mouth and crush me
and in taste and fragrance
I race through your head
in my dizzy dissolve.
I sit in the bowl
in my cool corner
and watch you as you pass
smoothing your apron.
Are you thirsty yet?
My eyes are shining.
Edwin Morgan
*A ball made of perfume.
In this poem, an apple in a fruit bowl speaks to whoever might be listening.
In the poem how does the poet present the apple? (24 marks)
Homework 4. Using the advice above and the poem below, answer the question that follows.
Last Lesson of the Afternoon
When will the bell ring, and end this weariness?
How long have they tugged the leash, and strained apart,
My pack of unruly hounds! I cannot start
Them again on a quarry of knowledge they hate to hunt,
I can haul them and urge them no more.
No longer now can I endure the brunt
Of the books that lie out on the desks; a full threescore
Of several insults of blotted pages, and scrawl
Of slovenly work that they have offered me.
I am sick, and what on earth is the good of it all?
What good to them or me, I cannot see!
So, shall I take
My last dear fuel of life to heap on my soul
And kindle my will to a flame that shall consume
Their dross of indifference; and take the toll
Of their insults in punishment? — I will not! –
I will not waste my soul and my strength for this.
What do I care for all that they do amiss!
What is the point of this teaching of mine, and of this
Learning of theirs? It all goes down the same abyss.
What does it matter to me, if they can write
A description of a dog, or if they can’t?
What is the point? To us both, it is all my aunt!
And yet I’m supposed to care, with all my might.
I do not, and will not; they won’t and they don’t; and that’s all!
I shall keep my strength for myself; they can keep theirs as well.
Why should we beat our heads against the wall
Of each other? I shall sit and wait for the bell.
By D H Lawrence
In “Last Lesson of the Afternoon” the speaker is a teacher.
In the poem how does the poet present the experience of being a teacher? (24 marks)
Homework 5. Using the advice above and the poem below, answer the questions that follows.
Mosquitoes
Mosquitoes are blood relations
They doze on the white ceiling
Like the children upstairs
While we wake below
We are their livelihood
They wish us no harm
Stealing through windows
With their fine instruments
And teething drone
There they say you hardly felt it
And they work like surgeons
While we stir in sleep
Tapping veins adjusting
The flow dim
Figures at work murmuring
Creatures of the subconscious
Extinct cloaked vampires
Spirits hooked on blood
Live scarlet drops
Hanging like fruit bats
From the ceiling — our babies
Our own flesh and blood
Loving us and jealous
Mmmmmm they cry at dusk
They are helpless without us.
David Campbell
In the poem how does the poet present the mosquito? (24 marks)
Homework 6. Using the advice above and the poem below, answer the questions that follows.
“Mosquito”
On the fine wire of her whine she walked,
Unseen in the ominous bedroom dark.
A traitor to her camouflage, she talked
A thirsty blue streak distinct as a spark.
I was to her a fragrant lake of blood
From which she had to sip a drop or die.
A reservoir, a lavish field of food,
I lay awake, unconscious of my size.
We seem fair-matched opponents. Soft she dropped
Down like a anchor on her thread of song.
Her nose sank thankfully in; then i slapped
At the sting on my arm, cunning and strong.
A cunning, strong Gargantua*. I struck
This lover pinned in the feast of my flesh,
Lulled by my blood, relaxed, half-sated, stuck
Engrossed in the gross rivers of myself.
Success! Without a cry the creature died,
Became a fleck of fluff upon the sheet.
The small welt of remorse subsides as side
By side we, murderer and murdered, sleep.
John Updike
*a fictional giant famous for his huge consumption of food and drink.
In the poem how does the poet present the mosquito? (24 marks)
Homework 7. Using the advice above and the two mosquito poems (homework 5 and 6),
answer the questions that follows:
In “Mosquitoes” by David Campbell and “Mosquito” by John Updike the speakers
describe…mosquitoes.
What are the similarities and differences between the ways the poet present them? (8
marks)
You want it harder?
Here are some classic poems that may need a bit more thought. Have a go at the questions that
follows.
“Mirror”
I am silver and exact. I have no preconceptions.
Whatever I see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful ‚
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is part of my heart. But it flickers.
Faces and darkness separate us over and over.
Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.
Sylvia Plath
In the poem how does the poet present the mirror? (24 marks)
“Digging”
Between my finger and my thumb
The squat pen rests; snug as a gun.
Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down
Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.
The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.
By God, the old man could handle a spade.
Just like his old man.
My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.
The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.
Between my finger and my thumb
The squat pen rests.
I’ll dig with it.
Seamus Heaney
In “Digging” the poet compares his own choice of work (writing) to his father’s (farming) .
In the poem how does the poet present his feelings about his father? (24 marks)
“The Thought Fox”
I imagine this midnight moment's forest:
Something else is alive
Beside the clock's loneliness
And this blank page where my fingers move.
Through the window I see no star:
Something more near
though deeper within darkness
Is entering the loneliness:
Cold, delicately as the dark snow
A fox's nose touches twig, leaf;
Two eyes serve a movement, that now
And again now, and now, and now
Sets neat prints into the snow
Between trees, and warily a lame
Shadow lags by stump and in hollow
Of a body that is bold to come
Across clearings, an eye,
A widening deepening greenness,
Brilliantly, concentratedly,
Coming about its own business
Till, with a sudden sharp hot stink of fox,
It enters the dark hole of the head.
The window is starless still; the clock ticks,
The page is printed.
Ted Hughes
“The Thought-Fox” is often interpreted as being about the act of creative writing itself.
In the poem how does the poet present the act of creative writing? (24 marks)
“The Caged Bird”
The free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with fearful trill
of the things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom
The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
Maya Angelou
Maya Angelou often write about the experience of slavery, physical and psychological.
In “Caged Bird” how does the poet present the expereicne of imprisonment? (24 marks)
“The Road Not Taken”
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth.
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same.
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-I took the one less traveled by,
And that has made all the difference.
Robert Frost
“The Road Not Taken ” is often interpreted as being about the choices we make in life.
In the poem how does the poet present the choices we take… and don’t take? (24 marks)
Above and beyond.
Research one of the following poets and make a collection of your own:
Robert Frost
Sylvia Plath
Edwin Morgan
Maya Angelou
Ted Hughes
Seamus Heaney.
GCSE ENGLISH LITERATURE:
UNSEEN POETRY
TEACHER GUIDE &
STUDENT WORKSHEETS
This booklet is a companion to the online curriculum available at
www.yourfavouriteteacher.com.
It includes the content from the
‘Unseen Poetry’ course.
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Unseen Poetry
This pack covers how to approach unseen poetry, analyse it and the best strategies to use
in an exam situation.
This booklet contains:
•
Suggested teaching order
•
Learning objectives for each session
•
Questions or activities that tutors could use in their sessions
Suggested Teaching Order and Learning Objectives
Lesson
1
2
3
Lesson
1
2
3
Focus
Overview: Unseen
Poetry
Analysing Unseen
Poetry
Unseen Poetry
Strategies
Learning Objectives
To be able to understand the plot of Macbeth and its
nature as a History.
To be able to understand the plot of Macbeth and
how it relates to its context.
To be able to understand how the character of
Macbeth relates to key themes of the play.
Lesson Focus Focus
Overview: Unseen
Poetry
Analysing Unseen
Poetry
Unseen Poetry
Strategies
Questions
To be able to understand the plot of Macbeth and its
nature as a History.
To be able to understand the plot of Macbeth and
how it relates to its context.
To be able to understand how the character of
Macbeth relates to key themes of the play.
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Poetic Devices
Personification: When an inanimate object or something non-human is described as
having human qualities or feelings.
Simile: A comparison when one thing is said to be like another.
Metaphor: An image in which one thing is described as if it is another; not literally
true.
Extended Metaphor: The whole poem uses a continuous metaphor.
Alliteration: When words close together repeat the same consonant, for emphasis.
Assonance: Repetition of vowel sounds to create a particular effect, e.g: “cool
moonlight”.
Onomatopoeia: Words whose sounds echo what they describe, e.g: Bang, Crash,
bubbling.
Repetition: Emphasises key ideas or themes.
Rhythm: Creates a beat and makes lines flow (or purposely not flow.)
Rhyme: Creates links between words and a sense of unity.
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Lexical field/semantic field: Words which are scattered throughout the poem on the
same theme/idea.
Fricative consonants: Soft, breathy sounds: s, z, th, f.
Plosive consonants: Hard, explosive sounds: p, t, k , b, g, d.
Stanza: A verse or block of text which does not necessarily rhyme.
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Unseen Poetry Steps
Step One:
-Read the question before you read the poem- so you know what clues to look for.
Step Two:
-Read the poem and HIGHLIGHT words or phrases that stand out and that you think
are interesting!
Step Three:
-Read the poem through a second time and this time LABEL all of the techniques
and features you can find.
Step Four:
-Read the poem through for the third time looking for more techniques and
annotate the effect of the techniques around the poem.
Step Five:
-Answer the question CAREFULLY aiming to write at least two sides of detailed
analysis.
Step Six:
-Proofread your answer carefully- make sure you have used a wide range of
quotations.
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Poetry Analysis
Worksheet
Meaning
Tone
Imagery
Language
Structure
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How to Approach Unseen Poetry
Introduction
Start your essay by giving the title of the poem and the name
of the poet. Try to classify the poem. What sort of poem is it?
(eg. sonnet, limerick, haiku, ode, acrostic, ballad, dramatic
monologue, shape etc.) Briefly write about the subject of the
poem.
Imagery
What are the pictures in the poem? Are metaphors, similes or
personification used to explain ideas? Are there parts of the
poem that ask you to use your senses of hearing, sight, smell,
touch or taste? Do these add to your enjoyment of the poem?
Form & Structure
How is the poem arranged on the page? (eg. lines, verses,
layout, shape.) Where are there breaks in the poem? Look at
the length of the lines - do they make a pattern? Are some
lines short? Is there a progression between one verse and the
next? Why do you think that the poet has used this structure?
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Rhyme & Rhythm
Does the poem rhyme? What is the rhyming pattern? (eg.
ABAB or ABCB etc) Write about the rhythm of the poem.
Which words have a strong beat? Why do you think the poet
has chosen this rhyme and rhythm to express his ideas?
Language Patterns
Does the choice of words the poet has chosen help us share
the poet’s feelings? The poet uses certain words to trigger
how we think about the poem. Which words are the “triggers”
in this poem? Think about the sound of the poem. Look out for
alliteration, onomatopoeia, and assonance. Check for the use
of personification and symbolism and judge their effectiveness.
Themes
Think about the themes (the ideas) the poet explores in the
poem. What do you think the poem is really about? Write what
you think is the message the poet is trying to make you share
with him. Does the poem “work” for you? (Can you sympathise
with the poet’s view?) Finish by giving your thoughts and
feelings about the poem.
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Unseen Poetry Mark Scheme
MARK
AO
AO1
Level 6
Convincing, critical
analysis & exploration
21-24 marks
AO2
AO1
TYPICAL FEATURES
Critical, exploratory
conceptualised response to task
and text
Judicious use of precise
references to support
interpretation(s)
Analysis of writer’s methods with
subject terminology used
judiciously
Exploration of effects of writer’s
methods on reader
Thoughtful, developed response
to task and text
Apt references integrated into
interpretation(s)
Level 5
Thoughtful, developed
consideration
17-20 marks
AO2
Examination of writer’s methods
with subject terminology used
effectively to support
consideration of methods
Examination of effects of writer’s
methods on reader
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AO1
Level 4
Clear understanding
13-16 marks
AO2
AO1
Level 3
Explained, structured
comments
9-12 marks
Level 2
Supported, relevant
comments
5-8 marks
AO2
AO1
Clear, explained response to task
and text
Effective use of references to
support explanation
Clear explanation of writer’s
methods with appropriate use of
relevant subject terminology
Understanding of effects of
writer’s methods on reader
Some explained response to task
and text
References used to support a
range of relevant comments
Explained/relevant comments on
writer’s methods with some
relevant use of subject
terminology
Identification of effects of writer’s
methods on reader
Supported response to task and
text
Comments on references
Identification of writers’ methods
AO2
Some reference to subject
terminology
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AO1
Level 1
Simple comments
1-4 marks
AO2
Simple comments relevant to task
and text
Reference to relevant details
Awareness of writer making
deliberate choices
Possible reference to subject
terminology
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Unseen Poetry: Key Words & Phrases Worksheet
Key Words/Phrases to Use
This suggests…
The word/phrase… implies…
This gives the impression that…
The reference to… could indicate…
This hints that…
This indicates that…
This can be interpreted in more than one way…
I think the poet/speaker also means…
Methods
WORD: Effective vocabulary (adjectives, verbs, adverbs etc.),
use of contrast, exaggeration, modern or archaic
words/expressions, personification, alliteration, similes,
metaphors etc.
SENTENCE: Repetition, lists, short or incomplete sentences,
commands, questions etc.
TEXT: (form & structure) Viewpoint (first, second or third
person), stanzas, rhyme, rhythm, a particular form (e.g. sonnet),
how the poem starts and ends.
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Key Words/Phrases
The poet’s use of… is effective because…
I particularly like… as it gives the effect of…
I particularly like… because it shows…
The use of… helps to…
This technique reinforces…
The use of… emphasises…
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Unseen Poetry
Worksheet 1
Condolence
Dorothy Parker
They hurried here, as soon as you had died
Their faces damp with haste and sympathy,
And pressed my hand in theirs, and smoothed my knee,
And clicked their tongues, and watched me, mournful-eyed.
Gently they told me of that Other SideHow, even then, you waited there for me,
And what ecstatic meeting our would be.
Moved by the lovely tale, they broke, and cried.
And when I smiled, they told me I was brave,
And they rejoiced that I was comforted,
And left to tell of all the help they gave.
But I had smiled to think how you, the dead,
So curiously preoccupied and grave,
Would laugh, could you have heard the things they said.
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Exam Question
What is the poet saying about the different ways that people react to
death? What methods does she use to present these ideas?
Help box:
What is the poem about? What is the message?
Who is the poem addressing? Why is it written that way?
How do you think the narrator feels about the person who has died?
What do the visitors think about the afterlife? What about the narrator’s
view?
Why is the word “and” repeated?
How and why are the last 6 lines different from the first 8?
Why did the author choose this title?
What is the effect of the rhythm?
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Unseen Poetry
Worksheet 2
On the Grasshopper and Cricket
John Keats
The Poetry of earth is never dead:
When all the birds are faint with the hot sun,
And hide in cooling trees, a voice will run
From hedge to hedge about the new-mown mead;
This is the Grasshopper’s- he takes the lead
In summer luxury,- he has never done
With his delights; for when tired out with fun
He rests at ease beneath some pleasant weed.
The poetry of earth is ceasing never:
On a lone winter evening, when the frost
Has wrought a silence, from the stove there shrills
The Cricket’s song, in warmth increasing ever,
And seems to one in drowsiness half lost,
The Grasshopper’s among some grassy hills.
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Exam Question
What is the poet saying about the seasons? Explain how he presents
these ideas.
Help box:
What is the poem about?
What is the mood of the poem?
What do you think the poet means by “when the frost/Has wrought a
silence”?
Sonnets like this are typically about love, so why do you think the poet
has chosen this form?
Why have “Grasshopper” and “Cricket” both been given capital
letters?
What effect does the rhythm have?
The poet sometimes writes words in an unusual order, find an example
and explain this effect.
What do you think the grasshopper represents?
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Unseen Poetry
Worksheet 3
The Dead Beat
Wilfred Owen
He dropped, - more sullenly than wearily,
Lay stupid like a cod, heavy like meat,
And none of us could kick him to his feet;
-just blinked at my revolver, blearily;
-Didn’t appear to know a war was on,
“I’ll do ‘em in,” he whined. “If this hand’s spared,
I’ll murder them, I will”
A low voice said,
“It’s Blighty, p’raps, he sees; his pluck’s all gone,
Dreaming of all the valiant, that aren’t dead:
Bold uncles, smiling ministerially;
Maybe his brave young wife, getting her fun
In some new home, improved materially.
It’s not these stills have crazed him; nor the Hun.”
We sent him down at last, out of the way.
Unwounded;- stout lad, too, before that strafe.
Malingering? Stretcher-bearers winked, “Not half!”
Next day I heard the Doc’s well-whiskied laugh:
“That scum you sent last night soon died. Hooray!”
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Exam Question
What is the poet saying about the nature of war, and how does he
convey this to the reader?
Help box:
What is the poem about?
Why has he compared the man to “a cod” and “meat”?
“kick him to his feet”- what does this show about life in the trenches?
How do the medical staff react to the patient? What do you think of this
reaction?
What effect does “Hooray” have?
What do you think about the title?
Stretch Yourself: How is the attitude of the narrator different from the
attitude of the poet?
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Poetry Anthology & Unseen Poetry Revision Booklet Year 9 – End of Key Stage 3 English Assessment Modern Drama and Creative Writing Name: __________________ Tutor Group: _____________ Class Teacher: ____________ 1 The Exam • On Paper 2 of English Literature GCSE – 25% of Literature mark. • 2 hour 15 minute exam for both Great Expectations (Section A) and Poetry Anthology and Unseen Poetry (Section B). • Section B, Part 1: Poetry Anthology – spend 35 minutes on this section (20 marks). • Section B, Part 2: Unseen Poetry – spend 45 minutes on this section (20 marks). • Closed book exam. Part 1: Poetry Anthology Part 2: Unseen Poetry Answer ONE question from this section on the Conflict collection of poems we have studied. Answer the ONE question in this section comparing two unseen contemporary poems. You will be given one poem from the anthology. COMPARE how the poet of the given poem and one other poem present a theme related to conflict. You will be assessed on: (AO2): How language, structure and form create meaning. (AO3): The context in which the poems were written. As well as your ability to compare the poems. 2 You will be given two poems linked by a theme. COMPARE how the two poets present the theme through language, structure and form (AO2). Part 1: Poetry Anthology -­‐ Conflict 3 Part 1 Poetry Anthology Mark Scheme:
4 The mark scheme in our own words: -­‐
-­‐
-­‐
-­‐
You MUST comment on LANGUAGE, STRUCTURE and FORM You MUST quote from BOTH poems and name language and structure devices You MUST refer to the context in which the poems were written and how the poet explores that context You MUST compare the ideas presented in both poems, exploring similarities and differences. To get Level 3: Find 3 or 4 similarities and differences between the two poems Link the ideas you explore to the context in which the poem was written Comment on language structure AND form for each poem and how they present the poet’s message and have an effect on the reader. Make sure you name devices. Example answer: 5 You need 3 quotations from each poem for a range Both ‘Catrin’ and ‘Poppies’ explore a difficult relationship between a mother and their child. Clarke writes about the birth of her own daughter and describes the umbilical cord through a metaphor: “The tight / red rope of love which we both / fought over”. It is like they are playing tug of war and fighting, but the word ‘love’ suggests she cares for her daughter. Red could suggest love but also a warning of difficulties. Weir talks about a mother whose son is going off to war, as the Iraq war was happening when the poem was written. Similarly to Clarke, Weir shows love and difficulties in the line: “I resisted the impulse / to run my fingers through the gelled / blackthorns of your hair.” This shows she wants to care for her son and stroke his hair, but the metaphor of ‘gelled blackthorns’ suggests the son is hard and doesn’t want to be looked after. To get Level 4 The comparisons of similarities and differences is specific 4-­‐5 quotations from each poem and varied. – with some points being supported by more than one quotation or identifying more than one device There is a close focus on language, form and structure throughout with good examples for each point made Each point is supported by context with clear links to how that context is explored or expressed Example answer: Both ‘Catrin’ and ‘Poppies’ explore a difficult relationship between a mother and their child. In Catrin, Clarke write about the birth of her daughter, using first person to show it is her personal experience. She uses a metaphor to show the difficult relationship: “The tight / red rope of love which we both / fought over”. The contrast between love and fighting shows Clarke has mixed feelings and experiences both love and conflict in her relationship with her 6 daughter. The enjambment suggests a tug of war between mother and daughter as the fight over the ‘red rope’. ‘Poppies’ was written at the time of the Iraq war and Weir reflects on the feelings of mothers whose sons went off to war. She uses contrasting images to show the mother’s confused emotions. This is shown in the line: “I resisted the impulse / to run my fingers through the gelled / blackthorns of your hair.” While running fingers through his hair is caring, the metaphor of ‘gelled blackthorns’ suggests the son is tough and hard, not a little boy. Weir also uses enjambment, like Clarke, to show the mother is struggling to contain her emotions. The difference is, in Catrin both mother and daughter are fighting, but in Poppies the son is the one pulling away. To get Level 5: Detailed analysis of both similarities and differences at the same time. The effect of language, structure and form are considered simultaneously Context is woven into your analysis, and explored alongside the themes and ideas presented Example answer: Both ‘Catrin’ and ‘Poppies’ explore a difficult relationship between a mother and their child. While the source of that difficulty differs, both mothers express a struggle in having to let go of their children as they grow up. In Clarke’s autobiographical poem ‘Catrin’, she expresses the confusing emotions she has at the birth of her daughter. The poem is written in first person to show it is a personal account, though she refers to her daughter in the poem as ‘child’ to show it is a universal experience of being a mother. The metaphor: “The tight / red rope of love which we both / fought over” literally represents the umbilical cord during the birth of Catrin, but also metaphorically represents the bond between mother and daughter. The juxtaposition of ‘love’ and ‘fought over’ implies the mixed feelings of struggle and love Clarke has for her daughter. This is further emphasised by the enjambment, reflecting the struggle as it is as if the lines are being pushed and pulled, just like Clarke’s emotions. The tough sounds created in the alliteration and assonance in the line ‘red rope of love’ emphasises the struggle and closeness of their relationship. Similarly, in ‘Poppies’ Weir uses contrasting imagery, but instead to show the mother longing to protect her son, who is no longer an innocent child. The poem, again in first person like Catrin, to show a personal 7 experience, explores the worries of a mother as her son goes to war, it also remains universal to allow the reader to reflect on the experience of all mothers during the time of the Iraq war which was happening when the poem was published. The mother’s struggle is shown in the line: “I resisted the impulse / to run my fingers through the gelled / blackthorns of your hair.” Here we have a juxtaposition between the caring, maternal act of ‘run[ning] my fingers’ through his hair and the metaphorical description of his hair as ‘gelled blackthorns’, which suggests a hardened toughness, implying her son is not the fragile innocent boy he once was. Like, Clarke, Weir uses enjambment to show the mother struggling to contain her emotions as her son joins the army. There are differences in the relationships between each mother and their child, as while Clarke is exploring a mutual struggle for separation and independence in which they “both fought”, the mother in Weir’s poem is having to “resist” mothering her son when she pulls away from him and leaves. Key Terminology Language Structure Form Simile Caesura Ballad Metaphor Enjambment Dramatic monologue Extended metaphor Repetition First person Personification Refrain Quatrains Oxymoron Meter Rhyming couplets Juxtaposition Listing Rhyme scheme Rhetorical question Rhyme Poetic persona Symbolise Rhythm Blank verse Imagery Epic poem Alliteration Plosive alliteration Fricative alliteration Sibilance Assonance Repetition 8 Direct address Dialect Tone INSERT POEMS HERE 9 Practice exam questions 1. Re-­‐read Half-­‐caste. Choose one other poem from the Conflict anthology. Compare how different ideas about identity are presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 10 2. Re-­‐read What Were They Like? Choose one other poem from the Conflict anthology. Compare how memories are presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 11 3. Re-­‐read Cousin Kate. Choose one other poem from the Conflict anthology. Compare how difficult relationships are presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 12 4. Re-­‐read Exposure. Choose one other poem from the Conflict anthology. Compare how the impact of war is presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 13 5. Re-­‐read The Charge of the Light Brigade. Choose one other poem from the Conflict anthology. Compare how conflict in battle is presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 14 6. Re-­‐read Poppies. Choose one other poem from the Conflict anthology. Compare how family relationships are presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 15 7. Re-­‐read War Photographer. Choose one other poem from the Conflict anthology. Compare how the effects of conflict are presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 16 8. Re-­‐read Extract from The Prelude. Choose one other poem from the Conflict anthology. Compare how troubling encounters are presented in the two poems. In your answer, you should consider the: • poets’ use of language, form and structure • influence of the contexts in which the poems were written. 17 Part 2:
Unseen Poetry You will be asked to compare two unseen contemporary poems Find and discuss similarities and differences Not from the poetry anthology 18 Written after 1945 Part 2 Unseen Poetry Mark Scheme: 19 In our own words: It is most important for this section that you identify the meaning of each poem and explain the similarities and differences in the ideas presented. Once you have identified the meaning you can then start to look for language and structure devices and explain the form. The mark scheme is asking you to explain what ideas you take from the poems, backed up by examples. 20 Key Terminology Language Structure Form Simile Caesura Ballad Metaphor Enjambment Dramatic monologue Extended metaphor Repetition First person Personification Refrain Quatrains Oxymoron Meter Rhyming couplets Juxtaposition Listing Rhyme scheme Rhetorical question Rhyme Poetic persona Symbolise Rhythm Blank verse Imagery Epic poem Alliteration Sonnet Plosive alliteration Fricative alliteration Sibilance Assonance Repetition Direct address Dialect Tone 21 Comparing unseen poems – a step-­‐by-­‐step guide 1. Identify the theme or idea the question is asking you to compare 2. Read through the two poems – summarise the poet’s thoughts and feelings about the theme – start with the title, does it give you a clue about what message the poem will have? 3. Look at your summaries: -­‐
-­‐
what is similar about their thoughts and feelings? What is different about their thoughts and feelings? Make this your introduction to your answer 4. Identify the form of each poem –
–
–
–
–
–
Is it regular? Can you name the type of poem it is? Is it irregular? Is there a pattern? Is there a rhyme scheme? Is it regular/irregular? Are any stanzas shorter than the others? Is it one long stanza? 5. How does the form of each poem add to the poet’s message about the theme? Do the forms convey a similar message in each poem or a different message? THIS IS ONE OF YOUR PQEs. 6. For each similarity you have found in point 3, find a language or structure devices to support it from each poem. THIS IS ONE OF YOUR PQEs 7. For each difference you have found in point 3, find a language or structure device to support it from each poem. THIS IS ONE OF YOUR PQEs Similarities and differences you could consider: -­‐
-­‐
-­‐
-­‐
Do they use repetition to convey a point? What images do they use to present the theme – similes and metaphors, are they positive or negative? Is there a lexical field (words that all link to a similar idea) that conveys a certain tone or mood? Is it in first or third person? How do you, the reader, feel towards the speaker? 8. Repeat until you have covered all the similarities and differences. You MUST make sure you have covered both language and structures in the PQEs you have written. 9. Conclude – over all, how are the two poems similar in their presentation of the theme? How are they different? Does one end with a positive view while the other is negative? Are their over all tones different? How does each poem make the reader feel? 22 Practice questions: Poem 1: 23 Poem 2: Compare the ways in which the poets present snobbery in 1st Date – She & 1st Date – He and Postcard from a Travel Snob. In your answer you should compare: • the ideas in the poems • the poets’ use of language • the poets’ use of form and structure. Use evidence from the poems to support your comparison. 24 2. Poem 1: Valentine by Carol Ann Duffy Not a red rose or a satin heart. I give you an onion. It is a moon wrapped in brown paper. It promises light like the careful undressing of love. Here. It will blind you with tears like a lover. It will make your reflection a wobbling photo of grief. I am trying to be truthful. Not a cute card or a kissogram. I give you an onion. Its fierce kiss will stay on your lips, possessive and faithful as we are, for as long as we are. Take it. Its platinum loops shrink to a wedding-­‐ring, if you like. Lethal. Its scent will cling to your fingers, cling to your knife. 25 Poem 2: Compare the ways the writers challenge assumptions in Valentine and Stewart Island. In your answer, you should compare: • the ideas in the poems • the poets’ use of language • the poets’ use of form and structure. Use evidence from the poems to support your comparison. 26 3. Poem 1: Hurricane Hits England by Grace Nichols It took a hurricane, to bring her closer To the landscape Half the night she lay awake, The howling ship of the wind Its gathering rage, Like some dark ancestral spectre, Fearful and reassuring: Talk to me Huracan Talk to me Oya Talk to me Shango And Hattie, My sweeping, back-­‐home cousin. Tell me why you visit. An English coast? What is the meaning Of old tongues Reaping havoc In new places? The blinding illumination, Even as you short-­‐ Circuit us Into further darkness? What is the meaning of trees Falling heavy as whales Their crusted roots Their cratered graves? O Why is my heart unchained? Tropical Oya of the Weather, I am aligning myself to you, I am following the movement of your winds, I am riding the mystery of your storm. Ah, sweet mystery; Come to break the frozen lake in me, Shaking the foundations of the very trees within me, That the earth is the earth is the earth. 27 Poem 2: Compare the ways in which past and present are represented in One Flesh and Hurricane Hits England. In your answer you should compare: • the ideas in the poems • the poets’ use of language • the poets’ use of form and structure. Use evidence from the poems to support your comparison. 28 4. Poem 1: If by Rudyard Kipling If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ’em up with worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’
If you can talk with crowds and keep your virtue,
Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And—which is more—you’ll be a Man, my son!
29 Poem 2: Prayer Before Birth by Louis Macniece I am not yet born; O hear me.
Let not the bloodsucking bat or the rat or the stoat or the
club-footed ghoul come near me.
I am not yet born, console me.
I fear that the human race may with tall walls wall me,
with strong drugs dope me, with wise lies lure me,
on black racks rack me, in blood-baths roll me.
I am not yet born; provide me
With water to dandle me, grass to grow for me, trees to talk
to me, sky to sing to me, birds and a white light
in the back of my mind to guide me.
I am not yet born; forgive me
For the sins that in me the world shall commit, my words
when they speak me, my thoughts when they think me,
my treason engendered by traitors beyond me,
my life when they murder by means of my
hands, my death when they live me.
I am not yet born; rehearse me
In the parts I must play and the cues I must take when
old men lecture me, bureaucrats hector me, mountains
frown at me, lovers laugh at me, the white
waves call me to folly and the desert calls
me to doom and the beggar refuses
my gift and my children curse me.
I am not yet born; O hear me,
Let not the man who is beast or who thinks he is God
come near me.
I am not yet born; O fill me
With strength against those who would freeze my
humanity, would dragoon me into a lethal automaton,
would make me a cog in a machine, a thing with
one face, a thing, and against all those
who would dissipate my entirety, would
blow me like thistledown hither and
thither or hither and thither
like water held in the
hands would spill me.
Let them not make me a stone and let them not spill me.
Otherwise kill me.
30 Compare the ways in which hopes/fears for the future are represented in If and Prayer Before Birth. In your answer you should compare: • the ideas in the poems • the poets’ use of language • the poets’ use of form and structure. Use evidence from the poems to support your comparison. 31 Unseen Poetry
Preparation
Anthology
The Pearson Edexcel AS and A level English Literature
Unseen Poetry Preparation Anthology
can be used to prepare for Component 3 of your assessment
Pearson
Edexcel GCE
in English Literature
Approaching Contemporary Unseen Poetry:
An Anthology of poems and resources
For use with:
GCE English Literature A level (9ET0) Component 3
Published by Pearson Education Limited, a company incorporated in England and Wales, having its
registered office at Edinburgh Gate, Harlow, Essex, CM20 2JE. Registered company number: 872828
Edexcel is a registered trade mark of Edexcel Limited
© Pearson Education Limited 2014
First published 2014
17 16 15 14
10 9 8 7 6 5 4 3 2 1
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
ISBN 9781446913505
Copyright notice
All rights reserved. No part of this publication may be reproduced in any form or by any means
(including photocopying or storing it in any medium by electronic means and whether or not
transiently or incidentally to some other use of this publication) without the written permission
of the copyright owner, except in accordance with the provisions of the Copyright, Designs and
Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, Saffron
House, 6–10 Kirby Street, London, EC1N 8TS (www.cla.co.uk). Applications for the copyright
owner’s written permission should be addressed to the publisher.
See page 65 for acknowledgements.
Contents
1
Introduction
4
2
How to approach an Unseen Poem: four perspectives
6
3
4
5
6
7
2A Professor Peter Barry – Aberystwyth University, English Department
2B Gary Snapper – English Teacher, Cheney School, Oxford / Editor, National
Association for the Teaching of English
2C Maurice Riordan – Editor, The Poetry Review, The Poetry Society
2D Patience Agbabi – Poet and Performer
Contemporary Poets’ Voices
16
Sample Unseen Poems
34
Unseen Responses: Reviewing your Answers
41
Student Essays
51
Glossary
64
Poems with discussion points and further reading:
3A Jacob Sam-La Rose, ‘Faith’
with a chosen poem by Alexandra Teague
3B Jen Hadfield, ‘Daed-traa’
with a chosen poem by Tom Leonard
3C Patience Agbabi, ‘Martina’
with a chosen poem by Kona Macphee
3D Helen Dunmore, ‘The Duration’
with a chosen poem by Rudyard Kipling
3E Esther Morgan, ‘Sand’
with a chosen poem by Percy Bysshe Shelley
3F George Szirtes, ‘My father carries me across a field’
with chosen poems by Dante/Ciaran Carson and Derek Mahon
Individual post-2000 poems with examination-style essay questions:
Leontia Flynn, ‘My Father’s Language’
Helen Mort, ‘Thinspiration Shots’
Michael Donaghy, ‘Resolution’
Dannie Abse, ‘Scent’
Don Paterson, ‘The Wreck’
Julia Copus, ‘Raymond, at 60’
Simon Armitage, ‘Birthday’
Supporting notes on the Unseen poems:
5A Leontia Flynn
5B Helen Mort
5C Michael Donaghy
5D Dannie Abse
5E Don Paterson
5F Julia Copus
5G Simon Armitage: A critical essay by Ruth Padel
Example 1
Example 2
Example 3
Example 4
Example 5
Example 6
1 Introduction
Something of a ‘secondary school canon’ of modern poetry has built up over the years;
we hope that this collection will extend the pool of great poets studied in today’s
schools and colleges. We believe that the move to study post-2000 texts, that have
been written in the lifetime of all those taking A level English Literature, will offer
students an exciting opportunity – to see how today’s poets treat issues and concerns
that are sometimes universal and sometimes specific to our twenty-first century lives.
It ensures that some of what you study really does look at the here and now, at poets
who reflect on the world you inhabit.
The collection begins with four essays by specialists whose professional life is closely
linked with English literature and poetry – an academic, a teacher, an editor and a poet.
They offer you some ‘ways in’ to approaching unseen poems and some strategies for
honing your skills.
Who better to teach you about contemporary poetry than the poets themselves? Most
of this anthology is written by six of the best in contemporary poetry. We have tried
to create the next best experience to live poetry readings; in this collection, the poets
themselves introduce their work to you through one of their poems, and then choose
a second poem they think will help your A Level study of contemporary literature. We
hope you get a sense of their voice, interests and particular styles and are drawn to read
some of the further reading suggestions they make, to widen your knowledge of the
literature of your time and what underpins it. Their questions will help you learn about
the choices writers make using both form and language to convey meaning. These can
be used during class discussion time, so that you familiarise yourself with these poets
and their methods. You can then apply the knowledge and skills you have learnt to the
second half of this anthology where you are provided with a sample of Practice Unseens.
These, together with our linked sample student essays and examiner comments, will
support your work on improving your Unseen Poetry responses.
We hope in your preparation for the A level paper 3 exam that you will also spend time
reading and understanding some poetry from the canon. For A level students this will
occur, in part, in your Prescribed Poetry study for Component 3B. In this collection, some
poets have directed you to read poems from that canon that offer a meaningful link to
their own chosen poems. Making links between poems, selecting appropriate points
of comparison and drawing connections across them will help prepare you for your
examination tasks. The conductor Simone Young once said about music that ‘tradition
is the handing on of the flame, not the worshipping of the ashes’. The same can be
said about literature and in many ways this is the intention of this collection. It is right
that today’s students study the literature that is being produced in their own time. The
published anthology of contemporary poetry that you study for this component, and
the unseen poems that you meet in the examination, will be written or published post
2000. But we cannot study contemporary poetry in isolation. We must also understand
the strong and deep connections that today’s writing has with the literature that has
come before it. In some contemporary poems we see a continuation of forms and
traditions from the literary giants that have preceded them. In others, we see deliberate
rule-breaking and manipulation of such traditions.
4
Section 1 Introduction
Many of the poets featured in this anthology are performing live around the country right now. They
can be seen up close and personal, reading in small bars, cafes and other venues around the UK. We
hope that you will take the opportunity to hear some of them live and be inspired by them. For those
of us at the exam board who have had our own A level Literature teaching groups, some of our best
teaching moments have been seeing sixth formers transfixed by a performance from a contemporary
poet. Some of you might be inspired to take part in the annual T. S. Eliot Poetry Prize Shadowing
scheme which will enrich your reading of contemporary poetry.
T. S. Eliot said that there are different stages of becoming a good reader. You begin intuitively, enjoying
some poems, discarding others. After a while you start organising your experience of reading. You
find you’re reading each poem in the light of others and understanding them all more precisely, even
ones you’ve read already. You see more in them and enjoy more*. We hope that the signposts and
journeys in this collection will be a milestone in your reading of poetry and that you find some new
poets that inspire and lead you forward.
Pearson
Esther Menon
Katy Lewis
Consulting Poet
Esther Morgan
*‘The Poem and the Journey’, 60 poems for the Journey of Life, R. Padel, Vintage, 2007
5
2 How to approach an Unseen Poem: four perspectives
Read the four perspectives on ways of approaching unseen poems. You may wish to annotate
the essays and compile your own checklist of the valuable advice that you find here.
2AApproaching an unseen poem: a close (and distant) reading
Professor Peter Barry, Aberystwyth University
A Soft-edged Reed of Light
That was the house where you asked me to remain
on the eve of my planned departure. Do you remember?
The house remembers it – the deal table
with the late September sun stretched on its back.
As long as you like, you said, and the chairs, the clock,
the diamond leaded lights in the pine-clad alcove
of that 1960s breakfast-room were our witnesses.
I had only meant to stay for a week
but you reached out a hand, the soft white cuff of your shirt
open at the wrist, and out in the yard,
the walls of the house considered themselves
in the murk of the lily-pond, and it was done.
Done. Whatever gods had bent to us then to whisper,
Here is your remedy – take it – here, your future,
either they lied or we misheard.
How changed we are now, how superior
after the end of it – the unborn children,
the mornings that came with a soft-edged reed of light
over and over, the empty rooms we woke to.
And yet if that same dark-haired boy
were to lean towards me now, with one shy hand
bathed in September sun, as if to say,
All things are possible – then why not this?
I’d take it still, praying it might be so.
by Julia Copus, from The World’s Two Smallest Humans (2012)
Just looking
To make a close reading of a poem you need to read it several times. But don’t rush. Start by
just looking at it. This one is divided into two twelve-line stanzas, with a gap in between. So
perhaps it presents a topic from two different viewpoints, or describes an event which has two
distinct stages. We would expect some shift or development from one part to the next, and just
looking alerts us to the need to describe the nature of this shift. We notice, too, that the two
parts hinge on the word ‘done’, which ends the first and begins the second. ‘Done’ can refer to
something which has been done, or something which two parties have agreed to do, in which
case they may shake hands and say ‘Done!’ Both senses are relevant. But don’t assume that
every aspect of a poem’s form is directly related to content. Constant straining to demonstrate
a tight interlock between the two often results in far-fetched readings. So there is nothing
significant here in the verses having twelve lines each. It’s not a cryptic reference to the twelve
days of Christmas (though Christmas features in the last line, as we’ll see).
6
Section 2 How to approach an Unseen Poem: four perspectives
Slow reading
Having spent a few minutes ‘just looking’, you can now start reading the poem. My advice is as
before – don’t rush it. In fact, the opposite – try to become a slow reader. Also, don’t read the
lines, or the stanzas – read the sentences. To work out the sense of a poem, you must ignore
the line endings and the stanza breaks and read the sentences, because lines of poetry are not
intended as stand-alone units of sense. So when reading the opening (‘That was the house
where you asked me to remain’), don’t stop at the end of the line – go on till you reach the full
stop that ends the sentence in the next line – ‘on the eve of my planned departure.’ The opening
line is ‘run-on’, meaning that its sense runs on across the line ending. When you get to the full
stop you have the gist of the situation presented in the poem. If you lose the overall sense at
any point, go back to the beginning of the sentence in which the loss of sense occurred (or,
better still, the one before that) and read through again from there. One slow reading of this
concentrated kind is worth five or six rapid skim reads.
But the situation of a poem isn’t usually set out from its beginning, for poems often start
as if suddenly, with a train of thought already well under way. Thus, the opening ‘That was
the house’ indicates that the speaker has been thinking (or talking) about this house for
some time. The poem goes straight to a pointed question addressed to the other person
involved – ‘Do you remember?’ But is the question actually asked, or only formed mentally?
It is difficult to be certain, but if a conversation is taking place, it seems to be of the intimate
kind that would only happen if a couple were alone. Yet ‘we’ readers can hear it, even though
we are not the ‘you’ who is the primary addressee – we are like ‘over-hearers’, or covert
addressees. This is a frequent occurrence in lyric poetry (poetry which seems to convey
the intimate, private feelings of a speaker) – John Stuart Mill, in his essay ‘What is Poetry?’
(1833), described poetry as ‘overheard speech’, noting that poets write as if unaware of our
presence, as if self-communing, as a person might when writing a diary, or communicating
only with a significant other.
Close and distant reading
So now we can put forward a ‘distant reading’ (that is, an overview) of the situation presented
in the poem, which would go something like this: in the first stanza the speaker recalls the
moment in a particular house which instigated a relationship that in the end led nowhere. In
the second she says that if she could return to that moment, she would take the offered hand
again, and make the same bargain, in spite of knowing that it never could be their ‘remedy’, or
their ‘future’, while at the same time praying that – somehow – it might be.
So the ‘distant reading’ briefly summarises the situation depicted in the poem (though it
doesn’t paraphrase the poem, of course), and it is an essential part (or partner) of the ‘close
reading’. It is the necessary frame within which all the details commented on in the close
reading cohere and make sense. For the close reading, try not to snip out from the poem
isolated words, phrases or lines to use as evidence. Instead, quote a significant block of text
which seems crucial, and then home in on it. I will do that with the last five lines, which
crystallise the effect of the poem, with their touching (pun intended) profession of faith in
what cannot actually be believed:
And yet if that same dark-haired boy
were to lean towards me now, with one shy hand
bathed in September sun, as if to say,
All things are possible – then why not this?
I’d take it still, praying it might be so.
7
Section 2 How to approach an Unseen Poem: four perspectives
I give these lines as a ‘displayed quotation’, rather than as lines run on in my own text with
line-endings indicated by an oblique stroke. I do so to foreground the poem as a poem, and to
highlight my view that these lines are crucial. Notice that what is quoted is a complete sentence,
making sense in itself even when isolated from the rest. Writing it out in full is another way of
slowing down, making me notice things about these lines that I might otherwise have missed.
For instance, the order of the phrases seems to have a delaying effect, postponing the eventual
arrival of the decisive and quietly defiant statement ‘I’d take it still’. Thus, between the ‘one shy
hand’ and ‘I’d take it still’ there are two intervening lines, and the effect is to emphasise the
significance of the handclasp by seeming to make the moment happen in slow motion. The
order of the phrases manipulates emphasis onto the key declaration and puts it in the strongest
position, right at the end of the poem.
I notice, too, that in both stanzas the line about the hand reaching out (the fifth-to-last line
in both) is longer than the lines around it, as if reaching beyond the margin-line of the stanza
into a void which is both unknowable and already known. It might be possible to identify
other symmetries and effects of this kind in the poem. But don’t overdo this kind of thing.
Good poems don’t always have formal elements of this ‘mimetic’ kind (that is, elements that
seem to ‘mime’ or ‘enact’ their meaning).
Tone and tradition
The close reading should also comment on tone or diction (meaning word choice and style). ‘A
Soft-edged Reed of Light’ is fairly formal in tone, rather than chatty or colloquial. For instance,
it mentions ‘the house where you asked me to remain’ (rather than ‘stay’, as we would probably
say in relaxed conversation) ‘on the eve of my planned departure’ (rather than ‘the night before I
was due to go’). So the tone seems related to that of the more formal poetic styles of an earlier
century. There are other echoes: addressing a house directly reminds me of Tennyson’s poem
‘Dark house, by which once more I stand’, about being outside the house of his dead friend
Arthur Hallam as dawn breaks (Poem 28 of In Memoriam). Further, the ending of ‘A Soft-edged
Reed of Light’ directly echoes Thomas Hardy’s ‘The Oxen’, which is about the old country
legend that animals in the fields kneel for Christ’s birth at midnight on Christmas Eve. The last
two of the four quatrains (that is, four-line stanzas) read:
So fair a fancy few would weave
In these years! Yet, I feel,
If someone said on Christmas Eve,
‘Come; see the oxen kneel,
‘In the lonely barton by yonder coomb
Our childhood used to know,’
I should go with him in the gloom,
Hoping it might be so.
The delaying effect is seen here too, as two lines are inserted between ‘Come; see the oxen
kneel’ and ‘I should go with him’, exactly as two lines in ‘A Soft-edged Reed of Light’ separate
the ‘shy hand’ from ‘I’d take it still’. It is worth noting, finally, that Copus changes Hardy’s
‘Hoping it might be so’ to ‘praying it might be so’. Which is stronger, or better? I don’t know, but
sometimes the questions we ask are more important than their answers, and no close reading
can explain everything about a really good poem. If a close reading, by some chance, ever
managed to do that, we would have nothing to bring us back to the poem again.
8
Section 2 How to approach an Unseen Poem: four perspectives
Further reading
• Reading Poetry, Peter Barry, Manchester University Press, 2013: the first five chapters are on
Meaning, Imagery, Diction, Metre and Form; Chapter 6 is on ‘Close and Distant Reading’;
Chapter 8 is on ‘Text and Context’.
• How to Study Modern Poetry, Tony Curtis, Macmillan, 1990: Chapter 2 (‘The Making of a
Poem’) is on his own ‘The Death of Richard Beattie-Seaman’, then four chapters on the
1940s/50s, 60s, 70s and 80s.
• How Poets Work, Tony Curtis (ed.), Seren, 1996: an edited collection of chapters by modern
poets, each on the evolution of one of their own poems (including Dannie Abse on a
cricket poem and Simon Armitage on one about football).
• 52 Ways of Looking at a Poem, Ruth Padel, Chatto, 2002: 52 chapters, each printing a
modern poem, followed by a 2- to 3-page reading of it.
2BApproaching an unseen poem – a teacher’s perspective
Gary Snapper, English Teacher, Cheney School, Oxford / Editor, National
Association for the Teaching of English
What makes a teacher happy when they read a response to an unseen poem? I’ve read hundreds
of such essays over the last 25 years, and I’ve thought hard not only about what makes a good
response, but also how to help my classes to produce them. I’ll try here to distil my thoughts
in this short space – just as you will have to do when you try to organise your thoughts about
an unseen poem in your AS or A level exam.
First, and perhaps most important, when I read the unseen response essay I hope to get a
sense that the writer is someone who understands how poetry works and what it is for. First
and foremost that means someone who understands that poems are not intended to be studied
in classrooms or written about in exams, but rather are written to be read for pleasure: the aesthetic
pleasure a poem’s creativity provides – both through the ideas and meanings it evokes and,
equally importantly, in the way it is crafted by the poet – its shape, sound, form, structure,
tone, style, imagery, and so on, and the way it plays with and makes patterns from words.
It may seem ironic for me to say, in an article about writing about poems in exams, that one
of the things I’m looking for is a sense that poems are not intended to be written about in exams
– but it’s an important point. To really understand and analyse poetry, you have to be able to
see poems as works of art, lovingly crafted by poets to tell stories, make arguments, reflect
on experiences and evoke feelings, using language in a very particular, often playful, way.
They are not like crossword puzzles or maths problems that need to be solved. Each poem is a
carefully shaped whole employing a variety of poetic techniques to create an object of beauty
– a work of art – and a thought-provoking experience. Your job, in an unseen commentary, is
to explore this fragile object without losing a sense of its purpose and wholeness, its real life
outside the classroom and the exam hall.
Why might anyone want you to write about poems in exams, when that’s not what they are
for? To understand that, you need to reconcile yourself to the difference between reading and
studying poetry: they are not the same thing, although of course they are strongly connected.
In ‘the real world’, people read poetry for pleasure in their leisure time, or turn to poems for
solace or joy at times of difficulty or celebration, or use them to bold effect in performances
and advertisements – and so on. When you study poetry in an A level literature course, you are
setting out on the path to becoming an expert in a specialist academic field – learning about
the history and methods of a powerful and influential form of communication, to analyse the
subtleties of skilled thought and language, and to develop your own subtleties of response. In
your response to the unseen poem, you have the opportunity to show that you can apply the
knowledge you’ve gained in class about how to think and write about poetry.
9
Section 2 How to approach an Unseen Poem: four perspectives
Reading a poem, in various ways, is of course part of studying it, and when you approach an
unseen poem your first readings of it are crucial: it’s the nearest you’ll get to the experience of
reading the poem for pleasure in ‘the real world’. It’s at this point that you need to let the impact
of the poem speak to you. What kind of poem is it? What does it sound like? What does it feel
like? What shape or form does it have? What feelings or thoughts does it evoke? What images
or words immediately stand out? Imagine you are looking at a painting in an art gallery and
listening to a piece of music at the same time. What sounds and images grab your attention?
Then there’s the question of what the poem is about. Again, this should strike you as part of
your first impressions of the poem: a general impression of the theme of the poem, or its overall
message (if there is one). And don’t forget that the title of the poem is usually significant too!
You’ll probably need to read the poem two or three times before you begin to be clear about
these things – and this is before you even start to think in detail what it means. But don’t lose
these first impressions of the poem. A poem is more than just the meaning of its words: it’s also
about its aesthetic impact – and a good response will convey this.
Many of my students want to go straight to what the poem means and what techniques are used
in the poem, skipping the question of what the poem is like, and what impact it has. Once they
begin writing, some are too keen to launch in at this point, instead of establishing the impact
of the poem and its overall narrative or meaning to anchor the rest of their analytical answer
for their reader. So when I introduce poems to my classes, I try to read them aloud in a way
that emphasises the sounds and structures of the poem as well as its meanings, or I ask them
to prepare readings which do the same. I try to impress on them how important it is to hear
the poem in your head when you read it. Many poems use sound effects – rhyme, assonance,
consonance and alliteration – often, but not always, creating some kind of onomatopoeia
– which contribute to the pleasure of the poem, and may also reflect the meanings in the
poem. But such sound effects are only part of the way a poem sounds: the silences, breaks and
pauses in a poem are part of its effect, as are the poem’s overall pace, rhythm, tone, mood and
atmosphere.
Once you’ve thought about the impact of the poem, you can start to reflect in more detail
on the content of the poem, and the way it’s structured: what the poem actually means, what
the argument or narrative of the poem is, how the various parts of the poem connect, and
how the poem develops from beginning to end. It’s vital to remember here that meaning is
constructed by the reader as a response to what the poet has written. In many poems, meanings
are deliberately ambiguous: the poet wants the reader to engage actively in deciding what the
poem might be about. Such ambiguity is again intended to be part of the pleasure and interest
of much poetry. In these cases, a good response will tentatively suggest what a poet might mean,
or offer more than one possible interpretation. So, for example, an answer that establishes
‘the poet describes a relationship between two people, possibly one that is about to end, and
explores both its sensual and destructive qualities’, before going on to explore relevant sections
of the text, is more carefully crafted than an answer which asserts ‘the poet describes a failed
relationship which has ended and has had a destructive effect on him’.
Finally, you can begin to think in detail about the form and language of the poem: the techniques
which the poet has used to convey its images and ideas. There’s no mystery here. I teach my
students about the ‘bag of tricks’ that poets carry about – the various verse forms they can
choose from; the way they use stanza, rhyme, metre, end-stopping and enjambement; the way
they choose and combine words and sentences to create a particular tone, mood, atmosphere
or style; the way they use literal and figurative imagery (description, metaphor, simile) and
rhetorical devices.
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Section 2 How to approach an Unseen Poem: four perspectives
After identifying these techniques, I know that the real work my students have to do is to learn
how to write subtly and sensitively about the effects these techniques have in the context of the
whole poem – how they contribute to the meaning of the poem and the experience of reading
it. The candidate who writes ‘The poem is constructed in four stanzas of five lines each’, with no
more about how that structure reflects on the poem’s content, might be well advised to remove
this comment completely. A response which comments ‘the progress of the four stanzas charts
the progress of the speaker’s movement from emotional pain to acceptance’, and goes on to
analyse how the poem’s language reflects this, is building a stronger analytical essay.
Now that you’ve thought about all these things, you’re ready to start writing. The introduction
to your essay is where you can show that you have thought carefully about the experience of
the poem as a whole work of art – briefly indicating what it’s about, what kind of poem it is,
what its impact is, what kind of language it uses, what kind of message or meaning it might
have. By the end of your introduction, the examiner will be happy because you’ve already
shown that you have a pretty good idea of how poetry works and what it is for – and there’s
a good chance that they can sit back and enjoy whilst you talk them through your detailed
analysis of the content, language and form of the poem.
Remember that the unseen commentary is only one way of writing about poetry. It’s a type
of exercise known as ‘literary appreciation’ which is designed to cultivate your knowledge
of poetry as a literary craft and your sensitivity to the ways writers use language and readers
respond to it. It’s important to be aware that there are other critical ways of writing about
poetry which are more concerned with evaluating the cultural significance and value of poets’
work, and of poetry in general. Once you’ve got the basics of poetry sorted, you’ll be ready for
that next step!
Further reading
If you’re going to read lots of poetry, it makes sense to start by reading poems that have been
identified as really good, interesting or worth reading by the people who put together poetry
anthologies. Some of these anthologies are designed specifically to introduce readers to a range
of really great poems of many different sorts by many different writers.
• Poem for the Day, Nicholas Albery and Peter Ratcliffe (eds.), Chatto and Windus, 1994: this
is one of the best anthologies, which gives you one poem to read each day.
• The Nation’s Favourite Poems, Griff Rhys Jones (ed.), BBC Books, 1996: another good
anthology, which focuses on some of the best-known and best-loved poems.
• Penguin’s Poems for Life, Laura Barber (ed.), Penguin Classics, 2007: you could also try this
anthology, which organises poems around different stages of life, from birth to death.
Also try finding the poetry anthology shelf in your local bookshop. You’ll find a huge range of
anthologies on offer – from collections of poems about love, war, Scotland, sport and so on, to
collections of comic verse and ‘Poems That Make Grown Men Cry’.
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Section 2 How to approach an Unseen Poem: four perspectives
2CApproaching an unseen poem – a poetry editor’s perspective
Maurice Riordan, Poet/Editor of The Poetry Review
‘A poem should not mean/but be’, so says an old poem about poems.
A poem isn’t a series of statements or observations or arguments. It isn’t mere prose. It’s more
alive than that. Indeed, Ted Hughes believed his poems about animals continued his habit as
a child – the rather cruel habit – of capturing little creatures and keeping them in his pockets.
Poems have the fascination, if not quite of living beings, then of language at its most alive.
They come to us with a voice that’s still carrying the pulse and warmth of the body.
But those printed words are inert, a useless lump, until they are re-activated by a reader and
brought to life again in the mind.
Look at the poem first. Some poems sit comfortably on the page. They are tidy and well
behaved, as Shakespeare’s sonnets are. Others sprawl all over it, reluctant to be confined by its
margins, like the great rebellious poems of Pablo Neruda and Allen Ginsberg. Others again
seem barely to want to intrude on the white space. Such is William Carlos Williams’s ‘This is
Just to Say’ or his infamous ‘The Red Wheelbarrow’. The breathless verses of Emily Dickinson
look modest and shy on the page. But be wary of those! There’s nothing whatsoever timid
about her electrifying poems.
A poem may come in any shape or size. And that is part of its style and its personality. So give
it the once-over.
Then read the poem. No, don’t just read it. LISTEN to it. I don’t mean you have to read aloud –
though a time may come when you can’t resist doing that. But read at speaking pace, perhaps
mouthing the words as you go, but in any case hearing the lines in your head. Poems are for
the ear as well as for the eye. Part of their being, as opposed to meaning, is the noise they make:
Chieftain Iffucan of Azcan in caftan
Of tan with henna hackles, halt!
That’s how Wallace Stevens’s ‘Bantams in Pinewoods’ starts, kicking up quite a racket. Some
poems can send a chill through you from the off: ‘This is the light of the mind, cold and
planetary’ (Sylvia Plath, ‘The Moon and the Yew Tree’). But poems can lull and seduce, too:
‘Lay your sleeping head, my love,/Human on my faithless arm’ (W. H. Auden, ‘Lullaby’). Again,
beware!
Once you start hearing a poem like that, then you have re-connected it with the body, where
it belongs. Now you can converse with it, start making some sense of it, question it where
it intrigues or puzzles you, tease out its meaning – because yes, poems do mean as well,
though it may not be the most vital thing about them. That meaning usually comes with hints
and insinuations, with those shades of meaning we are actually very adept at picking up in
conversation or on the phone. Ditto with poetry. Part of the meaning resides in the intonation
of the sentences and the rhythm of the lines. The American poet Robert Frost has a nice phrase
for this: ‘the sound of sense’.
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Section 2 How to approach an Unseen Poem: four perspectives
One thing to bear in mind is the poem becomes yours as its reader. You don’t need to ask, ‘what
did the poet mean?’ It doesn’t have some secret meaning that the author is privy to, or that can
be accessed only by the Critic. I can tell you for a fact that readers have told me many things
about my poems that were news to me, but they were true.
Poems do contain secrets, however – hidden connections, subtleties and surprises, things they
disclose or half-disclose as a reward for attentive reading. One of my own long-time favourites
is ‘Filling Station’ by Elizabeth Bishop. It begins ‘Oh, but it is dirty!’ And she repeats that
word ‘dirty’ several times, and insists on the oiliness of the gas station, or petrol station to
you and me. It’s a foul, smelly, oily place. But it fascinates her. And she begins to notice things
– a plant, a woman, a mother somewhere in the background, and a beautifully embroidered
‘doily’ covering a small table.
That changes things. Even the oilcans of ESSO are neatly stacked so that they sing ‘SO, SO, SO’
to the passing traffic. She sees the underlying hidden texture of family life. ‘Somebody loves
us all’, the poem daringly concludes. And so everything is changed, the messy awful world we
live in is ‘redeemed’, if we want to be fancy about it.
Looked at another way, the poem is about the process of writing or reading a poem. It’s about
what happens when the imagination comes awake and regards the strangeness and wonder of
the world. The quality of our attention is repaid. I have just stopped, or been forced to stop, not
at the petrol station – but at this poem, and because I give it my full attention, I am rewarded.
The filling station turns out to be, if you’ll forgive my terrible pun, a ‘fulfilling’ station.
The great thing about language is it contains trickery and treachery, all sorts of giveaways and
hints, opportunities for jokes and slips-of-the-tongue. It’s a playground for our brains. Good
writing, and poems above all, make the most of this. Just as I was writing these sentences, and
re-reading ‘Filling Station’ for, oh, perhaps the thousandth time in my life, I noticed a detail
I’d never seen, something I should certainly have spotted before, since it occurs three times. It
gave me quite a kick.
You’ve already spotted it? I looked at that word ‘doily’ again and saw the oil hidden in it.
Further reading
• ‘This is Just to Say’ http://www.poets.org/poetsorg/poem/just-say
• ‘The Red Wheelbarrow’ http://www.poets.org/poetsorg/poem/red-wheelbarrow
• ‘Bantams in Pinewoods’ http://www.poets.org/poetsorg/poem/bantams-pine-woods
• ‘The Moon and the Yew Tree’ http://www.angelfire.com/tn/plath/yew.html
• ‘Lullaby’ http://www.poets.org/poetsorg/poem/lullaby-0
• ‘Filling Station’ http://www.poets.org/poetsorg/poem/filling-station
The Poetry Review has been published by the Poetry Society since 1912, and is a quarterly source
of new poems, reviews, essays and interviews with contemporary poets. The Poetry Society is
the UK’s leading poetry organisation. They run programmes of live events, competitions and
workshops, as well as providing resources, advice and support for young people and schools.
For more information please visit www.poetrysociety.org.uk/education.
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Section 2 How to approach an Unseen Poem: four perspectives
2DApproaching an unseen poem – a poet’s perspective
Patience Agbabi, Poet/Performer
In 2002 I was approached, with 37 other poets, to write a poem in response to Wordsworth’s
sonnet, ‘Composed upon Westminster Bridge, September 3, 1802’. The aim was to celebrate
the bicentenary of its composition and also to use the sonnet to link Westminster Bridge with
Shakespeare’s Globe. I stood on the bridge one bright spring morning noting the black cabs,
Routemaster buses, tourists and most significantly, the London Eye (aka The Millennium
Wheel). I didn’t want to write a timeless poem; I wanted to capture the sights and sounds of
2002. The subsequent anthology of poems, Earth has not anything to show more fair, included
several sonnets that looked nothing like Wordsworth’s tidy original, with references to striplit offices, crack heads, traffic jams, disposable cameras and mobile phones; one translated
the entire sonnet into text language. Though composed in isolation, those poems were in
contemporary dialogue with one another as much as they were inspired by Wordsworth’s
original.
When I visit secondary schools I’m often asked where I get my ideas from. My primary inspiration
is other poems. The best part of being a writer is being a reader. That might seem odd but many
believe that every poem is a response to a poem that has already been written. Researching a
new piece is inspiring, as I read a range of poems around a particular theme, form or tone. I
read for visual impact first, then aloud in my head, as most poetry is written for the eye and the
ear. Often I find one poem will kick-start my own. It may use a striking image, communicate
with startling honesty, or have an unsettling last line. Writers use the term ‘reading as a writer’,
meaning reading to identify the techniques used to create a work of art before attempting
those techniques yourself. Such reading fires my creativity. But you don’t have to be a writer to
do this. When you’re revising for comparing linked poems, imagine yourself as a writer rather
than a student with a forthcoming exam. When you read an unseen poem, ask yourself what
works and what doesn’t? Why did the poet make those creative decisions and how would you
approach writing a new poem in response to it? Which elements would you replicate and
which would you change?
The more poetry you read, the more individual poems will remind you of other poems you
have studied. In the Unseen Poetry Preparation Anthology, several contemporary poets choose
one of their poems to discuss and then compare and contrast to a second linked poem by
another poet. Some contrast similar themes, for example, identical forms and spoken and
written language. I was very struck by how, in each case, reading the second poem enhanced
my reading of both. All the originals are strong poems, but in dialogue with a second, that
power is intensified. For example, Jacob Sam-La Rose’s Faith explores mutism and political
protest; Alexandra Teague’s Adjectives of Order, explores the complexities of learning a foreign
language and surviving the Vietnam War. I was familiar with Jacob’s poem before I read the
anthology but re-reading it alongside Alexandra’s made it all the more poignant and potent.
The fact they are both written in the same form (unrhymed tercets) further heightens the
poetic connections between them. Paired in the anthology, each poem becomes more than
the sum of its parts.
Sometimes you find yourself reading two poems by the same poet. You gain greater insight
not only into each poem but deeper access into their work as a whole. Some poets work in
traditional forms and metres; some take liberties with those forms so always be alert to formal
poems masquerading as free verse; and some poets write in free verse that at times employs
formal elements like internal rhyme or metrical repetition. T S Eliot famously rejected the
notion of ‘free verse’, declaring ‘…there is only good verse, bad verse, and chaos.’ Take note of
this. Even in the purest of free verse, poets have made decisions about certain poetic features
(e.g. where to put line-breaks and stanza breaks). Similarly, poets must make other creative
choices, for example, whether to use dialect, unusual technical terms. Many have recurrent
themes which may have arrived subconsciously. When you read two poems by the same poet,
and assess their similarities and differences, you begin to have a sense of their poetic style. You
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Section 2 How to approach an Unseen Poem: four perspectives
make valued judgements about which poem you prefer and why. You start to cultivate your
unique poetic taste. And the more knowledge you have, the more enjoyable it becomes.
You have the exciting challenge of choosing a second poem that you have studied to go with
one that is presented to you. I say exciting because you have the freedom to determine the
course of your essay. Like the narrator of Robert Frost’s poem, ‘The Road Not Taken’, you must
take one of two paths. Which poem of the offered poems will you choose? This element of
choice enables you to be more creative. Therefore, it is essential to choose the contrasting poem
that enables you to have more insights in your essay. This may not necessarily be your favourite
one, or the one that is more obviously accessible, but the one you can link most effectively with
the unseen poem.
Make sure you read the question carefully. Are there any key areas it asks you to focus on?
Go with your gut reaction, and then make a quick list of similarities and differences in form
and content. Start with the visual: are they written in the same or a contrasting form? Look at
stanza lengths and line lengths. Read both poems aloud in your head and move on to sound:
metre, rhyme scheme, any other form of repetition. Do they adhere to the same structure (e.g.
begin in the past and end in the present)? Then briefly move on to content: explore theme. Is
there a similar subtext? Think about voice; point of view; accessibility versus complexity. Is the
unseen poem written by one of the poets in the anthology? Make sure there’s at least one clear
similarity in order to write a substantial essay. If you can’t quickly find a connection, move
to the other poem. You will generally find that, for you, one yields more potential than the
other. But if you find them equally thought-provoking, you might choose the more challenging
option. Once you’ve made your choice, stick to it.
Just as each poet has their own inimitable style, it’s important you write your essay. Remember,
you’ve already made a choice, you’ve stated a preference. Having an angle at the beginning
will help your essay remain unique and focused. Always begin with an introduction that
mentions both poems. What makes poetry interesting to you? I’m obsessed with traditional
poetic forms and how contemporary writers engage with them, so depending on the unseen
poem, and the optional anthology poems, I might choose either a formal or free verse poem
or make the relationship between sound and sense my primary focus. But you may be fired by
strong visual imagery, use of the vernacular, philosophical or political ideas, or a multicultural
or international perspective. You may have a strong reaction to one or both of the poems
which you wish to communicate. Don’t be afraid of having an opinion but always back up any
assertion with evidence from the poems. And remember that you are writing about poems,
works of art that make particular use of visuals and sound, words and white space.
There are no hard-and-fast rules for structuring the main body of the essay. However, it must
have an introduction and conclusion, remain focused on the original question and give equal
weight to both poems. It should reflect your unique response to the task. The conclusion
should summarise the points you’ve made in your essay. You may find, as I often do, that the
comparative process yields new insights into both poems. Emphasise them. On many levels,
having to prepare for this exam is a gift: it enables you to read some compelling contemporary
poetry, have time to study it in depth, and broaden your knowledge and aesthetic pleasure.
Furthermore, it gives you inside knowledge of how poets work, how we obsessively compare
and contrast other poems to inspire new poems, and how exhilarating it is to engage in that
poetic dialogue.
15
3 Contemporary Poets’ Voices:
poems with discussion points and further reading
Section 3 provides a range of poems selected by some of the leading figures in twenty-first
century poetry. Use these to learn more about contemporary poetry, guided by the voices of
the contemporary poets who have selected them for you. The poets encourage you to consider
one of their own poems, followed by a second and, in one instance, third poem either from
post 2000 or the established literary canon. They also make suggestions of further reading that
you can undertake. Your study of contemporary poetry will be enhanced by reading widely
within both modern poetry and the literary canon that has come before it.
In your final exam you will be asked to respond to a poem written post 2000 in comparison
with a poem from your studied contemporary anthology.
3A Jacob Sam-La Rose
Jacob Sam-La Rose’s poetry has been characterised as vivid, masterly
and carefully structured. His debut pamphlet, Communion (2006), was
a Poetry Book Society Pamphlet Choice and his collection Breaking
Silence (2011) has been shortlisted for a Forward Poetry Prize (the
Felix Dennis Award). He is widely recognised as a facilitator, mentor
and supporter of young and emerging poets, and as an advocate for
the positive impact of new technology on literary and artistic practice
and collaboration. He lives in London, England.
© Sam Burnett
Faith (2011)
‘Faith’ was written on commission for International PEN to launch a festival dedicated to
celebrating freedom of expression. It’s a large theme to engage with and, as so often happens
with larger themes, much of the work of writing the poem came in the form of finding an angle,
a slant to approach from. There were two contrasting images that presented themselves, that
I couldn’t let go of: there was a series of protests in response to the G-20 London summit that
year, some of which turned violent; also, through the work I’d done in schools, I’d recently met a
student who was an elective mute. The marriage of these two made the poem for me.
Faith
A girl in class opts out of speech. A teacher mouths
problems at home and who knows what too-large
or brutal vision stalled the engine of her voice.
In a photograph I pass round, a man reels from
a baton to the head and cameras bloom in every hand
to catch his perfect grimace. Today, we write about
the things that we believe. The class comes up with
God, by all the usual names, and faith in numbers,
that the News at Ten’s more often bad than good,
that some things never change, no matter what
you say, although there’s so much to be said.
A girl carves out a space for her voice to return to.
Praise her fierce and stubborn silence. Somewhere,
rain will fall on dry land for the first time in months.
I want to know what her first words will be.
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Section 3 Contemporary Poets’ Voices
Thinking points
1 With regard to the poem’s title, what is the significance or value of faith as offered in the
poem?
2 If I was writing in response to the theme of freedom of speech and expression, what’s the
value of silence as I have detailed it in the poem?
3 What are the different ways that silence is rendered or manifested in the poem?
4 The poem moves through unrhymed tercets. What effect does that have on the way you
might read it?
Adjectives of Order by Alexandra Teague (2010)
I chose Alexandra Teague’s ‘Adjectives of Order’ as a thematic partner for ‘Faith’ for both the
contrasts and the parallels. Both poems are written in tercets. Each poem presents a student
struggling with challenging experiences. The student in ‘Faith’ is moved to silence. The student
in ‘Adjectives of Order’ is presumably older and struggling with the mechanics of a foreign
language, learning the best or most appropriate way to describe what he has lived through.
Adjectives of Order
That summer, she had a student who was obsessed
with the order of adjectives. A soldier in the South
Vietnamese army, he had been taken prisoner when
Saigon fell. He wanted to know why the order
could not be altered. The sweltering city streets shook
with rockets and helicopters. The city sweltering
streets. On the dusty brown field of the chalkboard,
she wrote: The mother took warm homemade bread
from the oven. City is essential to streets as homemade
is essential to bread. He copied this down, but
he wanted to know if his brothers were lost before
older, if he worked security at a twenty-story modern
downtown bank or downtown twenty-story modern.
When he first arrived, he did not know enough English
to order a sandwich. He asked her to explain each part
of Lovely big rectangular old red English Catholic
leather Bible. Evaluation before size. Age before color.
Nationality before religion. Time before length. Adding
and, one could determine if two adjectives were equal.
After Saigon fell, he had survived nine long years
of torture. Nine and long. He knew no other way to say this.
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Section 3 Contemporary Poets’ Voices
Thinking points
1 ‘Adjectives of Order’ explores the relationship between language and the attempt to make
sense of experience. What is the significance of the poem’s closing sentence?
2 Would you argue that the poem makes comment on the power of language to articulate
experience, or that the poem makes comment on the inadequacy of language?
3 What does the poem do to challenge our thinking on the value of proper syntax and
grammatical construction?
Further reading
• Breaking Silence, Jacob Sam-La Rose, Bloodaxe Books, 2012
• City State: New London Poetry, Tom Chivers (ed.), Penned in the Margins, 2009
3B Jen Hadfield
Jen Hadfield was born in Cheshire in 1978 and has been living in
Shetland, more than 200 miles off the coast of Scotland, for the past
eight years. In 2008 she won the T. S. Eliot Prize for her second volume
of poetry, Nigh-No-Place. She writes poetry because a poem is often
a better way of remembering people, places and experiences than
photographs. She writes about wildlife and the landscape around her,
about the here-and-now, and about how we make ourselves a home.
Daed-traa (2008)
I’m a stop-start writer: there are long spells of time where I don’t write poetry at all. When I start
again, I often ‘warm up’ by writing something about poetry itself. I had just moved to Shetland
when I wrote ‘Daed-traa’. The sea here is unpolluted and the rockpools are full of outlandish
marine creatures: butterfish and hermit crabs and a weird luminous green sponge that covers the
rocks like porridge. I started by trying to describe a rockpool in a poem, but ended up deciding
that the poem itself was like a rockpool.
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Section 3 Contemporary Poets’ Voices
Daed-traa
I go to the rockpool at the slack of the tide
to mind me what my poetry’s for.
It has its ventricles, just like us –
pumping brine, like bull’s blood, a syrupy flow.
It has its theatre –
hushed and plush.
It has its Little Shop of Horrors.
It has its crossed and dotted monsters.
It has its cross-eyed beetling Lear.
It has its billowing Monroe.
I go to the rockpool at the slack of the tide
to mind me what my poetry’s for.
For monks, it has barnacles
to sweep broth as it flows, with fans,
grooming every cubic millimetre.
It has its ebb, the easy heft of wrack from rock,
like plastered, feverish locks of hair.
It has its flodd,
It has its welling god
with puddled, podgy face and jaw.
It has its holy hiccup.
Its minute’s silence
daed-traa.
I go to the rockpool at the slack of the tide
to mind me what my poetry’s for.
Thinking points
1 ‘The slack of the tide’ is a still hour between the tide coming in and going out again: a
rest in the constant motion of the water. How do I use rhythm and rhyme to suggest the
movement of the water in this poem? Can you find the moment the water becomes ‘slack’?
How does it happen?
2 I’m not religious at all, but I’ve used the word ‘holy’ and the imagery of a god in this poem.
How reverent do you think the imagery is? Why do you think I have used it?
3 What is the effect of the poem’s repetitive refrain? What do the poem and rockpool have in
common? Look for other poetic features which explore their relationship.
4 How do I use this poem to consider what nature means to me? What use is poetry to
people: what else can a poem do for you?
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Section 3 Contemporary Poets’ Voices
Poetry by Tom Leonard (1969)
Tom Leonard taught me two very important lessons about poetry.
1 Whatever your accent, the way you speak – like your fingerprints – is unique and, so, a
precious part of who you are.
2 Poetry says that your voice deserves to be heard.
His poems are often from the point of view of people who have been told that they don’t speak
‘proper English’. They’re often spelt phonetically: that is, instead of being spelt as they would be
in a dictionary, the words are spelt as they would be pronounced.
Poetry
the pee as in pulchritude,
oh pronounced ough
as in bough
the ee rather poised
(pronounced ih as in wit)
then a languid high tea …
pause: then the coda –
ray pronounced rih
with the left eyebrow raised
– what a gracious bouquet!
Poetry.
Poughit.rih.
That was my education
– and nothing to do with me.
Please remember that in your exam you will need to respond to a poem written post 2000 in
comparison with a poem from your studied contemporary anthology. This poem is pre 2000,
but is provided here to offer further practice in applying your analytical skills.
Thinking points
1 How much can we know about a person from the way they speak? Look at the ‘voiceportrait’ from ‘the pee of ’ to ‘bouquet’. How does Leonard want us to imagine this person?
2 Say this poem out loud. Do you use language in a different way when you speak and
write? In general, do you think poetry is more like speech or writing? How does that
illuminate the poem’s form and meaning?
3 What response do you think the poet is trying to elicit from the reader? What is it about
the poem’s shape, sound or spelling that has that effect? What is your personal response to
this poem?
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Section 3 Contemporary Poets’ Voices
4 In his poem, ‘100 Differences Between Poetry and Prose’, Leonard says ‘Poetry is the heart
and the brain divided by the lungs’. Would you say Leonard’s argument in ‘Poetry’ is
intellectual, emotional or both? Support your theory with examples from the poem.
5 If you’re interested in all these ideas about poetry, voice and identity, you could write your
own poem about what makes a poem a poem, or a poet a poet. Write it to represent your
natural speech as closely as possible, creating your own spelling system if necessary. Is this
different from the way you normally write?
Further reading
• Intimate Voices, Tom Leonard, etruscan books, 2003
• Bevel, William Letford, Carcanet Press, 2012: this has been one of my favourite new poetry
books in the last few years. Letford, another Scottish poet, writes about everyday life as if
he’s in love with every moment. And he writes about it in everyday language.
• Strong Words – Modern Poets on Modern Poetry, W. N. Herbert and Matthew Hollis, Bloodaxe
Books, 2000: lots of examples of poets writing about poetry here, from the informal to the
academic.
3C Patience Agbabi
Patience Agbabi is a popular poet, performer, mentor and Fellow
in Creative Writing at Oxford Brookes University. She read English
Language and Literature at Oxford and has an MA in Creative Writing
from Sussex. She has lectured in Creative Writing at Greenwich,
Cardiff and Kent. Since 1992, she has taught in a wide range of
secondary schools, arts centres, libraries, youth clubs and prisons.
She has worked repeatedly on Arvon’s schools and open courses.
Canterbury Laureate 2009 to 2010, she received a Grant for the Arts
to write a contemporary version of The Canterbury Tales. Telling Tales
(Canongate, 2014) is her fourth poetry collection.
Martina (2000)
‘Martina’ was inspired by Alice Fulton’s poem ‘You Can’t Rhumboogie in a Ball and Chain’, which
is about the tragic life and death of 60s hippy icon, Janis Joplin. I couldn’t tell if it was a sestina at
first, but liked the way it wove images and repeated key words that got to the essence of Joplin.
These end-words formation-danced on the page and also echoed the musicality of speech. I
was given my six end-words: time, girl, end, child, boy and dark, by Nuyerican poet, Samantha
Coerbell. They helped shape my narrative, set in the Second World War, when it was still taboo
to become pregnant outside marriage or be openly gay.
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Section 3 Contemporary Poets’ Voices
Martina
I must have been sweet sixteen at the time,
boyish, straight up straight down. She was the girl
next door but one, living at the dark end
of the street, the fat ugly duckling child
who grew up gorgeous. A different boy
for each day of the week. She was a dark
We all knew she was expecting a child.
In those days we all expected the boy
to marry her. But, it being wartime,
too soon his two-month leave came to an end.
Her father threw her out into pitch-dark
November’s clutches with the words “No girl
horse, kept herself to herself, her sloe-dark
eyes revealing nothing. It was wartime
and rations chiselled our features but boy,
she kept her curves. I was a grown-up girl,
she was woman. Time had silenced the child
in her eyes. We prayed for the war to end
of mine…” She gave birth to a baby girl,
Martina. They wanted to put the child
up for adoption. Tina had the dark
features of her father, the soldier boy
tortured by fate’s keen bullet till the end,
bleeding dry on a battlefield. In time,
in our Sunday best. But we were weekend
disciples, evacuees scared of dark
nights pierced with blitzkrieg pyrotechnics, childlike, clinging to mother’s skirt. She found time
to party in new nylons, good-time girl
growing voluptuous from man and boy,
she got married for the child’s sake, a boynext-door type; and in time I met a girl
with sloe-dark eyes and loved her till the end.
on chocolate and plum brandy. I was tomboy
running errands, climbing trees till the end.
But she was the midnight-rouge glamour girl
who French-kissed GI lovers in the dark
who drawled, “Anytime, lady, anytime.”
She was wicked woman: I was wild child.
Thinking points
1 What does the narrator of the poem think of the ‘girl/next door but one’?
2 Modern sestinas choose flexible end-words with multiple meanings. The end-word ‘boy’
changes from stanza to stanza. What effect does this have?
3 Now choose another end-word that you find interesting and show how it enhances the
narrative of the poem.
4 Why do you think I chose 10-syllable lines not in iambic pentameter?
5 The poem ends with an envoy, a three-line stanza (using all six end-words) that sums up
the themes of the poem: what are they?
22
Section 3 Contemporary Poets’ Voices
IVF by Kona Macphee (2002)
I chose this poem because it’s contemporary and openly reveals the emotional side of the
inability to have children. In vitro fertilisation (IVF) is a scientific procedure offering hope to
many childless couples. I wanted to give you a stark contrast to ‘Martina’ where a single woman
has an unplanned child in the 1940s. I also wanted you to experience a modern but traditional
sestina, where the form is integral to the content. I admire the technical ability of the poet to
take us into the heart of this conflict.
IVF
I come home early, feel the pale house close
around me as the pressure of my blood
knocks at my temples, feel it clench me in
its cramping grasp, the fierceness of its quiet
sanctioning the small and listless hope
that I might find it mercifully empty.
I hear him at the door, but I lay quiet, as if,
by saying nothing, I may hope that somehow
his unknowingness may close a door on all
the darkness we’ve let in: the nursery that’s
seven years too empty; the old, unyielding
stains of menstrual blood.
Dazed, I turn the taps to fill the empty
tub, and draw the bathroom door to close
behind me. I lie unmoving, feel all hope
leaching from between my legs as blood
tinges the water, staining it the quiet
shade of a winter evening drifting in
Perhaps I wish the petitioning of my blood
for motherhood might falter and fall quiet,
perhaps I wish that we might choose to
empty our lives of disappointment, and of
hope, but wishes founder – we go on living in
the shadow of the cliffs now looming close:
on sunset. Again, no shoot of life sprouts in this
crumbling womb that wrings itself to empty out
the painfully-planted seeds. The quiet doctors,
tomorrow, will check their notes and close
the file, wait for the hormones in my blood to
augur further chances, more false hope.
the blood that’s thick with traitorous clots of
hope; the quiet knack we’ve lost, of giving in;
the empty room whose door we cannot close.
My husband holds to patience, I to hope, and yet
our clockworks are unwinding. In the stillness
of the house, we hear our blood pumped by our
hearts that gall themselves, grow empty: once,
this silence, shared, could draw us close that
now forebodes us with a desperate quiet.
Thinking points
1 Why do you think the poet has chosen an intimate, first-person narrator?
2 Read the first stanza quietly in your head. How does the metre affect the mood of the
poem?
3 Comment on the use of enjambement in stanzas 1 to 3. How does this contrast with the
envoy?
4 How do the end-words contribute to the imagery of the poem?
5 What is the narrator’s attitude towards IVF and how does the sestina form accentuate this?
Further reading
• Transformatrix, Patience Agbabi, Canongate Books, 2000: read the sestina sequence ‘Seven
Sisters’.
23
Section 3 Contemporary Poets’ Voices
3D Helen Dunmore
Helen Dunmore is a poet, novelist, short story and children’s writer.
Her novel A Spell of Winter won the inaugural Orange Prize for Fiction,
and her work has also been awarded the McKitterick Prize, the Signal
Award for Poetry and the Cardiff International Poetry Prize. Her
poem ‘The Malarkey’ won the National Poetry Competition in 2010.
Her best-known work for young people is the Ingo series of novels.
Helen Dunmore’s books are translated into more than 30 languages,
and she is a Fellow of the Royal Society of Literature. Her latest novel,
The Lie (2014), is set during and immediately after the First World War.
© Caroline Forbes
The Duration (2013)
There’s a sentence in the diary of Cynthia Asquith which she wrote just before the Armistice in
1918. Two of her brothers, and many friends, had been killed during the First World War. She
wrote that, with the coming of peace, it would be necessary to recognise that ‘the dead are
not only dead for the duration of the war’. The permanence of loss became, for many, more
unbearable once normal life resumed and there was no shred of hope that somehow, the ‘missing’
might return. In this poem ‘the duration’ has a double meaning. It recalls the duration of war,
but also suggests the unlimited period of loss that stretched out for the bereaved after the war
was over. The middle-aged parents in the poem have lost their only son, but the mother still
refers to her husband as ‘Father’, as she did while the boy was alive. ‘Quality lasts’, she says of the
macintosh, but this is profoundly ironic: the square of mackintosh has survived, but not her son.
24
Section 3 Contemporary Poets’ Voices
The Duration
Here they are on the beach where the boy played
for fifteen summers, before he grew too old
for French cricket, shrimping and rock pools.
Here is the place where he built his dam
year after year. See, the stream still comes down
just as it did, and spreads itself on the sand
into a dozen channels. How he enlisted them:
those splendid spades, those sunbonneted girls
furiously shoring up the ramparts.
Here they are on the beach, just as they were
those fifteen summers. She has a rough towel
ready for him. The boy was always last out of the water.
She would rub him down hard, chafe him like a foal
up on its legs for an hour and trembling, all angles.
She would dry carefully between his toes.
Here they are on the beach, the two of them
sitting on the same square of mackintosh,
the same tartan rug. Quality lasts.
There are children in the water, and mothers patrolling
the sea’s edge, calling them back
from the danger zone beyond the breakers.
How her heart would stab when he went too far out.
Once she flustered into the water, shouting
until he swam back. He was ashamed of her then.
Wouldn’t speak, wouldn’t look at her even.
Her skirt was sopped. She had to wring out the hem.
She wonders if Father remembers.
Later, when they’ve had their sandwiches
she might speak of it. There are hours yet.
Thousands, by her reckoning.
Thinking points
1 I have used military vocabulary, e.g. ‘enlisted’ or ‘patrolling’, in the apparently idyllic
context of a summer’s day at the beach. What do you think is the effect?
2 The boy is embarrassed by his mother’s attempts to bring him back from the ‘danger zone
beyond the breakers’. This incident was memorable to the mother, but she is not even sure
that her husband will recall it. Why do you think this is?
3 There’s an implied contrast in the poem between the eternal ‘present tense’ of the sea and
the beach, and the past tense of the son’s life. But sometimes, the past and the present
become one. You might think about points in the poem where this happens.
4 This poem has only one narrator. Can you rely on her voice? What is she not telling us?
25
Section 3 Contemporary Poets’ Voices
My Boy Jack by Rudyard Kipling (1916)
I have chosen this poem because it is a fascinating example of how a poem can contradict the
poet’s own intentions. Kipling wrote ‘My Boy Jack’ in 1916, to boost morale after the British
Navy’s losses during the Battle of Jutland. ‘Jack’ probably represents the ‘Jack Tars’, as British
sailors were known: six thousand died at Jutland. But behind the poem lies the shadow of
Kipling’s own bereavement. His only son John died, aged eighteen, in 1915 in the Battle of Loos.
Kipling felt lifelong anguish at having pulled strings to wangle a commission in the Irish Guards
for his boy. John Kipling was extremely short-sighted, like his father, and had been rejected
previously for military service because of this. The poem states that these terrible losses are
worthwhile, and that a parent should ‘hold your head up all the more’, but Kipling’s suffering
and artistry make it much more complex than that.
My Boy Jack
“Have you news of my boy Jack?”
Not this tide.
“When d’ you think that he’ll come back?”
Not with this wind blowing and this tide.
“Has any one else had word of him?”
Not this tide.
For what is sunk will hardly swim,
Not with this wind blowing and this tide!
“Oh, dear, what comfort can I find?”
None this tide,
Nor any tide,
Except he didn’t shame his kind
Not even with that wind blowing, and that tide.
Then hold your head up all the more,
This tide,
And every tide,
Because he was the son you bore,
And gave to that wind blowing and that tide!
Please remember that in your exam you will need to respond to a poem written post 2000 in
comparison with a poem from your studied contemporary anthology. This poem is pre 2000,
but is provided here to offer further practice in applying your analytical skills.
Thinking points
1 What do you think of the question and answer structure of the poem? What effect does it
create?
2 The second voice in the poem gives very simple, repetitive answers to the first voice in the
first two stanzas. In the third and fourth stanzas the tone changes. What is your view of
this change of tone, and does it imply a change of speaker too?
3 The poem relies heavily on repetition and variations within repetition. What is your
response to this technique?
4 The voice in the last stanza of the poem urges acceptance and pride. Does this convince?
Which voice do you find persuasive within the poem?
26
Section 3 Contemporary Poets’ Voices
Further reading
• The Malarkey, Helen Dunmore, Bloodaxe Books, 2010: if you have enjoyed ‘The Duration’,
you might like to look at this collection of my poems.
• 1914, Poetry Remembers, Carol Ann Duffy (ed.), Faber & Faber, 2013: ‘The Duration’ was
included in this new anthology of contemporary poems published to mark the centenary
of the outbreak of the First World War.
3E Esther Morgan
Esther Morgan’s three collections are all published by Bloodaxe
Books. Her first, Beyond Calling Distance, won the Aldeburgh Festival
First Collection Prize and her third, Grace, was shortlisted for the T. S.
Eliot Prize. She was born and spent her childhood in Worcestershire.
She began writing poetry during her time as a volunteer at the
Wordsworth Trust in Grasmere, Cumbria, where looking at
Wordsworth’s notebooks was the first step in understanding the
importance of drafting in creating a finished poem. She has worked
as a freelance editor and writer and was Historic Recordings Editor
for the Poetry Archive, the world’s leading online resource of poets
reading their own work (www.poetryarchive.org). She currently lives
and works in Norfolk, combining motherhood with communications
work for Norfolk Museums Service and various writing projects.
Sand (2001)
‘Sand’ is the last poem in my first book, Beyond Calling Distance. In the collection as a whole
I was interested in exploring voice and silence – in what kinds of pressures and repressions
prevent people from speaking out. A lot of poems, as is the case with ‘Sand’, are first-person
dramatic monologues, spoken by often isolated narrators. This particular poem had its starting
point in an article I read about the expansion of the Sahara desert in Africa due to climate
change and increased aridity. The idea of the sand itself advancing like a slow but inexorable
army got the poem going. And then I started to wonder what would happen if someone
refused to leave their home in the face of this threat. So these twin concerns – voice and the
environment – came together.
27
Section 3 Contemporary Poets’ Voices
Sand
That last spring I seemed to guess.
In one long dusk I harvested the garden,
hung clusters of flowers from the rafters.
I pressed violets between the leaves
of dictionaries and bibles, filled
whole seed trays with keep-sake petals.
The summer burned hotter, turning
the hydrangea heads coppery,
rosebuds into bunches of dried blood.
Their dusty pot pourri still lingers.
I fall asleep, my fingers tracing
the wallpaper’s trellis of honeysuckle.
I am the last one left in this valley,
empty and brown as a beggar bowl.
All day I sweep the desert from my steps.
The slate floors crunch like emery boards.
Wood loses its lustre, dulls to the matt
of a cataract eye. My skin cracks like a lizard’s.
I turn on taps out of habit.
The plumbing is racked by shuddering sobs.
I risk bad luck – umbrellas blooming indoors
like black silk poppies. I’ve spent hours
sifting the attic for grass-stained tennis balls,
shutting my eyes, inhaling the past.
No twilight. Night falls like a blade.
In my dry bed, I dream rain;
fat droplets on waxy laurel leaves,
clouds the colour of tear-run ink,
the subtleties of mist. I dive into a pool
and wake. The dunes curve their scimitars.
Silence – except for the tinnitus
inside my head, its constant shush and whisper.
The horizon shifts in the moonlight,
a drift surges, snapping a telegraph pole
like a pencil, a forest of pines
shrinking to Christmas trees.
I think of the pale green domes of cathedrals
buried out there like unhatched eggs.
Soon this house will go blind, its windows silted,
the sun eclipsed, an hour glass twist
in the fireplace. I already sense its silkiness,
the kiss that will stopper my mouth.
28
Section 3 Contemporary Poets’ Voices
Thinking points
1 What kind of person do you think is speaking (or writing) the poem? What do you think
their motivation might be for telling the story?
2 What is the effect of using a first-person voice rather than, say, a third-person voice? Why
choose this technique instead of basing the poem more closely on the factual account that
inspired it?
3 Where do you think the poem is set and why? What impact does this have on the reader?
4 How does the sound of the language in the poem create atmosphere and dramatise the
narrative?
5 There is a lot of sensual imagery in the poem. Identify moments where the poem appeals
to different senses and discuss their effect.
Ozymandias by Percy Bysshe Shelley (1818)
It wasn’t a conscious influence but perhaps at the back of my mind when writing ‘Sand’
was Shelley’s haunting sonnet ‘Ozymandias’, a poem I’ve known and loved since childhood.
Shelley wrote the poem in 1817 after a conversation with a friend about recent archaeological
discoveries in the Near East. Ozymandias has been identified as Rameses II – who may
well have been the pharaoh of the Book of Exodus which tells the story of the Israelites’
enslavement by the Egyptians and their long years in the wilderness. Shelley was a political
radical, a republican hostile to the concept of empire and authoritarian power. In his poem
the figure of Ozymandias becomes a powerful focus for these sentiments. Great poems retain
their relevance – when images of Saddam Hussein’s massive statue being toppled in Iraq were
beamed around the world, ‘Ozymandias’ was immediately quoted and referenced by many. I
love the fact that Shelley had no idea when he wrote his short poem that it would become such
a touchstone of English poetry, a status which adds another dimension to this piercing analysis
of power and time.
Ozymandias
I met a traveller from an antique land
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”
Please remember that in your exam you will need to respond to a poem written post 2000 in
comparison with a poem from your studied contemporary anthology. This poem is pre 2000,
but is provided here to offer further practice in applying your analytical skills.
29
Section 3 Contemporary Poets’ Voices
Thinking points
1 Consider the title of the poem. How does it connect to the ideas which the poem explores?
2 There are three different voices in the poem. Identify them and discuss their relationship
to each other and how they enact some of the poem’s central concerns.
3 Sound is a significant element in the poem – explore how Shelley uses contrasting sounds
to create different moods.
4 The white spaces within and around a poem can be an important part of its impact. What
role do you think the white space has at the end of this poem?
Further reading
• Beyond Calling Distance, Esther Morgan, Bloodaxe Books, 2001
• If you’re interested in the connection between a poet’s speaking voice and their writing
voice, dip into the Poetry Archive, which has hundreds of contemporary and historic poets
reading from their own work: www.poetryarchive.org
• Staying Alive, Being Alive and Being Human are three wonderful anthologies published by
Bloodaxe Books with themed chapters, helpful introductions and a great range of poetry
from around the world.
• Writing Poems, Peter Sansom, Bloodaxe Books, 1994: this book was written as a guide
to help people discover their own voice in poems, and to avoid some of the commonest
pitfalls of putting pen to paper. It contains great advice for reading poems as well as
writing them, and lifts the lid on some of the many issues and technical decisions poets
have to grapple with.
3F George Szirtes
George Szirtes, poet and translator, was born in Budapest in 1948. He
came to England with his family as a refugee in 1956 following the
Hungarian Uprising. They settled in London where he went to school;
he went on to art school in Leeds and London. He has published
some 40 books altogether and has won major literary prizes for both
poetry and translation. He has worked with artists, musicians and
composers. His New and Collected Poems appeared in 2008.
My father carries me across a field (2004)
The poem is one of 25 in five sections based on incomplete memories of childhood, all in the
same terza rima form. The sequence begins with five poems on forgetting, the implication being
that memory is partly constructed through the imagination. This poem recalls the night the
family crossed the border into Austria, illegally, on foot. It sees the crossing through childhood
characters from A. A. Milne’s Winnie-the-Pooh and arises out of a sense of miracle and
desolation beyond the child’s comprehension but felt through the parents. Terza rima is a form
derived from Dante and his exploration of Hell, Purgatory and Heaven: its rhyme scheme works
like interlinked arms and drives the poem forward with a sense of inevitability, each verse joined
to the next.
30
Section 3 Contemporary Poets’ Voices
My father carries me across a field
My father carries me across a field.
It’s night and there are trenches filled with snow.
Thick mud. We’re careful to remain concealed
From something frightening I don’t yet know.
And then I walk and there is space between
The four of us. We go where we have to go.
Did I dream it all, this ghostly scene,
The hundred-acre wood where the owl blinked
And the ass spoke? Where I am cosy and clean
In bed, but we are floating, our arms linked
Over the landscape? My father moves ahead
Of me, like some strange, almost extinct
Species, and I follow him in dread
Across the field towards my own extinction.
Spirits everywhere are drifting over blasted
Terrain. The winter cold makes no distinction
Between them and us. My father looks round
And smiles then turns away. We have no function
In this place but keep moving, without sound,
Lost figures who leave only a blank page
Behind them, and the dark and frozen ground
They pass across as they might cross a stage.
Thinking points
1 What is the connection between memory and imagination in the poem?
2 What is the relationship between the subject of the poem and the form of it?
3 Why the feeling of extinction?
4 What does the image of the ‘stage’ at the end add to the poem?
5 What is the effect of the characters from A. A. Milne?
31
Section 3 Contemporary Poets’ Voices
Inferno IV by Dante, translated by Ciaran Carson (c1300)
This fourteenth-century Italian epic poem describes Dante’s journey through hell, guided by the
Roman poet Virgil. I have chosen it because it is the model for my own poem, not just formally,
but in its associations. The terza rima is not as strictly rhymed as in the original but it keeps the
echo rolling along with the narrative to carry the reader through Dante’s adventure.
Inferno IV
Shattering the deep sleep in my head,
a peal of thunder rang, so I awoke
confused, like someone shaken out of bed;
and coming to, and getting up, I looked
about with rested eyes to ascertain
where I might be. O such an awful nook!
this was, in truth, the dread Abyss of Pain
whose brink I stood upon, from which there rolled
collective groanings, endlessly sustained.
Dark as a thundercloud was that enormous hole;
so deep, the eye could get no fix on where
it ended; nor could I see any foothold.
‘Down into the blind world we must fare,’
began the poet, whiter than a sheet;
‘I first, then you, we’ll make a goodly pair.’
And I, who’d marked the pallor of his cheek,
said: ‘Go? When you, who, when I was in doubt,
was wont to be my strength, appear as weak?’
And he: ‘It’s when I hear the awful shouts
of those below, that pity drains my face
of color; not cold feet, as you make out.
Onward! a long road lies ahead of us.’
Please remember that in your exam you will need to respond to a poem written post 2000 in
comparison with a poem from your studied contemporary anthology. This poem is pre 2000,
but is provided here to offer further practice in applying your analytical skills.
Thinking points
1 The poem is a translation. Are there particular problems associated with the translation of
poetry?
2 How far do we have to believe in Hell as an idea to enjoy the poem and make it relevant to
us?
3 What is the balance between old and new language in the translation?
4 What, for you, are the best lines, and why?
5 Would this passage be just as effective if the whole were prose? What would be lost? How
would you argue for the value of the form of it?
32
Section 3 Contemporary Poets’ Voices
Canadian Pacific by Derek Mahon (1966)
This short poem is by the contemporary Irish poet, Derek Mahon. I have chosen it because while
it deals with a quite different emigration, like mine, it uses an analogy (my analogies are A. A.
Milne and a stage), in his case migrating geese, and seeks to understand a similar event and a
similar state of mind. Derek Mahon was born into a Protestant family in Belfast and his youth
was spent in the Troubles from which he sought to escape and yet to describe by finding parallels
elsewhere. And children appear in his poem, too.
Canadian Pacific
From famine, pestilence and persecution
Those gaunt forefathers shipped abroad to find
Rough stone of heaven beyond the western ocean,
And staked their claim, and pinned their faith.
Tonight their children whistle through the dark.
Frost chokes the windows; they will not have heard
The wild geese flying south over the lakes
While the lakes harden beyond grief and anger —
The eyes fanatical, rigid the soft necks,
The great wings sighing with a nameless hunger.
Please remember that in your exam you will need to respond to a poem written post 2000 in
comparison with a poem from your studied contemporary anthology. This poem is pre 2000,
but is provided here to offer further practice in applying your analytical skills.
Thinking points
1 How close to ordinary speech is Mahon’s poem?
2 How well does the sudden break from the gaunt forefathers to their whistling children
work? Could Mahon have split the poem into two verses and to what effect?
3 The last three lines are vital to the poem. What happens there that re-orientates the reader?
4 Mahon is a perfectionist. What is the effect of the word ‘chokes’ in the sixth line?
5 Think about the poem as music. What is it about the poem that renders it musical when
spoken aloud?
Further reading
• George Szirtes’ Reel (2004) and New and Collected Poems (2008), both from Bloodaxe
Books: the other poems in the sequence from which ‘My father carries me across a field’ is
taken are parts of a whole; see ‘Flesh: An Early Family History’ in these two collections.
• Omeros, Derek Walcott, Faber & Faber, 2002: passages from this epic poem use an echo of
terza rima at the very beginning; also see The Star-Apple Kingdom, Derek Walcott, Farrar,
Straus & Giroux, 1980: the poem ‘The Schooner Flight’ in this collection also flirts with
terza rima.
• Here, Wiszlawa Szymborska, Houghton Mifflin Harcourt, 2010: try this if you’d like to
read more poetry with an Eastern European background.
• And of course … Winnie-the-Pooh, A. A. Milne, Egmont, 2013, for the Hundred Acre Wood,
Owl, Eeyore and the rest.
33
4 Sample Unseen Poems
Sample Unseen Poems
Section 4 provides seven examples of poems, all written post 2000, which you can use for
unseen practice. Although you will be comparing an unseen poem to one from your studied
collection in the A level paper, you may like to use a selection of these poems for individual
analysis, as a way to develop your analytical skills. You could also use these poems to make
links to others in your studied collection, considering points of similarity and difference.
Within each poem you may like to consider:
• the poet’s development of themes
• the poet’s use of language and imagery
• the use of other poetic techniques.
My Father’s Language (2011)
5
When my father sits in the straight-backed leather chair
the room contains him as my head contains this thought
of him. As though, in the gathering darkness,
made safe by the position of a rug or lamp
he is not being lost to shadows and incoherence.
10
As though he is not being lost to the drift of age.
Alzheimer’s – slow accumulation of losses.
First, memory: the near shore of my father’s life,
licked by the small waves, starts to grow faint and vague.
Next it is swept clear by the escaping tide.
15
First memory, then language. What process of attrition
(‘tangles’, the text books answer, ‘fatty plaques’)
sees him revert to a spoken Anglo-Saxon?
His language rattles in its dearth of nouns.
Everything is a ‘thing’. ‘Where is the thing for the thing?’
20
‘Where is the thing? The thing, you know, the thing?’
(In this bone-dry wasteland where the nouns have died
‘daughter’ might sometimes be confused with ‘wife’.)
I say: The thing’s not lost. No. Take this thing.
Here is the thing. The thing – Daddy – take this thing.
Leontia Flynn
34
Section 4 Sample Unseen Poems
Thinspiration Shots (2013)
i
Beneath the website’s banner – if you eat
you’ll never dance again – a close up
of a ballerina, veins like wires,
balancing on a single satin shoe.
5 Once, you dreamt of being small enough
to fit inside your grandma’s jewellery box:
the dancer spinning on her gold left leg,
a mirror doubling her, the tinny music
playing
on and on until the lid was shut at last,
10 and you were locked in with the dark.
ii
One model has a waist just like a snake.
The other is all whippet ribs,
her legs a deer’s. The way she
rests one hand against the fence
15 hummingbird-light, as if she’s never still,
reminds you of those hours of press ups
when the lights were out,
the dizzy sit-ups before dawn,
the miles you ran away from home, near
fainting,
20 trying to give yourself the slip.
iii
Scroll down. A brunette in a mermaid
pose,
too slight to break the surface of the lake.
You would have drunk a lake-full if you
could,
those days they put you on the scales,
25 your bladder swollen, taut.
When they were sure there was
enough of you, you’d go upstairs
lock the bathroom door,
crouch above the cool
30 white bowl and piss it all away.
iv
The shape of her is surely made for air,
the blonde who stands on the hillside,
back bared to the camera.
You take her in, those shoulder blades
35 sharpened to wings. You wanted to be
light like her.
But now, your mirror’s not a magnifying
glass.
She teeters on the edge of flight. Tonight,
you look away. You close the page.
Helen Mort
35
Section 4 Sample Unseen Poems
Resolution (2000)
5
10
15
20
The new year blurs the windowpane.
Soho surrenders to the rain
as clouds break over Chinatown.
See how the storm’s resolve winds down?
Its steel pins thin and mist away.
Get up. Come here and see the day.
Through this droplet’s contact lens,
the West End and the future tense
look dainty, vacant and convex.
We haven’t seen such weather since
the morning they invented sex.
And yet, baptised, by rain and gin,
of last year’s unoriginal sins
of inattention and cliché,
this looks like every other day
that we will never see again.
Courage. Coffee. Aspirins.
Our window on the world begins
to dry, the breakfast bulletins
appal, the civil voices lie,
our private garden cloud with doubt.
So let me make this crystal clear:
the rain has stopped. Your taxi’s here.
The New Year bells will ring you out.
Michael Donaghy
36
Section 4 Sample Unseen Poems
Scent (2012)
5
10
15
20
25
Lately, going in and out of the house
we once shared, I sometimes think
that the dead have many disguises;
so I hesitate at the blue-painted gatepost
– there where the evening midges dance –
because of the propinquity of a twining shrub
you long ago planted – now in jubilating flower
and surrendering faintly
its button-holding scent – one so alluring,
so delinquent, it could have made Adam
fall on Eve, with delight, in Eden.
In this world the scent could have haunted
the sacred gardens of Athens
to distract a philosopher from his thoughts,
or wafted through an open window
of the Great Library in Alexandria
unbidden, prompting a scholar
to uplift his eyes from his scroll.
But what do I care about that.
For me, now, you are its sole tenant.
Compelled I linger, allowing myself
the charm and freedom of inebriating fancy
till the scent becomes only the scent itself
returning, and I, at the gate, like Orpheus,
sober, alone, and a little wretched.
Dannie Abse
37
Section 4 Sample Unseen Poems
The Wreck (2003)
But what lovers we were, what lovers,
even when it was all over –
the deadweight, bull-black wines we swung
towards each other rang and rang
5
like bells of blood, our own great hearts.
We slung the drunk boat out of port
and watched our unreal sober life
unmoor, a continent of grief;
10
the candlelight strange on our faces
like the tiny silent blazes
and coruscations of its wars.
We blew them out and took the stairs
into the night for the night’s work,
stripped off in the timbered dark,
15
gently hooked each other on
like aqualungs, and thundered down
to mine our lovely secret wreck.
We surfaced later, breathless, back
20
to back, then made our way alone
up the mined beach of the dawn.
Don Paterson
38
Section 4 Sample Unseen Poems
Raymond, at 60 (2012)
5
10
15
20
25
30
35
The 185 from Catford Bridge, the 68 from Euston –
those same buses climbing the hill long into the evening.
This is what stays with him best now, this and watching,
in the ward where Mother had finally died,
the way the rain had fallen on the window –
a soft rain sifting down like iron filings.
The whole of that evening he’d kept his eyes fixed on the rain,
out there in the O of the buses’ steel-rimmed headlamps.
Now I am I, he thought, his two dark eyes ablaze – as if he’d found God
the very moment she’d left him. He took off his hat,
and he put his dry lips to her cheek and kissed her,
unsettled by her warmth, the scent of her skin
so unexpected he found himself suddenly
back on Bondway, crushed to her breast, in a gesture
that meant, he knew now, You are loved. There he was, with her
pulling his bobble-hat over his ears in that finicky way she had.
What was he? Eleven? Twelve? Too old, in any case, for her to be
holding his hand the entire short walk from the house
that first time she’d taken him down to watch the buses.
That first time she’d taken him down to watch the buses,
holding his hand the entire short walk from the house,
what was he? Eleven? Twelve? Too old, in any case, for her to be
pulling his bobble-hat over his ears in that finicky way she had
that meant (he knew now) You are loved. There he was with her
back on Bondway, crushed to her breast, in a gesture
so unexpected he found himself suddenly
unsettled by her warmth, the scent of her skin,
and he put his dry lips to her cheek and kissed her.
The very moment she’d left him, he took off his hat.
Now I am I, he thought, his two dark eyes ablaze – as if he’d found God
out there in the O of the buses’ steel-rimmed headlamps.
The whole of that evening he’d kept his eyes fixed on the rain,
a soft rain sifting down like iron filings,
the way the rain had fallen on the window
in the ward where Mother had finally died.
This is what stays with him best now, this and watching
those same buses climbing the hill long into the evening:
the 185 from Catford Bridge, the 68 from Euston…
Julia Copus
39
Section 4 Sample Unseen Poems
Birthday (2002)
Bed. Sheets without sleep, and the first birds.
Dawn at the pace of a yacht.
The first bus, empty, carries its cargo of light
from the depot, like a block of ice.
5
Dawn when the mind looks out of its nest,
dawn with gold in its teeth.
In the street, a milk-float moves
by throw of a dice,
10
the mast to the east raises itself
to its full height. Elsewhere
someone’s husband touches someone’s wife.
One day older the planet weeps.
This is the room
where I found you one night,
15
bent double, poring over
the Universal Home Doctor,
that bible of death, atlas of ill-health:
hand-drawn, colour-coded diagrams of pain,
20
chromosomal abnormalities explained,
progesterone secretion,
cervical incompetence…
Susan, for God’s sake.
I had to edge towards it,
close the cover with my bare foot.
25
Dawn when the mind looks out of its nest.
Dawn with gold in its teeth.
From the window I watch
Anubis, upright in black gloves
30
making a sweep of the earth
under the nameless tree,
pushing through shrubs,
checking the bin for bones or meat
then leaving with a backward glance, in his own time,
crossing the lawn and closing the gate.
Simon Armitage
40
5 Unseen Responses: Reviewing your Answers
Section 5 offers supporting notes on the unseen poems in Section 4.
5A Notes on ‘My Father’s Language’ by Leontia Flynn
Look again at your unseen response. Check that you have established your understanding of
the overall focus or ‘story’ of the poem in your essay. Consider the following points in relation
to the poem and your answer. Are there any changes you would make?
In this poem, Flynn describes her father’s deterioration with Alzheimer’s. She considers
communication both in her poetic art and, more generally, in human relationships. Inevitably
the precise choice of words of the poet’s craft offer painful contrast with her father’s lack of
language as described in the poem. The movement of the poem reflects a shift in the poet’s
relationship with her father as he loses his ability to find words. Her appropriation of his
language, ‘the thing’, in the second half of the poem, reflects her own emotional and linguistic
movement towards her father as his own mind shifts and moves away from the solidity of the
setting described in the first stanza.
1 Consider the effect of the first stanza of the poem which seems to offer a familiar setting
in which her father is secure. Which words convey security? What do they suggest about
the relationship and this man?
2 Consider the poet’s use of repetition – ‘the thing’, ‘as though’. What is its effect?
3 Think about how the poet explores stillness and movement in the poem and how these
convey:
• the father’s illness
• their relationship.
4 Is it valuable to comment on the poem’s free verse and 5-line stanzas? How, if at all, do the
poet’s choices of form reflect on the poem’s content?
5 Think carefully about the relationship between the poet’s craft, with its reliance on words,
and her father’s lack of language:
• What is the effect of the poet using ‘words’ to convey this situation?
• What does the poem suggest about language and relationships?
6 Which points of comparison could be made between this poem and others from your
studied collection?
Further reading
• Other poems by Flynn can be found on her website: http://leontiaflynn.com/index.html
• The Poetry Archive contains a number of poems read by Flynn herself:
http://poetryarchive.org/poet/leontia-flynn
• An interview with Leontia Flynn in which she discusses the poem ‘My Father’s Language’
may be found at:
http://www.literarybelfast.org/article/4343/leontia-flynn-s-profit-and-loss
Biographical information
While you will not of course be expected to know the biographical information about an
unseen poet presented in examination conditions, the following information is for your own
interest and general knowledge.
Leontia Flynn was born in County Down in 1974. She won an Eric Gregory award in 2001
and her first book of poems These Days (Jonathan Cape, 2004) won the Forward Prize for
Best First Collection, and was shortlisted for the Whitbread Poetry Prize. Her second poetry
collection Drives (Jonathan Cape) was published in 2008. Her third collection, Profit and Loss,
was published in September 2011 and was shortlisted for the T. S. Eliot Prize 2012. Leontia
Flynn has been Research Fellow at the Seamus Heaney Centre for Poetry, Queen’s University,
Belfast, since 2005.
41
Section 5 Unseen Responses: Reviewing your Answers
5B Notes on ‘Thinspiration Shots’ by Helen Mort
Look again at your unseen response. Check that you have established your understanding of
the poem’s central concerns in your essay. Consider the following points in relation to the
poem and your answer – are there any changes/ additions you would make to your response?
Helen Mort’s short sequence ‘Thinspiration Shots’ tackles the subject of eating disorders,
specifically the world of online sites which promote extreme weight loss. The sequence takes
us on a journey through the experience of an unnamed female protagonist, from illness,
through denial, delusion and the start of recovery. Her history is told using a succession of
images of very thin women and girls, the so-called ‘Thinspiration Shots’ of the title. Mort
employs startlingly physical imagery to explore the psychological aspects of compulsive
dieting. Alongside powerful imagery, patterns of sound, including a strong rhythm, underpin
the sequence and contribute to its overall impact.
1 The act of looking and being looked at is central to the poem. Why do you think this is,
and how does the poet use this idea to indicate the emotional development of the main
protagonist?
2 What is the effect of writing the poem in the second person, i.e. ‘you’, rather than, say, the
first or third person?
3 Identify images of physical transformation in the poem and comment on why you think
they’re important.
4 How does the poet convey a sense of physical constraint in the poem? In thinking about
this consider both the form of the sequence, and the poet’s use of imagery.
5 Why do you think the form and imagery change so markedly in the final poem? Comment
on the images connected to flight in this section.
6 Which points of comparison could be made between this poem and others from your
studied collection?
Further reading
• Division Street, Helen Mort, Chatto & Windus, 2013
• Here’s a recent interview with Helen Mort where she talks about some of her inspirations
and her approach to writing: http://www.oxonianreview.org/wp/in-conversation-helenmort/
• Helen Mort’s website has biographical details, audio clips, links to reviews and other
useful info: http://www.helenmort.com/
Biographical information
While you will not of course be expected to know the biographical information about an
unseen poet presented in examination conditions, the following information is for your own
interest and general knowledge.
Helen Mort was born in Sheffield in 1985. Her collection Division Street is published by Chatto
& Windus and was shortlisted for the T. S. Eliot Prize and the Costa Prize. She has published
two pamphlets with tall-lighthouse press, ‘the shape of every box’ and ‘a pint for the ghost’,
a Poetry Book Society Choice for Spring 2010. Five-times winner of the Foyle Young Poets of
the Year award, she received an Eric Gregory Award from The Society of Authors in 2007 and
won the Manchester Young Writer Prize in 2008. In 2010, she became the youngest ever poet
in residence at The Wordsworth Trust, Grasmere.
42
Section 5 Unseen Responses: Reviewing your Answers
5C Notes on ‘Resolution’ by Michael Donaghy
Look again at your unseen response. Check that you have established your understanding of
the poem’s central concerns in your essay. Consider the following points in relation to the
poem and your answer – are there any changes/ additions you would make to your response?
‘Resolution’ takes place on ‘the morning after the night before’. It’s a rainy New Year’s Day
and the narrator is in a reflective mood. Addressed to another person with whom, the poem
implies, the narrator has just had a casual affair, the poem wittily exposes the difficulties and
delusions bound up in the concept of the New Year’s resolution, the ‘fresh start’.
1 The poem begins with a six-line stanza of three couplets. What happens to the rhyme
scheme after that? How does this relate to the narrative of the poem?
2 Look at the poet’s use of words connected to vision. What’s the significance of this strand
of imagery in the poem?
3 The language in the poem is playful, making use of puns and other kinds of wordplay.
Can you identify some examples and comment on how they affect the tone of the poem?
4 The poem reads like a short scene from a play. What devices does the poet use to achieve
this effect and what purpose does it serve?
5 Identify three words or phrases to describe the speaker of the poem. Consider the reasons
for your choice and the supporting evidence in the poem.
6 Which points of comparison could be made between this poem and others from your
studied collection?
Further reading
• The Poetry Archive contains a number of poems read by Michael Donaghy himself:
http://www.poetryarchive.org/poet/michael-donaghy
• The Guardian’s obituary, written by fellow poet Sean O’Brien, provides a good overview of
Donaghy’s life and poetry:
http://www.theguardian.com/news/2004/sep/24/guardianobituaries.arts
Biographical information
While you will not of course be expected to know the biographical information about an
unseen poet presented in examination conditions, the following information is for your own
interest and general knowledge.
Michael Donaghy was born in New York to Irish immigrant parents and grew up in the Bronx.
After earning a BA from Fordham University and an MA from the University of Chicago, he
moved to London in 1985. In England he won an Arts Council Writers Award and was a Fellow
of the Royal Society of Literature; his work was recognised with the Geoffrey Faber Memorial
Prize and the Whitbread Prize. In addition to writing and teaching, he played the flute and
the bodhrán, specialising in traditional Irish music. Adept at using traditional forms, Donaghy
often employed conceits, extended metaphors, puns, paradoxes and stories. Witty and
erudite, the poems reference literature, science and the oddities and losses of contemporary
life. Donaghy taught at City University and Birkbeck College, London. He died of a brain
haemorrhage in 2004 at the age of 50.
43
Section 5 Unseen Responses: Reviewing your Answers
5D Notes on ‘Scent’ by Dannie Abse
Look again at your unseen response. Check that you have established your understanding of
the overall focus or ‘story’ of the poem in your essay. Consider the following points in relation
to the poem and your answer. Are there any changes you would make?
In this poem, the speaker addresses a partner who is no longer present – we can assume dead.
The first stanza of the poem locates the scene as very personal and domestic, in the house
and, more strongly, the garden that the two people shared. As he stands at the gatepost, the
speaker catches a brief scent of a shrub that his partner planted in the past. The scent fixes
him in a poignant moment of transition between past and present, loneliness and union, and
allows him some connection with the person he has lost. In fact, the moment allows him to
address the partner, using first-person and second-person pronouns (‘I’, ‘you’) and speak to
them as though they were there. While the location of the poem is the garden, Abse includes
wider epic literary, fictional and religious references, for example the stories of Adam and
Eve and of Orpheus and the Underworld. These broaden the scope of the poem from a very
personal experience in a local setting to the universal questions of human life and existence,
and perhaps also underline the huge impact of this loss and emotion on the speaker. The poem
could be described as a kind of vignette, since it captures and expresses a moment in time.
1 Read the first stanza of the poem.
• Notice the emphasis on the words ‘in’, ‘out’, ‘dead’, ‘disguises’ and ‘hesitate’. What do
they reveal about the speaker’s mood?
• Consider the more effusive and sensuous language emphasised in the second half of the
stanza and how it reflects a change of mood. What is the effect of this contrast?
2 Consider the speaker and the verbs establishing his thoughts and actions in the poem.
What do they reveal about him and what is their effect on the reader?
3 The poet has chosen a number of academic and biblical references. Locate these in the
poem and consider what, if anything, they add to the central concerns of this poem.
4 What is the importance of the title to Abse’s poem?
5 Consider the structure of the second stanza of the poem in relation to the others.
• Notice the punctuation or lack of it. What is the effect of this?
• Compare the structure of stanza one with that of the other stanzas and consider the
effect of the contrast.
6 Dannie Abse’s wife died in a car crash in 2005 and much of his subsequent writing has
focused on this loss. In an unseen examination you could not be expected to know this
biographical information, of course. How far does such biographical information enhance
your own reading of the poem? Does it add anything that you would not have gleaned
from a careful ‘unseen’ reading of ‘Scent’?
7 Which points of comparison could be made between this poem and others from your
studied collection?
44
Section 5 Unseen Responses: Reviewing your Answers
Further reading
• Other poems and information about Dannie Abse can be found on his website:
http://dannieabse.com/
• You might find it interesting to read Edward Thomas’s wonderful poem ‘Old Man’, about
the elusive quality of scent, in relation to Abse’s poem:
http://www.ablemuse.com/erato/showthread.php?t=748
• ‘Scent’ was selected from Abse’s most recent poetry collection, Speak, Old Parrot, which was
published by Hutchinson in 2013, the year of his 90th birthday.
• The Poetry Archive contains a number of poems read by Abse himself:
http://www.poetryarchive.org/poet/dannie-abse
Biographical information
While you will not of course be expected to know the biographical information about an
unseen poet presented in examination conditions, the following information is for your own
interest and general knowledge.
Dannie Abse is a poet, author, doctor and playwright. He has written and edited more than
16 books of poetry, as well as fiction and a range of other publications. He is president of the
Welsh Academy of Letters and was recently awarded a CBE for services to poetry and literature.
5E Notes on ‘The Wreck’ by Don Paterson
Look again at your unseen response. Check that you have established your understanding of
the overall focus or ‘story’ of the poem in your essay. Consider the following points in relation
to the poem and your answer. Are there any changes you would make?
In this poem, Paterson addresses a lover, celebrating the carelessness, escape and physicality
of a relationship that perhaps has come to an end. The tension between celebration and
destructiveness is carefully balanced. There is beauty and heaviness in Paterson’s choice of
sounds, words and images, which he uses to explore the nature of this passionate relationship.
1 Look carefully at the couplets Paterson uses to structure his poem. How tightly do they
link? Are they rhyming? Does his choice bear any relevance to the subject matter of his
writing?
2 Read the poem aloud in your head or aloud, depending on where you are doing this work!
Sound is important in this poem. Notice the vowel sounds in the first three couplets. Are
they heavy or light? What is their effect on the pace and delivery of the poem? Can you
identify any other dominant sounds, for example through Paterson’s use of alliteration?
What is the purpose of this in relation to the poem’s topic?
3 How far do the images the poet chooses reflect the relationship he portrays? Consider
‘bells of blood’, ‘drunk boat out of port’, ‘deadweight, bull-black wines’, ‘lovely secret
wreck’ and any others that appeal to you.
4 Paterson makes use of vocabulary relating to both the sea and war in this poem. Can you
identify:
• examples of this language?
• how they link to ideas of being sober and drunk?
• their purpose and effect?
5 Consider the last couplet of the poem. How, if at all, has the mood changed? What is
Paterson suggesting about this relationship?
6 Which points of comparison could be made between this poem and others from your
studied collection?
45
Section 5 Unseen Responses: Reviewing your Answers
Further reading
• Other poems by Paterson can be found on his website:
http://www.donpaterson.com/bio.htm
• The Poetry Archive resource contains a number of poems read by Paterson himself:
http://www.poetryarchive.org/poet/don-paterson
Biographical information
While you will not of course be expected to know the biographical information about an
unseen poet presented in examination conditions, the following information is for your own
interest and general knowledge.
Don Paterson was born in Dundee, Scotland, in 1963. His publications since 2000 include
Landing Light, Orpheus and Rain. He is known both for his work as a jazz musician and a prizewinning poet; amongst other awards he has won the T. S. Eliot Prize twice. Most recently he
has published work about reading Shakespeare’s sonnets and has written a number of poems
in this form himself, due for publication in 2014.
5F Notes on ‘Raymond, at 60’ by Julia Copus
Look again at your unseen response. Check that you have established your understanding of
the poem’s central concerns in your essay. Consider the following points in relation to the
poem and your answer – are there any changes/additions you would make to your response?
In this poem Copus uses the specular form (a form that she in fact invented and other poets
have since used) to explore the relationship between a mother and son. This form, from
‘speculum’, the Latin for mirror, is a poem of two stanzas in which each line from the first
stanza is repeated, or mirrored, in the second stanza but in reverse order. Key elements of the
form are its circularity and its sense of inevitability – the fascination for the reader partly stems
from seeing how the poet achieves such a difficult technical challenge.
In ‘Raymond, at 60’ Copus describes the complex emotions of a man in late middle age
following the death of his elderly mother. Memory is at the heart of the poem – Raymond’s
memory of the night she died blurring into a boyhood memory when he’d felt smothered
by her care. The poem flows from the present, to the recent past, to the distant past and back
again. In doing so, the specular form dramatises the nature of the central relationship and its
impact on Raymond’s emotional development.
1 How does the title help to set the scene for the poem?
2 Consider movement in the poem – both in terms of images of movement and the form
itself. What does the poet’s use of both of these reveal about Raymond’s relationship with
his mother?
3 In addition to the above, consider the use Copus makes of physical gestures in the poem –
how do these convey the complex relationship between mother and son?
4 What is the significance of the two statements in italics, and the fact these are both
unspoken thoughts?
5 Can you comment on the mood of the poem? What details does the poet use to create this
atmosphere?
6 Which points of comparison could be made between this poem and others from your
studied collection?
46
Section 5 Unseen Responses: Reviewing your Answers
Further reading
• You can read a good analysis of another Copus poem published on the Times Literary
Supplement’s website: http://www.the-tls.co.uk/tls/public/article1249590.ece
• For a more in-depth look at Copus’s qualities as a poet, the British Council’s literature
website has a good critical essay which also includes a discussion of the specular form:
http://literature.britishcouncil.org/julia-copus
• The Poetry Archive contains a number of poems read by Copus herself:
http://www.poetryarchive.org/poet/julia-copus
Biographical information
While you will not of course be expected to know the biographical information about an
unseen poet presented in examination conditions, the following information is for your own
interest and general knowledge.
Julia Copus was born in London, near to the Young Vic theatre, and now lives in Somerset.
Her two previous collections, The Shuttered Eye and In Defence of Adultery, were both Poetry
Book Society Recommendations, while her third collection, The World’s Two Smallest Humans,
was shortlisted for the T. S. Eliot Prize. She has also won first prize in the National Poetry
Competition and the Forward Prize for Best Single Poem (2010).
5G A critical response by Ruth Padel to Simon Armitage’s poem ‘Birthday’
In her book about poetry which offers perspectives on how to read poetry as well as excellent
analyses of 60 modern poems, Ruth Padel includes an essay on ‘Birthday’. Read the essay below.
Consider the structure and style of Padel’s analytical piece. Her close language analysis reveals
how the poem’s focus gradually reveals itself to the careful reader. She explores the structure
and movement of the poem from dawn to dark, the sounds of the poem and how these reflect
the pain portrayed, and of course the title of the poem which should never be ignored. For
examination purposes we would not require biographical materials at the opening of your essay
and would recommend a clearer initial paragraph to establish the overall focus of the poem.
Padel’s essay itself mirrors the gradual revelations in Armitage’s poem, not disclosing its painful
focus on miscarriage until the sixteenth paragraph.
Look again at your unseen response. Check that you have established your understanding of
the overall focus or ‘story’ of the poem in your essay. Consider Padel’s analysis of the poem in
relation to your answer. Are there any changes you would make?
Armitage, born in 1963 in Huddersfield, grew up in Yorkshire, studied geography and
psychology at Portsmouth and Manchester, and became a probation officer. Then poetry
took charge. His first collection (1989) established him as a leading poet of his generation.
He has published ten books of poems since, taught at the Universities of Leeds, Iowa and now
Manchester Metropolitan. He has written two novels, a memoir, television films, stage plays.
His many awards include an award for song lyrics in a BAFTA-winning Channel 4 film.
47
Section 5 Unseen Responses: Reviewing your Answers
His early probation work gave his poems not just a rich seam of unexplored material but a
particular social perspective which struck a note with many audiences, especially young urban
readers. He has a wonderful ear for spoken language and timing. That part of his voice which
is seemingly casual and off-the-cuff (with rhythms that appear to come naturally from the
speaking voice – whoever is supposed to be speaking) disguises deeply sophisticated craft.
His poems, often on the National Curriculum, are a rare mix of the genuinely popular and
seriously literary.
This title poem in a collection called The Universal Home Doctor is a quiet approach to a highly
emotive subject, which discloses itself as you go. Through seventeen couplets it moves from
a bed indoors to closing the gate outside, a last act watched from the window. The first six scenesetting couplets, with no people in them, look out from bed to the outside world. Six more
present a central drama between I and you in the bedroom. The last five echo the first section,
but now the speaker looks out to see an intruder: the Egyptian god of the dead in black gloves
like an undertaker.
The first movement builds a picture of earliness and beginnings (first, first, dawn, dawn, dawn)
that is somehow without (the poem’s third word) promise. The words in these descriptions feel
chilly, silent, negative. Empty. A cargo of light (which could sound lovely but actually, when you
think about it, reinforces emptiness), a block of ice. Dawn with gold in its teeth could also be lovely
but sounds menacing too.
The first couplet has no verbs. When verbs do begin, inanimate subjects act almost eerily on
their own. A bus carries, milk-float moves, mast raises itself. And to its full height, like someone
intending to assert or dominate. Which strengthens the slight sinisterness behind the other
images, as if full realisation (of something causing pain or fear) is coming back to the mind.
Whose, we do not yet know. But it looks out of its nest as the poem looks out from the bed to the
wider world.
When we get a person, he is elsewhere. This act, someone’s husband touching someone’s wife, is
a betrayal that is nothing to do with this room. It is the climax of the world starting up,
unfolding into a new day; which at this point means the planet being one day older. Routine
wrongness, how the world goes. So the planet weeps: climax of all these objects acting on their
own. It puts on the table the despair behind this section’s images.
Vowel sounds bind together these first six couplets. Bed’s short E is echoed in empty and nest.
The EE of sheets moves on through sleep, teeth, street and east to culminate in weeps. The IR of
first echoes on through birds and first; its final ST is echoed in mast and east. The long I of light
flickers through like, mind, dice, height, wife. The long O of gold picks up depot and is echoed in
older.
After scene-setting, the drama. People: you and I. This is the same room, but the verbs now look
back to how it was in the past (found; I had to edge; [I had to] close.) The central couplet describes
a medical reference book in unusually emotive terms. Bible of death expands on weeps. We are
talking about mourning. The poem is sad not only for the planet, but for loss inside this room.
48
Section 5 Unseen Responses: Reviewing your Answers
Then another work of reference that every home needs, which brings in the geographical as well
as the sacred world. Not the family bible, but a map of this weeping planet: an atlas, which maps
ill-health in a nice new modern way (colour-coded). This reference work is about not the outside
world or sacred history like a real bible or atlas, but the inside of the human body, this thing
through which we hurt and which lets us down (as incompetence). Its title in the central couplet
contains the word which ties the planet and all objects in it to what is happening in this room
(now and in the past) and to every mind looking out of any nest. It is universal, whose sound
effect is prepared for by double in the line before. And its language of explanation for pain is the
climax of the autonomous impersonality with which the poem began. It is technical, but in a
human context the phrase cervical incompetence sounds unbearably reproachful. So the poem
brings in real spoken language (Susan, for God’s sake) to shut it up, for the name Universal Home
Doctor is ironic. This is a home. But no book (or not one like this) can doctor what has happened,
cure the pain.
The drama is three slight actions. The speaker found you, edged towards, then closed this chapter
of pain with a bare foot. Simple, personal bare words rise up and throw out the technical language
which is supposed to map what happens inside you. They close down the impersonality.
These tiny acts move the poem forward to the final section. Some of the vowel sounds here
pick up those of the first section. (Night echoes the long monosyllabic I; bible and cervical place
the I in a new rhythmic context. Bent echoes bed and empty, and is followed up in death, health
and edge. Poring echoes the OR of those two dawns and is repeated in abnormalities.)
But others create a new soundworld. The OO of room is echoed in you, universal, Susan, towards
and foot. The U of double is echoed in colour and cover, its L in the frightening language around
the central book: universal (the central line), chromosomal, cervical. The long O of over and Home
(again in the central line, half-echoing room) reappears in coded, chromosomal, progesterone and
close. The emotional AIN (pain and explained) mutates to sake.
With the drama past, the present tense returns. In the reprise of the third couplet, teeth seems
even more sinister after bent double, death and pain. Action passes from the I who closed the
book to what I sees. Not only inanimate objects now but a figure. We have had the bible of
death, but this figure comes not from the Bible but an even more ancient sacred world. The
poem describes the Egyptian guide to the topography of death in a string of present participles:
making, pushing, checking, leaving, crossing and (bringing back the closing book) closing.
Meanwhile the OR of dawn returns twice, and again in the last line (lawn). The long I of mind
now looks forward to I, upright and time; the EE of teeth to sweep, tree, leaving and meat (which
widens into the last word gate); the long O of gold to window, bones, own and closing. Shrubs picks
up gloves, crossing echoes the short O of watch.
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Section 5 Unseen Responses: Reviewing your Answers
I have read the poem with many groups. When I ask what they think it is about, most people
say ‘death’ at first but one always says ‘miscarriage’ and eventually convinces the others by
pointing to clues. Cervical incompetence reveals what kind of ill-health and pain is involved and
reflects back on early images of emptiness and lack; on without sleep and bent double. It gives a
human, biological dimension to the closing images of book and gate; and also (with muted
horror) to bones and meat. This is not only a fox or dog nosing rubbish. There are undertakerlike black gloves.
Retrospectively, the throw of a dice associated with a milk-float suggests the biological lottery of
miscarriage and lost maternity. And the poem’s sad title is Birthday.
Anubis, jackal-headed god of the dead, is a surprise in this urban-sounding garden with its
street, shrubs and bin. He mythologises the private, domestic sadness. The nameless tree could
be a private reference (a tree in their garden whose name the couple do not know) but also
sounds ancient and mythical as if familiar from some journey of the dead. And, significant, as
if something were buried under it.
In his own time may reflect the calculatedly unhurried movements of any urban fox, but does it
in the pseudo-comforting language used when someone in authority asks you to do something
difficult. (In hospital, perhaps.) It sums up the silently autonomous way all objects in this
poem have acted. It also says in a different register what the medical book explained through
its diagrams: what happens in the body (as well as out of it) happens in its own time. There is
nothing you can do but close the book, as Anubis closes the gate. Book of the body, gate of the
body. The gate between living and dead.
A book of technical language, whose ambiguous title can never be fulfilled, cannot doctor private
suffering. But there are disciplines that do put suffering into bearable universal perspectives:
myth, philosophy, religion; and poetry. There was a time when only wise books were read, says
Milosz’s poem ‘Ars Poetica?’, helping us to bear our pain and misery. / This is not quite the same / as
leafing through a thousand works fresh from psychiatric clinics.
Anubis stands for myth and religion. If you lose a baby, it is universal to torment yourself trying
to explain why. But also universal to try and comfort someone you love in pain, try and find
‘closure’ for her or both of you. To close the cover.
This is about universal grief. But it is the particulars, the specific details and sounds that give it
universal power.
From The Poem and the Journey, Ruth Padel, Vintage, 2008
50
6 Student Essays
This section shows some student responses that compare two of the contemporary poems from
section 4. The students have been asked to compare the ways in which the two poets present strong
emotions. Consider the quality of responses to the poems and how well they have addressed the poems
themes, language, imagery or other poetic techniques.
Remember that in the A level paper, you will compare an unseen contempoary poem with one of the
poems from your studied anthology, Poems of the Decade.
AO1
AO2
AO4
Articulate informed, personal and creative responses to literary texts, using associated
concepts and terminology, and coherent, accurate written expression
Analyse ways in which meanings are shaped in literary texts
Explore connections across literary texts
Example 1
Though both the poems ‘Scent’ by Dannie Abse and ‘The Wreck’ by Dan
Paterson have a clear cut title, if the reader looks at the duality of the title,
different interpretations begin to become more apparent. The word ‘scent’ on
paper implies a sense of pleasantness and a natural smell that is somewhat
distinctive to a person. This is much like the poem, as the reader learns that
the persona becomes lost in an uncontrollable passion for a scent that remind
them of a person who was once very close to them. However, hearing the word
‘scent’ could also be interpreted as ‘sent’, a conscious act that is carried out by
someone. This also shows an aspect of the poem as it is implied by the persona
that the dead never leave us, even though they have been sent away.
The duality in choice of title is similar to Paterson’s ‘The Wreck’, which initially
gives the impression that there is loss or ruins within the poem, or perhaps
something that was there before that is not now. However, the word ‘wreck’
could also suggest a sign of drunkenness and uncontrollable actions that are
carried out. Either interpretation means something that is in ruins, regardless as
to whether it is still in its original form or if it is still remaining.
The structure of ‘Scent’ is unique. The opening of the poem is very vague, ‘going
in and out of the house,’ but then goes on to describe the ‘ruining shrub’ the
persona lost once planted long ago. By placing this at the opening of the poem it
creates a sense of allusion and the explicit scent that the flower withholds. Abse
structures the poem to end right back where it began- ‘charm’ and ‘freedom’
link back to the beginning of the poem, when the narrative voice talks about
themselves being ‘allured’ and ‘delinquent’. It suggests that the persona is
reiterating the enjoyment of being out of control with their passion, and the sense
of a freedom that comes with it. Yet the final sentence ends with such emotional
honesty. ‘Sober, alone and a little wretched’ expresses subtlety of emotion and
leaves the reader feeling empathetic to the poignant persona.
‘The Wreck’ is structured in a more complex way than ‘Scent’. Paterson
structures his poems in couplets, perhaps creating a sense of pairs or
relationships. The opening of the poem gives the reader the initial impression
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Section 6 Student Essays
that it reflects signs of love or falling in love. However, by the end of the poem,
the reader learns the tension of the ‘lovely secret wreck’ between the couple,
and the symbol of love becomes less apparent. Paterson may have wanted the
reader to think that the emotions in relationships are not always easy going and
that first impressions do not always define a couple.
The form of the poem ‘Scent’ shares a distinct change from beginning to end. It
allows the reader to be carried away into the universe by the biblical reference of
Adam and Eve, perhaps sharing the essence of pure passion, relating to something
more fundamental and well known. Yet it zooms into a small part of the persona’s
personal experience of being out of control with their passionate emotions.
Unlike Paterson who creates the form of his poem much like a wreck- his use of a
variety of punctuation and multiple uses of enjambment demand when the reader
will choose to end the sentence. This gives an uneven rhythm, in combination
with half rhyme couplets creates a disrupted and inharmonious poem, perhaps
mirroring the emotions being explored in the couple’s relationship.
Abse creates his poem as a vignette to carry the explicit memories the narrative
voice is experiencing. The scent of a ‘jubilating flower’ shows the intense passion
and unbelievable sense of happiness that the narrative voice is experiencing,
simply by the scent of a flower. Abse shows a clear classical interest when he
mentions both ‘The Great Library in Alexandria’ and the ‘Gardens of Athens.’
Not only does this link the reader back to the fundamental feeling of something
personal, but both places are the epitome of stillness and silence- mirroring how
the persona feels when they are experiencing the scent. The ‘sole tenant’ of the
scent could even ‘distract a philosopher from his thoughts.’ This particularly
illuminates the narrative voice’s passion for absence. It shows how the power of
this particular smell can arouse a connection between the living and dead.
‘The Wreck’ has aspects of purity and passion, however different in consistency to
‘Scent.’ Paterson refers to ‘tiny silent blazes’ and the ‘candlelight’. Yet throughout
the poem, the writer also repeatedly expresses energy in his verb usage- ‘swing’,
‘rang’ and ‘swung’ all demonstrate a physicality to show the strong and intense
relationship that this couple as ‘lovers’ were experiencing. This is further
demonstrated when Paterson metaphorically uses bathos (‘our lovely secret wreck’)
to show the heavy passion and intensity of the relationship by lapsing the mood.
Example 1
This is a level 2 answer, showing general understanding. After a slow introduction and rather laboured suggestions of
what “Wreck” might mean, the answerer looks at structure, identifying half rhyme in the Paterson poem but concluding
rather disappointingly with the view that the form is itself “much like a wreck”. There is some comment on the use of
verbs, but at times expression is loose and says little. There is however a broad and general sense of understanding.
12 out of 30
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Section 6 Student Essays
Example 2
Both Dannie Abse through ‘Scent’ and Don Paterson in ‘The Wreck’ express
emotions through the overarching theme of love. Abse through the memories of
a lost lover stimulated by scent, and Paterson through reminiscing of a lover on
their previous relationship. Both poets are able to effectively convey emotion in
their work.
Dannie Abse is able to express emotion purely through his choice of title. The
single word ‘scent’ plays upon the idea of soft, perfumated aromas that draw
connotations of a sensuous nature. Similarly, the word also carries a duality in
its meaning: whilst the word itself conveys ideas of perfume and aromas, when
pronounced phonetically it is conveyed as a message ‘sent’ from a conscious
decision. This is an idea that is interwoven throughout the poem to convey the
emotions carried in the scent of the flowers that becomes a message from the
poets’ lost lover.
In contrast, whilst Dan Paterson also uses a short simple title choice to
great effect, the title of ‘The Wreck’ creates very different impressions.
Traditional interpretations of the title draws upon ideas of a shipwreck, a literal
interpretation of the metaphor of the poem, however it could alternatively be
interpreted in a modern sense as the description of a drunken, wasted individual
who is reckless in nature, both of which are explored by Paterson in the poem.
Whilst the key linking theme of both poem is undoubtedly love, both also explore
ideas of desperation and desire. In ‘Scent’, Abse conveys the powerful emotions
felt by the narrator in their desire to connect once more with the person they
have lost. In the very first line, Abse recalls ‘going in and out of the house
we once shared’ suggesting they are almost desperately searching for some
connection they can make with the deceased. This is furthered through the way
Abse states that the ‘dead have many disguises.’ This could be interpreted as the
poet showing the raw desperation to remain in touch with the memories they
hold, yet so often they find that the stimulants of these memories try to avoid
them. Here, Abse is also able to evoke sympathy in the reader for the desperate
nature of their attempt to make any connection with the dead.
Similarly, Paterson presents the theme of the emotion of desire and desperation
through his description of the reckless nature of the relationship. Paterson is able to
achieve this through the way he begins the poem as if the person is mid-sentence.
This immediately creates a faint rhythmic pace to the poem, mirroring the passion
of the relationship. The final line of the final stanza ‘even when it was all over’
suggests that some desire to engage with each other in passionate actions still
exists between them, even though it would seem that the formal relationship is over.
Both Abse and Paterson are able to convey emotions of desperation through
their lexical choices in the first lines of each respective poem. Abse draws upon
ideas of the desperation to connect once more with a deceased lover, whilst
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Section 6 Student Essays
Paterson explores the desire and urge to engage in passion once more between
two apparently separate figures.
Both poets are also able to express emotions through their use of imagery. Abse
uses the image of a flower to represent the poets connection with the dead,
specifically through its location by the gatepost, whilst Paterson draws upon the
imagery of the sea and the sexual connotations it holds.
In ‘Scent’ the flower is presented as the stimulant to the poet’s memories of the
person they have lost. Just like the title the image conveys ideas of softness yet
with a strong power to disrupt even the greatest [sic]. This is shown in the first
stanza through the way Abse describes the flower as having a ‘button- holding’
scent- one so alluring,’ revealing the softness of the scent through the way it is
described as ‘button-holding,’ whilst also conveying the power and strength it
holds, capable of ‘alluring’ anyone into a state of uncontrol. This is furthered in
the second stanza in Abse’s imagery of Athens and Alexandria. Abse is able to
emphasise the soft power of the scent through the way is it distinguishable from
all other scents in a ‘sacred garden.’ A place already saturated with aromas. In
the same stanza, however, Abse is able to convey the power of the scent through
the way it is able ‘to distract a philosopher from his thoughts’ as well as ‘promptly
a scholar to uplift his eyes,’ highlighting the power of the scent and the strength of
memories to draw the attention of even the great and good in its power.
Similarly, Paterson uses the imagery of the sea to present the emotions of the
couple. In both the third and fourth stanzas of ‘The Wreck’ Paterson emphasises
the influence of the sea in dictating where the lovers journey. In the third stanza,
Paterson’s lexical choice of ‘slung the drunk boat out of port’ reflects the wild yet
reckless nature of the couple’s relationship. The verb ‘slung’ contrasts greatly
with the soft tenderness of the scent in Abse’s poem yet it could be argued that
both methods are equally effective in contrasting the depth and strength of love
experiences in both poems. In ‘The Wreck’, Paterson’s description of the boat
as ‘drunk’ encapsulates he state of the lovers on board. In the fourth stanza,
Paterson’s description ‘unmoor, a continent of grief’ evokes images of lovers
casting away the shackled of their lives and allowing themselves to be at the
mercy of the roll of the sea. An image which is in itself sexual in nature through
the idea of rhythmic, rolling movements.
Both poets structure their poems to convey the idea of love and the emotions
experienced. The poem ‘Scent’, as a vignette, in written in free verse emphasising
the way in which the first-person poet is immersed in their memories and is
uncontrollably carried away by them. Abse’s choice to make the first stanza
longer than the other two, clearly lengthened, draws once more upon ideas of
being lost and carried away in emotions. However, another interpretation of this
could be that it is representing the idea of change, a change in the lives of the poet
following the death of their lover.
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Section 6 Student Essays
In contrast, Paterson writes his poem in rhyming couplets with ten stanzas, each
two lines in length. This could be seen as Paterson emphasising the idea of unity
in a relationship. And, though it may now be over, a connection remains, both
between each stanza through rhyming couplets and similarly between the two
lovers in their passionate desire for one another. Both poets are able to convey
the emotion and expressiveness of love through the structures of their poems.
In conclusion, Both Dannie Abse in the poem ‘Scent’ and Dan Paterson in
‘The Wreck’ are able to present and convey emotions through a wide variety
of methods. Though they may in some cases, use contrasting methods this
is necessarily and arguably equally effective in conveying the contrasting
approaches to love and the emotion is carries.
Example 2
This is a clear response with relevant connections and therefore falls into level 3. A neat start in the opening
paragraph leads to a rather wordy response, at its best when it deals with the imagery of the poems. There is some
attempt to compare the structure of the two poems, which is not entirely convincing however. In fact the word
“structures” tends to be used inappropriately – we are told ‘the verb ‘slung’ contrasts greatly with the soft tender
experiences of love through the structures of their poems.
15 out of 30
Example 3
Both the poems ‘My Father’s Language’ and ‘Scent’ are concerned with
strong emotions towards someone. However, there are differences in meaning
that indicate that the extent of strong emotions differ. Both poems present
relationships with lovers or family in a largely similar manner, though the nature
of the relationships differ. For instance, while Flynn’s poem offers an insight into
a woman losing her father (albeit not physically) due to Alzheimer’s, Abse’s poem
talks of the loss of a lover or family member (it is not clear which). Both speakers
retain a connection, however. While Abse’s speaker does so through scent,
Flynn’s speaker does so through language, the only ‘thing’ (quoting directly)
that he can express himself through. Both Flynn’s poem and Abse’s maintain a
nostalgic tone throughout, indicating their inability to progress on. This choice
of topic for both poems may be a result of the fact that they are post-modern.
They tackle issues of family and loss with particular insight into the process of
remembrance and sorrow for past times. Furthermore, a key difference is that
[sic] both poems are in the first person (Flynn’s poem making an immediate
acknowledgement of the relationship: ‘My father sits’) but they both present
differing tones. Abse’s poem, for example, has a rather impersonal tone as it
mentions nothing of the lover or family member except that of an ‘alluring’ scent,
making it an almost universal poem in its exploration of nostalgia.
While Abse’s poem uses the metaphor of the scent of the flower to illustrate
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Section 6 Student Essays
the nature of their relationship, Flynn’s poem utilises a metaphor of the sea to
depict the extent by which the speaker has lost her connection with her father
due to Alzheimer’s. Memory has been ‘licked by small waves’, starting to ‘grow
faint’. What remains is language, though it has reduced him to a ‘spoken AngloSaxon’, his language consumed by ‘nouns.’ However, though his language has
deteriorated, they manage to maintain a connection through simple conversations
with nouns. In Abse’s poem, on the other hand, the scent of the ‘jubilating flower’
is what helps the speaker connect to his/her lost partner. While both poets use
metaphors in differing manners, both poets illustrate a [sic] connection that is
returned, despite the loss of memory, or in Abse’s case, the loss of a person.
Both poems also use enjambment to illustrate the meandering nature of the
speaker’s thoughts. Flynn, for instance, uses enjambment to compliment the
speaker’s reference to the nature of Alzheimer’s on her father’s memory;
‘the near shore of my father’s life.’ The whole poem can thus be seen as a
representation of the father’s Alzheimer’s as the waves continuously sweep
away his life. In Abse’s poem, enjambment is used to depict a continuous
connection through scent, though the last stanza provides us with evidence that
the scent has left and the speaker is ‘sober, alone.’ Both speakers, it can be
stated then, are at a war with forces they cannot win against. The speaker of
Abse’s poem, however, is still unable to accept the loss as is seen with the varied
stanza length. The speaker of Flynn’s poem has a continued relationship with her
father, as demonstrated by the equal stanza length throughout the quatrains.
Unlike Abse’s speaker, Flynn uses dialogue to illustrate how her relationship with
her father has deteriorated. Interestingly, the speaker has an almost optimistic
tone at the end of the dialogue with nouns. Flynn writes ‘I say: the thing’s not
lost. No. Take this thing.’ This offers a personal insight into the nature of the
speaker’s strong emotions. Though the speaker is losing her father, the end of the
poem commits her to readily ‘speak her father’s language.’ In ‘Scent’, however,
the speaker uses no dialogue. As the object of the strong emotions is no longer
alive, the speaker sees the ‘jubilating flower’ as his or her ‘disguise’. As such,
just being in its presence (‘I linger’) the speaker is able to communicate without
language. Unlike Flynn’s poem, however, the end of the poem is not optimistic,
as the speaker is left ‘like Orpheus, sober, alone.’ The strong emotions are thus
different as the circumstances differ. This means that the tone of both poems,
too, are largely different.
In conclusion, both poets use different language methods to express strong
emotions. While they both tackle the problem of nostalgia, differences in
structure and language mean that the nature of these strong emotions differ. For
instance, while Flynn deals with loss due to Alzheimer’s, Abse deals with loss due
to death. This means that the tone of the poems largely differ.
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Section 6 Student Essays
Example 3
There is clarity and relevance in this answer, placing it in level 3. The answer starts by summarising the content
quite efficiently and identifying the speaking voice of each poem. When it moves on to explore the tone, it is less
impressive: differing tones are identified, but Abse’s poem is described as being rather “impersonal” and later we
are told that in the Flynn poem “they manage to maintain a connection through simple conversations with nouns”,
when in fact it is the nouns that are missing, and the poignancy of the situation is overlooked. Some structural
features are noted - enjambment and stanza length – although the conclusions are less secure.
16 out of 30
Example 4
In the poems ‘Scent’ by Dannie Abse and ‘Thinspiration Shots’ by Helen Mort, the
contrast between naturalistic imagery and the domestic are used to represent the
speaker’s strong emotions [sic].
In both poems, enjambment is used frequently to portray the primal emotions
of the speakers, in ‘close up/of’ and ‘open window/if.’ In both of these instances
a description is followed by enjambment. This leads the reader to experience the
initial description solely before moving on to the practical reality of the object.
This also has the effect of demonstrating the reader’s transformation from feeling
strong, painful emotions to being aware of the practical realities of their situation.
Sensual and naturalistic imagery are used in both poems- seen in ‘one model has a
waist just like a snake’ and ‘there where the evening midges dance.’ In ‘Thinspiration
Shots’, this has the effect of aligning the speaker’s battles with eating disorders with
nature, and thus mental illness. The use of the word ‘snake’ also employs usage
of dramatic irony in order to inform the reader of the changes of being thin. This
is similar to William Blake’s poem, ‘The Guardian of Love’, in which ‘black gowns’
inform the reader of the sinister nature of love. The usage of ‘and’ to begin the line
suggests it is part of the story [sic] related to the sensual, naturalistic imagery above
it. This means the morbid pathetic fallacy has the effect of shocking the reader. In
‘Scent’, naturalistic imagery is separated from the domestic allusions- ‘gatepost’ and
‘twining’ are separated with hyphens. This has the effect of leading the reader to
acknowledge the contrasts between domesticity and the speaker’s sensual fantasies.
Furthermore, it also suggests that the speaker’s observance of the sensual [sic] is
interrupting their train of thought, thus depicting the speaker as strongly passionate.
The pieces contrast in that ‘Scent’ uses classical references and allusions such
as ‘the Great Library in Alexandria’ whilst ‘Thinspiration Shots’ uses extremely
modern, topical references such as ‘model’ and ‘camera’ in order to depict strong
emotions. ‘Thinspiration Shots’ includes the line ‘These days they put you on the
scales’, referencing the modern practices of a rehabilitation clinic in order to relate
the speakers self loathing with the modern climate. In ‘scroll down’ and ‘camera’,
the internet and the modelling industry are associated with the speaker’s distress.
This is similar to Andrew Murrell’s poem ‘To his Coy Mistress’ in which topical
references to ‘empires’ highlights the speaker’s fear of mortality.
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Section 6 Student Essays
In contrast, ‘Scent’ uses classical references to imply that the speakers sensual
feelings have been felt throughout history. In ‘…Adam fell on Eve in delight’, a
biblical allusion suggests that the speakers emotions are so strong they could
allude [sic] to original sin and the damnation of humanity. Alternatively, historical
references to the library of Alexandria are likely to have been used to imply the
apparently enduring quality of the speaker’s passion. The public and well-known
destruction of the library may be associated with the destruction of the speaker’s
passion.
Both poems end with short punctuational [sic] sentences. These contrast with
the earlier enjambment of the poem, suggesting the flowing and free nature of
the speaker’s strong emotions have been usurped by reality. The last line of
Bishop’s ‘The Fish’ (‘…and I let the fish go’) shows that the exhilaration of the
process of catching a fish is contrasted with the speaker’s moral disillusionment
with the glamorisation of death. The usage of ‘and’ links the last sentence, thus
implying the progression of the speaker from passionate to subdued. To contrast,
in ‘Scent’, the line ‘But what do I care about that’ is positioned at the beginning
of the stanza, implying that the speakers apparent nonchalance is temporary.
Similarly, the structure of ‘you look away- you close the page’ implies that the
speaker has been able to remove themselves from their emotions, but their battle
with anorexia is still constant.
To conclude, naturalistic imagery and disjointed structure emphasise the rise and fall
of the speakers strong emotions and imply the emotional journey of the speakers.
Example 4
This response is clear and logical, and achieves a mark in level 3. This response is very much focused on looking at
methods, with the result that the overall sense of the two poems does get somewhat lost. Against the requirements
of the task and the mark schemes, references to other works and poets are not really relevant. The response would
be improved by considering the voice of the poem and the attitude to these anorexic models, for example.
17 out of 30
Example 5
In both the poems ‘Scent’ by Dannie Abse and ‘The Wreck’ by Don Paterson,
emotions are expressed in many ways. The poem ‘The Scent’ depicts the
narrative voice reminiscing on a clearly departed person and relating that
memory to the scent of a flower. In ‘The Wreck’ the relationship of two lovers is
explained after they have broken up. The emotions felt in both is a direct link to
the love two people once shared even after separation or through death.
In both the poems ‘Scent’ and ‘The Wreck’ the poets use emotive language to
help emphasise the emotion and love showed between the poems personas. In
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Section 6 Student Essays
‘Scent’, Abse chooses to approach the theme of love through the narrative voice
of the poem, focusing on ‘the twining shrub.’ Throughout the poem Abse uses
emotive language such as ‘alluring’ and ‘delinquent’ in order to describe the scent
the ‘shrub’ radiates. This expresses emotion as the persona is enticed by the
scent, as it reminds them of a mad and passionate love they once shared with
a departed loved one. The paradox of the scent being ‘alluring’ yet ‘delinquent’
helps to convey the enormity of the love the person once has which was lost
through death.
In ‘The Wreck’, Paterson uses a similar method of emotive language in order
to express emotion. Paterson uses language choices such as ‘candlelight’ and
‘tiny silent blazes’ in order to show the delicate nature of their love as they have
now separated and only engage in a physical relationship. As a result of this the
persona ‘watched our unreal sober life’ as they cast away all of the shackles they
had in the past and instead decide to engage in an electrifying relationship away
from any judgement. This helps to express the carefree feeling the two lovers
have as they engage in a physical romance raging with excitement for the other.
This is a similar emotion Abse expresses as his persona, like Paterson’s, are so
captivated with emotions they suggest all the boundaries that prevent their love.
Emotion is also created in both poems through the structure of each poem. In
‘Scent’, Abse expresses emotion through his choice to make the opening stanza
four lines longer than the other two. In the first stanza the persona ‘hesitates
at the blue pained gatepost’ as a result of the overpowering scent that remind
them of a departed love one. The stanza ends with the persona believing the
scent would have delighted Adam and Eve in Eden. This structured choice helps
to express how the emotion the persona feels makes him get carried away with
himself and forgets everything else and instead enters a different state. The
impact is to make the persona appear rather happy to be remembering their loved
one. However, alternatively the persona also appears rather melancholy as the
idea of the dead wraps them in sorrow as they remember their dearly departed.
Paterson also uses structural choices to express emotion in ‘The Wreck’. The
poem on the surface is laid out in two line stanzas with half rhyming couplets
throughout. Despite the obvious structure, however, the enjambment and
punctuation used by Paterson demand that the rhythm of the poem does not
flow and are instead disrupted. ‘What lovers, even when it was all over- the
deadweight’ demands to be read as one full line. This helps to express emotion
as it corresponds with the crazy and erratic love the two lovers shared. It
complements the idea of young people breaking the rules and having a physical
relationship with no emotion. Therefore the emotions expressed through the
structural choice are very different in the two poems as Abse uses it to show the
power and distinction of the personas past love, whereas Paterson shows the
informality [sic] and recklessness.
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Section 6 Student Essays
A recurring idea throughout both of the poems is the idea that part things
remain. In ‘Scent’ Abse addresses this immediately: ‘I sometimes think that the
dead have many disguises’ as the persona believes their dead loved one remains
in a more spiritualised way. The narrative voice remembers the dead through
a scent, a scent so poignant and powerful it could influence Adam and Eve as
well as overpower all the flowers in the ‘sacred garden of Athens.’ The idea
of past things remaining helps to express emotion as the persona is unable to
move on and forget and will always be enticed by the scent to remember love.
The enormity of the idea that one smell could influence so much help convey
the feeling the persona has for their dead loved one as it so important it can
transport them to many places and still be in a world with just each other.
This same idea of past things remaining is used by Paterson in ‘The Wreck’: ‘But
what lovers we were, what lovers, even when it was all over.’ Again like Abse,
the idea of something continuing after the end is as absolute [sic] at the very
beginning. Paterson approaches a continuing physical relationship even after the
emotional one is over. Their emotion is expressed as they do continue a mad and
passionate love despite separation, therefore having an emotional detachment
from each other allowing the persona to enjoy the physical emotions [sic]. This is
a direct contrast to Abse’s persona, as they only felt the extreme measure of a
cold heart of emotion minus any physical intimacy following death,
In both the poems ‘Scent’ and ‘The Wreck’, emotion is expressed right until the
last lines of the poem. In ‘Scent’ Abse uses the last lines to convey the feelings
of the persona, as they return from their dreamlike state back to real life ‘sober,
alone and a little wretched.’ Through this the scent has evaporated and instead
left the persona feeling lonely and melancholic about their dearly departed loved
one. Emotion is expressed in these last lines through the wider confusion he felt
in the power of the scent of the flower to the feeling it leaves him with. After the
scent has gone away he is ‘wretched’ and in a sense of abandonment.
In ‘The Wreck’ Paterson uses the same idea of abandonment to express the live
emotion the personas feel, ‘then we made our way alone up the mined beach of
dawn.’ Here the mad and crazy intimacy they experience as lovers has faded and
has instead been replaced by a tranquil scene. The idea of a ‘mined beach’ shows
they have gained what they wanted from each other physically and any emotion
or feeling they had for each other has gone. Both of the poets use the final lines to
show true emotion different from the power and enormity previously shown. All
personas are returned to who they are in the end.
In both poems, emotions are expressed throughout the poem. Both poems grip
the reader and express emotions in the title, with ‘scent’ introducing the idea
of a pleasant and dominating smell that is nice and pleasing for people to smell.
‘The Wreck’ however, encourages the idea of loss and whether things exist after
destruction. Emotion is the pinnacle of both poems as the personas experiences
of love is to then suffer the separation, or after someone dies.
60
Section 6 Student Essays
Example 5
This answer has consistent analysis and clear understanding of the writer’s craft and is therefore in level 3. After
a clear opening the essay moves on to explore emotive language and make sustained comparisons. Fair points
are made about structure, noting half rhyme and enjambment. There are useful links: common to both poems is
the theme of past things remaining and passion overstepping boundaries. The statement that the mined beach is
“tranquil” however is less convincing.
18 out of 30
Example 6
Both Donaghy’s ‘Resolution’ and Paterson’s ‘The Wreck’ express strong
emotions through the prism of love reaching it’s inexorable end, and the
contrastingly liberating and debilitating impact that it has on the protagonist.
Both Donaghy and Paterson express strong emotions through their protagonist’s
wilful detachment from reality, with each author utilising the nuances of
contrasting imagery to express strong emotions. Donaghy uses the mundane
nature of the London backdrop, in which ‘clouds break over Chinatown’ and
‘Soho surrenders to the rain’ to act as an allegory for the disintegration of the
protagonists love, with the relentless ‘convex’ of ‘rain’ reflecting the dominance of
the loss and inevitable change alluded to through the ‘baptism’ of ‘droplets’ over
such a [sic] source of life and vitality as the swollen ‘West End.’
Despite both texts belonging to the post modern era, Paterson conflicts with
Donaghy’s era of an urban, contemporary idyll through his use of hyperbole of
the norm to represent the desperation with which his protagonists cling to each
other, as the normality of ‘candlelight’ is subverted into ‘strange’, ‘coruscations’
of ‘wars’ with the unrelenting rhythm of the sustained half-rhyme- ‘swung’
and ‘ring’- creating the impression of two lovers in opposition against a ‘dark’
and hostile world. This furthers the disparity between the two texts; the
exaggerated violence of having ‘blew them out’ and ‘took the stairs’ implies that
Paterson is portraying characters attempting to flee from the inevitable end of
their relationship, with the sonorous repetition of ‘ran and ran’ reflecting the
inescapable obsession with one another, whilst Donaghy’s gradual progress from
the co-dependence of the ABAB rhyme scheme- ‘pane’ and ‘rain’- marks the
gradual acceptance of their separation, with the nature of ‘rain’ implying that a
new, brighter future of solitude awaits.
However, both Donaghy and Paterson address the detachment from reality
that is inextricably linked to a failing love. Donaghy detaches the speaker from
these pains through the use of the direct address to his lover as he embodies the
realism of ‘coffee’ and ‘aspirin’ through his soothing reassurances to his lover,
with the placating rhetorical question of ‘see how the winds die down?’ ‘Come…
see the day’ illustrates his attempt to transcend the ‘blur’ and blindness of strong
emotions in love, and accept their parting. This starkly contrasts the fierce
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Section 6 Student Essays
delusion of Paterson’s poem, in which the protagonists ‘unmoor’ themselves
away from a ‘real, sober life’ and thundering ‘back to back’ against the allencompassing ‘timbered dark.’ The subversion of what is ‘real’ and ‘unreal’, what
is ‘drunk’ and ‘sober’ marks the cold clarity that Donaghy displays, with the
progression of time as ‘the world begins’ with ‘breakfast bulletins’ and ‘coffee’.
Donaghy allows the lover to let go of their strong emotions and Paterson allows
them to wallow in their ‘lovely secret wreck.’ However, both poems enjoy a sharp
shift in tone that anchors both the poem and their emotion in the pragmatism
of reality. Though Paterson maintains the collective pronoun of ‘we’ and ‘us’,
he echoes Donaghy’s sharp acceptance- ‘let me make this clear….the rain has
stopped’- through his abrupt break from the sustaining half-rhymes, ending with
the despondent finality of ‘made our way alone, up the mined beach of the dawn.’
Though Donaghy’s poem may have continuously been centred on the resolution
of time passing and washing away ‘last years original sins’, driven by strong
emotion, Paterson eventually reaches this same equilibrium, with the gentle,
uneven stanza structure reflecting the slow, inexorable movement of the ocean,
as though irrespective of ‘what great lovers we were’, they were still being
carried to a ‘breathless’ end, echoing Donaghy’s depiction of the futility of
attempting to prevent the ending of a ‘day’ ‘we will never see again.’
This somewhat pessimistic outlook of the nature and contingency of love conflicts
with Spenser’s transcendental, immortal love depicted in ‘Sonnet 75’. Some
would assume that Spenser would adhere to the bloodless realism adopted by
postmodern poetry, and to his own rejection of the mawkish sentimentality of
the troubadour love displayed in the Sonnets. However, he appears to shun
the limitations of Donaghy’s pragmatic outlook, in which the ‘world’ is centred
on ‘coffee’ and ‘aspirin’ and ‘rain.’ Instead, he is increasingly influenced by the
metaphysical works of Donne, and is convinced that his love will stand the test
of time, in which ‘heavens shall write your glorious name’- while others ‘die in the
dust’- the love will make them ‘live.’ [sic]
Example 6
This answer shows evidence of the requirements of level 4 and is placed at the bottom of that band. It has a brave
shot at interpreting the poems, though often in a rather ornate style. Connections between texts are analysed:
“both poems enjoy a sharp shift in tone that anchors both the poems and their emotions in the pragmatism of
reality...” At times the expression says less than it seems to. “Paterson eventually reaches this same equilibrium
with the gently uneven stanza structure reflecting the slow inexorable movements of the ocean...” This is very
impressionistic and could be further supported by more precise detail.
19 out of 30
62
Section 6 Student Essays
63
Glossary
barton farmyard
coomb woods
Saigon capital city of South Vietnam during the 1955–75 Vietnam War
Little Shop of Horrors a hit musical comedy which depicts a shop worker who raises a flesh-eating
plant
daed-traa ‘the slack of the tide’ in Shetland dialect
sestina a poem with six stanzas of six lines and a final triplet, known as the ‘envoy’, all stanzas having
the same six words at the line ends in six different sequences
envoy short stanza at the end of a poem used either to address an imagined or actual person or to
comment on the preceding body of the poem
augur foretell
Orpheus musician and poet from ancient Greek myth; in his sorrow at his wife’s death, he travelled to
the underworld to try to retrieve her
coruscations bright flashes
aqualungs equipment for breathing underwater
progesterone a hormone
cervical incompetence medical condition which can lead to miscarriage of a foetus
Anubis jackal-headed Egyptian god of the dead
64
Acknowledgements
We are grateful to the following for permission to reproduce copyright material:
Poetry on pages 6 & 7 from “A Soft-edged Reed of Light” by Julia Copus in The World’s Two Smallest
Humans, Faber & Faber Ltd, 2012. Reproduced by permission of Faber and Faber Ltd; Poetry on
page 12 from ‘Bantams in Pine-Woods’ in Harmonium, Pollinger Limited and The Collected Poems of
Wallace Stevens by Wallace Stevens, copyright © 1954 by Wallace Stevens, copyright renewed 1982
by Holly Stevens. Reprinted by permission of Pollinger Limited (www.pollingerltd.com) on behalf
of the Estate of Wallace Stevens and Alfred A. Knopf, an imprint of Knopf Doubleday Publishing
Group, a division of Random House LLC. All rights reserved; Poetry on page 12 from “The Moon
and the Yew Tree” in Collected Poems by Sylvia Plath, Faber and Faber Ltd, copyright © 1963 by Ted
Hughes. Reproduced by permission of Faber and Faber Ltd and HarperCollins Publishers; Poetry
on page 12 from “Lullaby” by W H Auden. Reproduced by permission of Curtis Brown, NY; Poetry
on page 13 from “Filling Station” in The Complete Poems 1927-1979 by Elizabeth Bishop, copyright
© 1979, 1983 by Alice Helen Methfessel. Reprinted by permission of Farrar, Straus and Giroux,
LLC. Used by permission of Farrar, Straus and Giroux, LLC. All rights reserved; Poetry on page 14
from “Faith” by Jacob Sam-La Rose in Breaking Silence, Bloodaxe Books, 2011. Reproduced with
permission by Bloodaxe Books; Poetry on page 15 from “Adjectives of Order” by Alexandra Teague
in Mortal Geography, Persea Books, Inc 2010, copyright © 2010 by Alexandra Teague. Reprinted with
the permission of The Permissions Company, Inc., on behalf of Persea Books, Inc (New York), www.
perseabooks.com; Poetry on page 17 from “Daed-traa” by Jen Hadfield in Nigh-No-Place, Bloodaxe
Books, 2008. Reproduced with permission by Bloodaxe Books; Poetry on page 18 from “Poetry”
by Tom Leonard in Outside the Narrative: Poems 1965 - 2009, etruscan books, 2009, copyright © Tom
Leonard. Reproduced with kind permission; Poetry on page 20 from “Martina” by Patience Agbabi in
Transformatrix, Canongate/Payback Press, 2000. Reproduced with permission from Canongate Books
Ltd; Poetry on page 21 from “IVF” by Kona MacPhee in Tails, Bloodaxe Books, 2004. Reproduced
with permission by Bloodaxe Books; Poetry on page 23 from “The Duration” by Helen Dunmore in
Poetry Remembers, edited by Carol Ann Duffy, Faber and Faber Ltd, 2013. Reproduced by permission
of Faber and Faber Ltd; Poetry on pages 26 and 29 from “Sand” by Esther Morgan in Beyond Calling
Distance, Bloodaxe Books, 2001, and “My father carries me across a field” by George Szirtes in New
& Collected Poems, Bloodaxe Books, 2010. Reproduced by permission of Bloodaxe Books; Poetry
on page 30 from “Inferno IV” by Dante Alighieri, translated by Ciaran Carson in The Inferno of
Dante Alighieri, Granta Books, 2004. First published in Great Britain by Granta Books. Translation
copyright © 2002 by Ciaran Carson; Poetry on page 31 from “Canadian Pacific” by Derek Mahon in
New Collected Poems, Gallery Books, 2011. Reproduced with permission of The Gallery Press; Poetry
on pages 32 and 33 from “My father’s language” in Profit and Loss by Leontia Flynn, published by
Chatto and Windus, 2011, and ‘Thinspiration Shots’ in Division Street by Helen Mort, published by
Chatto and Windus, 2013. Reprinted by permission of The Random House Group Limited; Poetry
on page 34 from “Resolution” in Conjure by Michael Donaghy, Picador, 2000, copyright © Michael
Donaghy, 2000. Reproduced by permission of Pan Macmillan; Poetry on page 35 from «Scent» in
Speak, Old Parrot by Dannie Abse, published by Hutchinson, 2013. Reprinted by permission of The
Random House Group Limited; Poetry on page 36 from “Wreck” in Landing Light by Don Paterson,
Faber & Faber Ltd, 2004, and “The Wreck” in The White Lie: New and Selected Poems by Don Paterson,
copyright © 2001 by Don Patterson. Reproduced by permission of Faber and Faber Ltd and The
Permissions Company, Inc., on behalf of Graywolf Press, www.graywolfpress.org; Poetry on page
37 from “Raymond at 60” by Julia Copus in The World’s Two Smallest Humans, Faber & Faber Ltd,
2012. Reproduced by permission of Faber and Faber Ltd; Poetry on page 38 from “Birthday” by
Simon Armitage in The Universal Home Doctor, Faber & Faber Ltd, 2002, copyright © Simon Armitage.
Reproduced by permission of David Godwin Associates; Extract on pages 45-48 from “A critical
response to ‘Birthday’” in The Poem and the Journey - 60 poems for the journey of life by Ruth Padel,
published by Vintage, 2007, copyright © Ruth Padel, 2007. Reprinted by permission of The Random
House Group Limited and United Agents (www.unitedagents.co.uk) on behalf of Ruth Padel.
With thanks to TASIS The American School in England and Hockerill Anglo-European College,
Hertforshire for their students’ contributions of sample essays for this resource.
65
66
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POETRY REVISION
Unseen Poetry Booklet
HDHS GCSE Literature Exam
•
•
•
This section of the paper is in two parts.
Part a is worth 24 marks. Students will be
given an unseen poem with an accompanying
essay question
Part b is worth 8 marks. Students will be given
another unseen poem and will a comparison
question about a shared theme / idea of the
two unseen poems.
Part a:
A01: 12 Marks
A02: 12 Marks
Part b:
A02:
8 marks
SECTION B: UNSEEN POETRY
In Section B you will be asked to analyse a poem you have never seen before, spending just 30
minutes planning and writing your answer. This question is worth 24 marks. I have created a
system for analysing unseen poems which I shall now share with you. However, before I do
that, take a look at this unseen poem and the question that follows it.
BULLY
Your words cut into me, sharp as a knife
The pain that you cause always goes unseen
I curl up defenceless, scared for my life
Why do you always have to be so mean?
We met in our tutor group, class 1E
At first you barely saw that I was there
But soon your attention fell upon me
Your words were flying and always unfair
After a few years we became good friends
Most of the time, you were actually kind
But then those moments of friendship would end
The good times were gone – all kindness behind
But those very good times enriched my life
That’s why in the end I took you as my wife
(Andrew Smith, 1981-)
Question: What is the poet’s attitude to relationships? How is this presented in the poem?
Language
feelings
Structure
There is more than one way to plan to answer this question. Find a way that works for you!
Here is one possible strategy and it involves 6 steps.
STEP 1: THINK ABOUT THE POET
Although you will almost certainly have never heard of the poet in the exam, you can work out
quite a lot from the name. To begin with, does it sound foreign or common? In the example
above the name ‘Andrew Smith’ seems to be a British or maybe American name – there are
certainly no clues that it may be the name of a non-English native. Secondly think about the sex
– the fact that this poem is written by a man may play an important part of the analysis to
come. Use the poet’s name throughout your answer.
STEP 2: THINK ABOUT THE DATE
If there is a date listed you need to think about the life-time experiences of the poet and relate
them to what you found out in step 1. For example, a poem from the 1600s written by a
woman is going to be based in a context where women’s rights were very different to today. In
the poem above you can see that the poet is just over 30 years old. This means they have lived
through the same sort of things you have lived through and share the same cultural
experiences: the internet boom, TV, 9/11 etc. Of course you don’t know exactly when the poem
was written, but again your first impressions on the date can be important later on.
STEP 3: READING FOR MEANING
The exam board will choose a poem in this section which has both a simple meaning and a
complex meaning. To begin with, read through the poem looking for the simple meaning. That
is: what does this poem literally mean?
Using ‘Bully’ as an example, we can say that the poem is about two school enemies who later
became friends and got married – that is the simple meaning.
 Write next to the poem the words ‘obvious meaning’ after reading the poem for the
first time and write what you think the obvious meaning is
 Write next to the poem the words ‘deeper meaning’ after reading the poem a second
time and write what you think what else the poem could be about-be brave and have a
go!
 Read a third time with a pen-annotate as you read- if you see a sad word write sad next
to it; if you think the lines are long write long sentences; if you spot rhyme write it on
the poem. Simply write what you see.
STEP 4: LOOK FOR THE POETIC DEVICES
You should really do this at the same time as step 3, but look for the poetic devices used in the
poem. For example: similes, metaphors, alliteration, rhyme, rhythm etc.
STEP 5: LOOK AT THE STRUCTURE AND FORM
How is the poem organised? When do the stanzas change and why? Does it follow the pattern
of a type of poetry?
STEP 6: ANSWER THE QUESTION
Steps 1-5 should really only take 4 or 5 minutes to complete. Of course, they will take a lot
longer whilst you are unpractised, so I have included a number of unseen poems in this booklet
for you to practise with.
TOP TIPS FOR THE UNSEEN POETRY QUESTION:
Analyse language, structure and form
Write in PETER paragraphs
Write about the poet’s themes and the effect on the reader
Opening paragraph Use the Key words from the question
 Use the title of the poem and the poet’s name-Why did the poet choose the title of the
poem?
 Identify the obvious meaning and attempt to identify a deeper meaning
 How does this poem make the reader feel?
D/C Grade SAMPLE ANSWER:
The poem ‘Bully’ is a poem about relationships and the poet’s attitude to
relationships. By calling the poem ‘bully’, Andrew Smith is straight away
telling the reader that this is a poem about the negative side of relationships. It
is unclear from the title who the bully is. It is clear that this relationship
contains pain and suffering as well. This pain and suffering is clearly seen
throughout the poem. The effect on the reader is that they may feel confused
about these conflicting emotions, which is probably how Smith himself feels.
The obvious meaning of this poem is that it is about two people who used to not
have a good relationship in school but became friends later and got married. The
obvious meaning is that relationships change. A deeper meaning is that the
other person is still a bully. The deeper meaning is that relationships may look
like they have changed but it may not be different. The poet’s attitude to
relationships is that they are not always straight forward. The word’ cause’
makes me thing that the abuse is still happening. If it was in the past, Andrew
Smith would have used the word ‘caused’.
Ok, so the part answer above is a good answer. It is structured in PEE paragraph format and
comments on the effect on the reader. It analyses language and form, However, it really only
focuses on a surface analysis – there is much more that could be said. So, how do you develop that
answer into a stronger answer?
B/A grade sample answer:
Andrew Smith’s attitude to relationships is that they are complex and multifaceted. On the one hand, relationships are loving and romantic. This is seen
through the use of the sonnet form. The poem follows the form of a
Shakespearean sonnet: 14 lines of iambic pentameter, ABAB CDCD EFEF GG
rhyme scheme etc etc. By using the form of a famous type of love poetry, Smith
is showing that the relationship is loving. However, the use of the sonnet form is
more subversive in this poem – it isn’t until the volta at the end where we
actually realise this poem is about a marriage. The effect on the reader of this
sharp twist is that they are surprised to see these seemingly combatant people
are married. Perhaps Smith himself is surprised at how he has fallen into this
marriage. On top of that it is very important to note that the poem is not a
perfect sonnet – the last line ‘That’s why in the end I took you as my wife’
contains 11 syllables where it should only contain 10. This suggests that there
is more lurking under the surface of this seemingly happy marriage – perhaps
it isn’t quite so happy at all, but is a façade, just like the forced and ultimately
inaccurate use of the sonnet form.
The language of the poem certainly does little to suggest the relationship is a
happy one. By calling the poem ‘bully’, it is clear that this relationship contains
pain and suffering as well. This pain and suffering is clearly seen throughout
the poem. In fact, in verse one there is a suggestion that the relationship is still
not happy, seen in the use of the verb ‘cause’. This present tense usage is perhaps
a subtle hint that the ‘bullying’ of their childhood is still taking place in their
modern marriage. In this interpretation it could even be suggested that
childhood bullying is a metaphor for domestic abuse. Smith might be covering
the issue through childish imagery to reflect how he feels immature and childish
to be the victim of domestic abuse and yet also be a man.
You can see that this answer is much more sophisticated than the first. It picks out subtleties and
inconsistencies and analyses these persuasively. As with all poetry, you don’t have to have the right
answer – any answer is valid if it can be explained.
Section B: Unseen Poetry
Answer the question in this section. You are advised to spend about 30 minutes
on this section.
Read the poem below and answer the question that follows.
The Song of the Old Mother
I rise in the dawn, and I kneel and blow
Till the seed of the fire flicker and glow;
And then I must scrub and bake and sweep
Till stars are beginning to blink and peep;
And the young lie long and dream in their bed
Of the matching of ribbons for bosom and head,
And their days go over in idleness,
And they sigh if the wind but lift a tress:
While I must work because I am old,
And the seed of the fire gets feeble and cold.
W B YEATS
What do you think the poet is saying about the old woman in the poem? How
does he present his ideas? (18 marks)
A HIT POEM is another strategy to respond to an unseen poem. It is only useful if
you know what each word refers to. Below is a quick explanation of each one.
About - what happens in the poem – what is it about?
Historical/Social Context – Any important contextual
information. E.G. it may be a war poem from World War One
Imagery – What images are used & what effect do they have?
Techniques – What poetic techniques are used?
Personal response – what are your personal feelings about it?
Organisation – How has the poet structured the poem?
Emotions – What is the tone or mood?
Message – What is the theme? What is the poet’s message
Let’s now look at how an answer following A HIT POEM could appear.
Song of the Old Mother
ABOUT
HISTORICAL
CONTEXT
IMAGERY
TECHNIQUES
PERSONAL
RESPONSE
ORGANISATION
‘Song of the Old Mother’ by WB Yeats is about an old woman describing the chores
that she does every day. In the first two lines the old woman gets out of bed then
lights the fire. She cooks and cleans until nightfall. The woman thinks that young
people are lazy and have a much easier and carefree life than she does. In the final
two lines the woman says that she must work because she is old and at the end of
the poem the fire, that took her a lot of effort to light, has gone out again.
Written in 1899 and set in rural Ireland the poem reveals what life was like for
peasant women in those times. As she is a poor and aging woman, her life is hard
and very repetitive. WB Yeats uses this old woman to show what life was like for
the poor and elderly in rural Ireland.
‘Song of the Old Mother’ uses imagery very effectively. Words such as ‘kneel’,
‘scrub’ and ‘sweep’ convey the hard physical work that the old woman does every
day while ‘the seed of the fire gets feeble and cold’ creates a mood of sadness as,
despite all her efforts, the fire goes out. The image of the fire going out could
symbolise her life coming to an end as, like the fire, she too is feeble and dying.
Contrast is used to reveal the different lifestyles of the old woman and the young
people. Images used to describe the young include ‘the young lie long and dream in
their bed’ and ‘their day goes over in idleness’ which are very different to the
images of drudgery used to describe the old woman’s life. Such imagery has an
emotive effect as it is intended to make us feel sympathetic for the woman and
angry towards the idle young people.
Yeats uses a number of poetic techniques in the poem. The metaphor ‘the seed of
the fire flicker and glow’ creates a vivid image of the fire growing from a tiny
spark to a full grown fire whilst the repetition of this image in the final line, ‘the
seed of the fire gets feeble and cold’ emphasises how repetitive her life is. The
metaphor of the fire getting weaker and dying also foreshadows the future for the
old woman and creates sympathy for her.
Alliteration is used to contrast the hard work of the old woman with life of the
young people. In ‘the young lie long’ the repeated ‘l’ sound creates a lazy, languid
feel to emphasise the carefree, idle lifestyle of the younger generation. I find the
final line of the poem very effective. ‘And the seed of the fire gets feeble and
cold’ makes me feel sad as it suggests that the old woman, who has had a life of
drudgery and poverty, is nearing the end of her days.
The poem uses rhyming couplets and rhythm very cleverly. The rhyming couplets
such as ‘blow/glow’ and ‘old/cold’ give the poem a repetitive feel like the woman’s
work and the use of a steady rhythm makes the poem read like a song which fits
with the title of the poem.
EMOTION
MESSAGE
The poem has a sorrowful tone. The list of hard and menial jobs in the third line
‘scrub and bake and sweep’ makes the reader feel sorry for the old woman. The
contrast between her day to day struggle and the idle life of the young adds to
this gloomy mood and the line ‘I must work because I am old’, which suggests that
the woman has no choice but to work until she dies, reinforces the melancholic
feeling of the poem.
‘The Song of the Old Mother’ deals with a number of themes. Yeats explores old
age and the attitudes of elderly people towards the young. The poem also covers
issues such as poverty and life in rural Ireland at the turn of the century. Maybe
Yeats was trying to show what life was like for old people who have to do lots of
work and perhaps he hopes that the poem will change people’s attitudes towards
poor elderly people
Exam question: Read the poem below and answer the question that follows.
A Marriage
You are holding up a ceiling
with both arms. It is very heavy,
but you must hold it up, or else
it will fall down on you. Your arms are tired, terribly tired,
and, as the day goes on, it feels
as if either your arms or the ceiling
will soon collapse.
But then
unexpectedly,
something wonderful happens:
Someone,
a man or a woman,
walks into the room
and holds their arms up
to the ceiling beside you.
So you fi nally get
to take down your arms.
You feel the relief of respite,
the blood fl owing back
to your fi ngers and arms.
And when your partner’s arms tire,
you hold up your own
to relieve him again.
And it can go on like this
for many years
without the house falling.
Michael Blumenthal
What do you think are the feelings about marriage in this poem and how does the poet present
these feelings to the reader? (18 marks)
Seed
The first warm day of spring
and I step out into the garden from the gloom
of a house where hope had died
to tally the storm damage, to seek what may
have survived. And finding some forgotten
lupins I'd sown from seed last autumn
holding in their fingers a raindrop each
like a peace offering, or a promise,
I am suddenly grateful and would
offer a prayer if I believed in God.
But not believing, I bless the power of seed,
its casual, useless persistence,
and bless the power of sun,
its conspiracy with the underground,
and thank my stars the winter's ended.
Paula Meehan
1. What in your view is the message in this poem? Explain briefly how the poet conveys
this? Make reference to the text in support of your answer.
WAITING
My love will come
will fling open her arms and fold me in them
will understand my fears, observe my changes.
In from the pouring dark, from the pitch night
without stopping to bang the taxi door
she.ll run upstairs through the decaying porch
burning with love and love.s happiness,
she.ll run dripping upstairs, she won.t knock,
will take my head in her hands,
and when she drops her overcoat on a chair
it will slide to the floor in a blue heap.
Yevgeny Yevtushenko
1. What are the writers thoughts about love?What techniques does the poet use to show
his feelings?
Read the following poem by Pakistani poet, Imtiaz Dharker, in which she celebrates the
importance of water to a community, and answer the questions which follow.
Blessing
The skin cracks like a pod.
There never is enough water.
Imagine the drip of it,
the small splash, echo
in a tin mug,
the voice of a kindly god.
Sometimes, the sudden rush
of fortune. The municipal pipe bursts,
silver crashes to the ground
and the flow has found
a roar of tongues. From the huts,
a congregation: every man woman
child for streets around
butts in, with pots,
brass, copper, aluminium,
plastic buckets,
frantic hands,
and naked children
screaming in the liquid sun,
their highlights polished to perfection,
flashing light,
as the blessing sings
over their small bones.
Imtiaz Dharker
1. From your reading of this poem what do you learn about the people in it and the place
where it is set? What techniques does the poet use to convey the atmosphere in the poem.
Support your answer with reference to the poem.
Unseen poetry
Contents
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Unseen poetry
Contents
Contents
Introduction ............................................................................................... 004
Top tips for approaching an unseen poem ............................................................ 005
Unit 1 ...................................................................................................... 008
‘At the Draper’s’ by Thomas Hardy
Teaching notes .......................................................................... 008
Poem ...................................................................................... 010
Student workbook ...................................................................... 011
‘Remember’ by Christina Rossetti
Teaching notes .......................................................................... 015
Poem ...................................................................................... 017
Student workbook ...................................................................... 018
Comparison resource ............................................................................ 021
Exam questions .................................................................................. 024
Unit 2 ...................................................................................................... 032
‘Late Love’ by Jackie Kay
Teaching notes .......................................................................... 032
Poem ...................................................................................... 034
Student workbook ...................................................................... 035
‘Love and Friendship’ by Emily Brontë
Teaching notes .......................................................................... 039
Poem ...................................................................................... 041
Student workbook ...................................................................... 042
Comparison resource ............................................................................ 045
Exam questions .................................................................................. 048
Unit 3 ...................................................................................................... 056
‘Finding the Keys’ by Robin Robertson
Teaching notes .......................................................................... 056
Poem ...................................................................................... 058
Student workbook ...................................................................... 059
‘October’ by Robert Frost
Teaching notes .......................................................................... 063
Poem ...................................................................................... 065
Student workbook ...................................................................... 066
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Unseen poetry
Comparison resource ............................................................................ 069
Exam questions .................................................................................. 072
Unit 4 ...................................................................................................... 081
‘Calling Card’ by Tracey Herd
Teaching notes .......................................................................... 081
Poem ...................................................................................... 083
Student workbook ...................................................................... 085
‘For Meg’ by Fleur Adcock
Teaching notes .......................................................................... 089
Poem ...................................................................................... 091
Student workbook ...................................................................... 092
Comparison resource ............................................................................ 095
Exam questions .................................................................................. 097
Unit 5 ...................................................................................................... 108
‘A London Thoroughfare. 2am.’ by Amy Lowell
Teaching notes .......................................................................... 108
Poem ...................................................................................... 110
Student workbook ...................................................................... 112
‘Frost Fair’ by Rowyda Amin
Teaching notes .......................................................................... 116
Poem ...................................................................................... 118
Student workbook ...................................................................... 119
Comparison resource ............................................................................ 123
Exam questions .................................................................................. 127
Unit 6 ...................................................................................................... 136
‘Long Life’ by Elaine Feinstein
Teaching notes .......................................................................... 136
Poem ...................................................................................... 138
Student workbook ...................................................................... 139
‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Teaching notes .......................................................................... 136
Poem ...................................................................................... 140
Student workbook ....................................................................... 141
Comparison resource ............................................................................ 142
Exam questions .................................................................................. 144
Additional practice exam questions ................................................................. 152
Acknowledgements ...................................................................................... 161
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Unseen poetry
Introduction
Introduction
This GCSE pack is designed to prepare students for the unseen poetry element of the
English Literature GCSE.
The pack has been devised for use with the AQA, Edexcel, OCR and WJEC Eduqas
specifications for GCSE English Literature. The activities and ideas will help students to
develop confidence in approaching unseen poems, exploring the key elements including
language, structure and tone.
The pack contains six pairs of poems with accompanying resources (including a
comparison resource), teaching notes and practice exam questions. The resources have
been created in a specific order and are designed to empower students and improve
their confidence as they work their way through the pack.
Each resource has space for student answers and notes so they can easily keep track of
their work – excellent for revision!
There is a final pair of poems with practice exam questions (no resources or teaching
notes) so that students can gain realistic exam experience. Please note that the final
pair of poems are quite challenging so you might like to provide your students with some
contextual information for these.
The poems are paired in units as follows:
1. ‘At The Draper’s’ by Thomas Hardy with ‘Remember’ by Christina Rossetti
2. ‘Late Love’ by Jackie Kay with ‘Love and Friendship’ by Emily Brontë
3. ‘Finding the Keys’ by Robin Robertson with ‘October’ by Robert Frost
4. ‘Calling Card’ by Tracey Herd with ‘For Meg’ by Fleur Adcock
5. ‘A London Thoroughfare. 2 am’ by Amy Lowell with ‘Frost Fair’ by Rowyda Amin
6. ‘Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by
Beatrice Garland
7. ‘An Aviary of Small Birds’ by Karen McCarthy Woolf and ‘Mother o’Mine’ by
Rudyard Kipling
Our thanks go to contributor Trevor Millum who has written this pack.
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Top tips for approaching an unseen poem
Top tips resource
Top tips for approaching an unseen poem
Don’t panic
The poem may well appear unfamiliar or difficult at first sight. It will be the same for
everybody. Read it through twice without trying to understand everything. Read it again and
make notes on anything you find interesting without at this stage worrying about what the
question is asking you to focus on. Then go back to the question and make more specific notes
alongside the poem.
Things to look out for:
Repetition
Repeated words, phrases or sounds - they will be significant
Contrasts
Slow/fast, hot/cold, light/dark, happy/sad, old/new, old/young and so
on
Beginnings and
endings
Especially endings, as this is where a poet may sum up or contradict the
previous lines
Punctuation
and line breaks
Usually a poem will be punctuated in the same way as prose but
because of the line breaks, it is less noticeable. Look out for very short
and very long sentences or a lack of sentences. Where a line breaks
may or may not be significant; just be aware of them and anything that
stands out, such as a single word or two on a line.
The title
It may be obvious as in ‘Remember’ or it may be an important guide to
the poem, as in ‘Fish oil, exercise and no wild parties’.
Voice/persona
Pay attention to the poet’s voice. Who is the ‘speaker’ in the poem? Is it the poet or has she/he
taken on a persona (i.e. speaking in the voice of a character?) In either case, who is being
spoken to? Is it a general audience (you and me) or a particular person? Often a poet will write
very personal poems and yet publish them for a general audience, for example, Elizabeth Barratt
Browning’s sonnets to Robert Browning.
The poem may contain unfamiliar words. Mostly these will be explained by the examiner but if
others remain, you will almost always be able to work out their meaning or their gist through the
context. Don’t worry too much about them; you are not being tested on your knowledge of
individual words.
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Top tips for approaching an unseen poem
Technical terms
Make sure you know the most common terms such as metaphor, simile, alliteration and so on.
But don’t overdo their use. You will not get marks for saying ‘black as death’s pyjamas is a
simile’ (or a comparison, or figurative language). You will get marks for saying what its effect is
or why it is important.
Form and structure
The form of the poem is the way the poet has arranged it. This may be obvious in the case of a
sonnet or another traditional verse form but it can be difficult to describe poems written in free
form without a discernible pattern – except to say just that if it is relevant. For example, if the
poem is written in a way which reflects conversation or colloquial speech, it may be relevant to
note that ‘the free form of the poem reflects …etc.’
Structure is subtly different. It might be seen as the skeleton that lies beneath the outward
form of the poem, or something even less solid, the muscles and tendons, perhaps. It can
reflect the meaning of the poem more easily than the form. For example, in Keats’ poem ‘To
Autumn’, the form is a clear three-verse pattern with a regular rhyme and rhythm. The structure
reflects the changing nature of autumn as it moves from warm harvest time through to chillier
signs of coming winter.
Words words words
Look out for verbs, nouns and pronouns. A quick
underlining of the verbs in a poem can often reveal
interesting things. They may tend to be very active as
in ‘Frost Fair’, or calmer, more neutral as in ‘Long Life’.
Similarly with nouns: are there lots? Are they mainly
concrete or abstract? Are they meant literally or
figuratively? And finally, pronouns can say a lot too –
see voice and persona.
Tone or mood
This is one of the trickiest things to describe. Try, through practice, to build up a vocabulary of
helpful words. If you are stuck, you can use phrases such as ‘It feels as if the writer is …’ or ‘the
mood reminds me of …’
Sound
Because most poems are now read on the page we often overlook how they sound when read
aloud. Try to read the poem aloud ‘in your head’ – it can be done! It will help you notice sound
repetitions which may add to the poem’s effect. Never write ‘The poet has used assonance in
the third line …’; it doesn’t add anything of interest. Instead try to write something like ‘The
assonance in the third line (especially the sound of …) underlines the feeling of ....’
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‘At the Draper’s’ by Thomas Hardy
Figurative language
This is a general term for comparisons, metaphors, similes and imagery. ‘It felt like riding on the
dome of St Pauls in an earthquake’ is clearly figurative language, a comparison of one real thing
(riding on the elephant) to something imagined. It happens to be a simile rather than a
metaphor but do not labour over the difference – the important thing is to notice that it is
figurative language and to comment on it, if appropriate, e.g. is it effective and why?
It is also useful to notice where a poet does not use figurative language. Elaine Feinstein, in
‘Long Life’, uses hardly any, relying on the description of actual things.
Poetic terms you should know:
alliteration
assonance
blank verse
couplet
dramatic
monologue
enjambment and
end-stopped line
iambic
pentameter
metaphor
onomatopoeia
personification
rhyme
simile
sonnet
stanza
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Unit 1
Teaching notes
‘At the Draper’s’ by Thomas Hardy
Unit 1
A Teaching notes – At the Drapers
Teaching notes
‘At the Draper’s’ Thomas Hardy
(1840-1928)
First encounter

Some scene setting would be useful, given the context of Victorian/Edwardian attitudes
to and styles of mourning. However, historical knowledge is not needed to deduce the
motives and emotions of the characters in this brief sketch.

With a little practice it should be possible for two students to read the dialogue as if it
were a play. Try to involve students in varying the tone of voice. How does the wife
speak her lines? Is she shocked or embarrassed, or perhaps a bit cross at being spied on?
Is the husband genuinely wanting to avoid upsetting her – or is he making a point?
Getting closer to the poem

Explore what may have taken place before and after the extract as a way of getting
students to see that this is a narrative – and only one snippet from a much longer,
imagined, one.

There are some deliberately unfamiliar terms in the selection of words to describe the
husband’s attitude. Ask students to look them up and share the findings. The husband’s
tone of voice is crucial to the way the poem is interpreted. Do students find him sincere
or self-pitying? Did he wish to avoid upsetting her or does he wish to show her up as
more interested in fashion than in his death? How does the language used by Hardy help
to support one or other interpretation?
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Unit 1
Teaching notes
‘At the Draper’s’ by Thomas Hardy
Structure

The formality of the structure supports something informal: a conversation. One can read
too much into these things but it is worth drawing attention to the formality of mourning
and its associated rites together with the highly informal emotions in the hearts of the
characters – typical of our (perhaps stereotyped) view of the period’s ‘buttoned-up’
attitudes?
The words on the page

It is left to the draper’s use of language to make the most telling impact. Elsewhere
Hardy’s vocabulary is, like the husband’s, restrained.

In the third verse ‘latest’ and ‘lovely’ contrast markedly with ‘cold’ and ‘ashen’. Then
notice how the husband continues implacably to make his point with ‘screwed in a box’ –
surely the most powerful point in the poem. Students may well pick these words out as
important and note their juxtaposition with the final word: ‘adorning’.
Inside the poem

Hardy avoids figurative language in this poem, focusing on the drama of the exchange,
using his skills as a novelist to good effect. It is an effective dialogue with its
exclamations and interruptions but, of course, heightened and made less realistic by
being in rhyming verse.

The rhymes are very clever. ‘Fashion’ and ‘ashen’ make a telling contrast and the final
verse doubles the rhyme and the impact with ‘dress you / distress you’ and
‘mourning/adorning’.
A further encounter

These questions can lead to interesting – and lengthy – discussions. The important thing
to bring out of them is the way that a short poem, describing a brief moment in two
lives, can evoke a whole relationship.

In the situation of an exam hall, there is no time to enact scenes and discuss
relationships. However, students need to be aware that the poem they may be presented
with has implications far beyond anything they can deal with in the time allowed for an
answer. They need to be able to spot the possibilities and then prioritise: assess the
wider picture and then focus in on what is required.
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Unit 1
Teaching notes
‘At the Draper’s’ by Thomas Hardy
At the Draper’s
‘At the Draper’s’ Thomas Hardy
(1840-1928)
“I STOOD at the back of the shop, my dear,
But you did not perceive me.
Well, when they deliver what you were shown
I shall know nothing of it, believe me!”
And he coughed and coughed as she paled and said,
“O, I didn’t see you come in there—
Why couldn’t you speak?”—’Well, I didn’t. I left
That you should not notice I’d been there.
“You were viewing some lovely things. ‘Soon required
For a widow, of latest fashion’;
And I knew ‘twould upset you to meet the man
Who had to be cold and ashen
“And screwed in a box before they could dress you
‘In the last new note in mourning,’
As they defined it. So, not to distress you,
I left you to your adorning.”
Glossary: draper - a shop which sold fabric and sewing items and often dresses also.
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Unit 1
Student workbook
‘At The Draper’s’ by Thomas Hardy
First encounter
1. Read the poem through. Pause. Read it again. The words are spoken by a husband to
his wife but it is not a usual love poem. Write it out as if it were prose. Here’s how it
could begin:
“I stood at the back of the shop, my dear, but you did not perceive me. Well,
when they deliver what you were shown I shall know nothing of it, believe me!”
And he coughed and coughed as she paled and said, “O, I didn’t see you come in
there—Why couldn’t you speak?”
‘Well, …
2. How does the fifth line of the poem give us a clue as to what the poem is about?
.................................................................................................
.................................................................................................
3. Do you think the writer, Hardy, is the ‘he’ in the poem? Give your reasons.
.................................................................................................
.................................................................................................
Getting closer
The poem is like a story – or an extract from a story. In pairs, one of you write a brief
summary of what might have happened before this extract and the other write a
brief summary of what might happen afterwards. How do they compare?
What happened before
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What happened after
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Unit 1
Student workbook
’At the Draper’s’ by Thomas Hardy
4. What is the husband’s tone of voice?
Choose one of the above or add your own. Explain your choice.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
Structure – the way the poem is built
1. The poem has a very clear and formal structure. How does this reflect the theme of
the poem?
.................................................................................................
.................................................................................................
The words on the page
1. Notice how these phrases are emphasised with double quotation marks:
“Soon required for a widow, of latest fashion;” and “In the latest new note in
mourning,”.
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Unit 1
Student workbook
’At the Draper’s’ by Thomas Hardy
What is their significance?
.................................................................................................
.................................................................................................
2. The poem is very restrained in its use of adjectives. In the third verse, though, there
is an interesting contrast of adjectives. Pick out these adjectives and explain how
they contrast with each other.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
3. What do you think are the most important words in the poem. Why?
.................................................................................................
.................................................................................................
Inside the poem
1. Imagery: does the poem make use of figurative language (e.g. simile or
metaphor)? If yes, describe where and with what effect. If no, why do you
think this is so?
.................................................................................................
.................................................................................................
.................................................................................................
2. Sound: The poem is meant to be read as a piece of dialogue. How close do
you think it is to actual speech, bearing in mind it was written roughly one
hundred years ago?
.................................................................................................
.................................................................................................
.................................................................................................
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Unit 1
Student workbook
’At the Draper’s’ by Thomas Hardy
3. Rhyme and rhythm: The poem has a very definite pattern both in rhythm
and rhyme. Some of the rhymes are unusual. Do the rhymes add to the
effect of the poem or do they distract from it? Explain your thinking.
.................................................................................................
.................................................................................................
.................................................................................................
A further encounter
1. ‘At the Draper’s’ requires several readings. After you have read it a few times, think
about these points and discuss your thoughts with a partner:

The husband did not wish his wife to see him at the draper’s so why does he now
reveal it?

How is the wife portrayed?

How might the wife describe her visit to the draper’s?
Thoughts, response, conclusion
1. What is your personal response to the poem?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
2. Does the poem work as a ‘snapshot’ of an event?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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Unit 1
Student workbook
‘Remember’ by Christina Rossetti
Teaching notes – Remember
Teaching notes
‘Remember’
Christina Rossetti
(1830-1894)
First encounter

‘Remember’ is not a particularly difficult poem but students may need some help with
the context of Victorian notions of love and death. However, for some students it may be
helpful to read the poem without the verse form:
Remember me when I am gone away, gone far away into the silent land; when you
can no more hold me by the hand, nor I half turn to go yet turning stay.
Remember me when no more day by day you tell me of our future that you planned:
only remember me; you understand it will be late to counsel then or pray.
Yet if you should forget me for a while and afterwards remember, do not grieve: for
if the darkness and corruption leave a vestige of the thoughts that once I had, better
by far you should forget and smile than that you should remember and be sad.

The poem is a personal one which prompts the question, why did the writer publish a
poem which appears to be written to a particular person with a private and very personal
message?
Getting closer to the poem

The terms that students choose are less important than their reasons. Developing a
vocabulary to describe tone or the general impact of a poem (or any piece of writing) is a
key skill so help and encouragement here is valuable. Tease out why ‘resigned’ or
‘philosophical’ might be better descriptors than ‘sad’, for example.
Structure

At this stage, students should be able to recognise a sonnet. If not, a short revision
session is in order! They do not need to know the intricacies of Shakespearean or
Petrarchan forms, just a basic understanding.
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Unit 1
Teaching notes
‘Remember’ by Christina Rossetti

There is a change at the beginning of the sestet, and Rossetti indicates this clearly with
the word ‘Yet’. See if students can put this into their own words, such as "She wants him
to remember her but then she says it’s all right if he forgets her for a while …"
Language – the words on the page

Students will notice the obvious repetition of ‘remember’ but might miss all the personal
pronouns: so many uses of ‘I’, ‘me’ and ‘you’. These have the cumulative effect of
making this a very personal message. There is also a significant number of negatives:
‘forget’, ‘no’, ‘nor’, ‘not’ … By the end of the poem, we are not likely to forget the
theme!

Adjectives are used sparsely and, for a poem which is about thoughts and feelings, there
are a lot of active verbs: ‘hold’, ‘turn’, ‘stay’, ‘tell’, planned and so on as well as nouns.
Although the message is hypothetical, it is expressed in a very concrete manner, with
plenty of specific examples. It could have been a vague statement full of abstractions but
is the more powerful for avoiding them.

Asking students to pick out ‘important’ words is a way of getting them to read closely. It
does not matter which words they choose, it is the discussion about the choices which
will help understanding.
Inside the poem

Rossetti uses very little imagery and not a lot can be made of the two examples, which
offer little in the way of simile or metaphor! Interestingly, the very religious Rossetti
sees death as silent, dark and rotting rather than a joyful afterlife.

We want to get students into the habit of considering sound effects and there is a
definite preponderance of long vowel sounds, which they should be able to notice.
Whether this has any significance beyond contributing to the melody of the lines is
debatable – but students may have some interesting suggestions.

The rhyme and rhythm of the sonnet is obvious. How far it influences the reader or
listener will depend on how it is read. Try reading it with an exaggerated da-dum da-dum
rhythm which also emphasises the rhyme, and then contrast it with a more subtle
interpretation. The poem should rise above its form.
Response

Students’ responses need to be directed away from a like/dislike reaction into something
more considered. Most importantly, it should be possible to appreciate something
without having to like it.
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Unit 1
Teaching notes
‘Remember’ by Christina Rossetti
Remember
‘Remember’
Christina Rossetti
(1830-1894)
Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
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Unit 1
Student workbook
‘Remember’ by Christina Rossetti
First encounter
1. Read the poem through. Pause. Read it again.
2. Now read the first line and the last two lines. Sum up what you think the poem is
about.
.................................................................................................
.................................................................................................
.................................................................................................
3. Do you think the writer of the poem, Rossetti, is also the ‘I’ in the poem?
Why do you think that?
.................................................................................................
.................................................................................................
.................................................................................................
4. Is the poem aimed at a general readership or a particular audience?
.................................................................................................
.................................................................................................
Getting closer to the poem
1. How would you describe the tone of the poem? Choose one of these descriptors or
add your own and say why:
.................................................................................................
.................................................................................................
.................................................................................................
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Unit 1
Student workbook
‘Remember’ by Christina Rossetti
Structure – the way the poem is built
1. The poem is written in a particular form, which you should
recognise. If you do not, check with a partner and/or your
teacher. In this form, there is often a change at about the
ninth line so that the final lines offer a slight contrast to
the first eight. What kind of change do you notice here?
.................................................................................................
.................................................................................................
The words on the page
1. Now look at the language the poet uses. Would you say the words used are generally
familiar to you? If there are any words - such as ‘vestige’ - that are unfamiliar, see if
you can work out the likely meaning from the context.
2. What repetition do you notice? Don’t forget to look out for little words such as
pronouns. What is the significance of this repetition?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
3. What is the overall balance between nouns, verbs and adjectives? There is no need to
count them, a general impression is enough and may give you an insight into the
poet’s approach.
.................................................................................................
.................................................................................................
.................................................................................................
4. What do you think are the most important words in the poem apart from the ones
that are repeated?
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Unit 1
Student workbook
‘Remember’ by Christina Rossetti
Inside the poem
1. Imagery: What do you think is the effect of ‘silent land’ and ‘darkness and
corruption’? Overall, what would you say about Rossetti’s use of imagery?
.................................................................................................
.................................................................................................
.................................................................................................
2. Sound: Is there a particular vowel sound that is more common than others?
What, if any, would be the effect of this repetition?
.................................................................................................
.................................................................................................
.................................................................................................
3. Rhyme and rhythm: There is a very clear rhyme pattern and a rhythm to
the poem. Do they, in your opinion, help or hinder an appreciation of the
poem’s message? Why?
.................................................................................................
.................................................................................................
.................................................................................................
Thoughts, response, conclusion
1. What is your personal response to the poem?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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Student workbook
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
Comparison resource
This table gives you a template to help in a comparison of the poems of Rossetti and Hardy. Make notes around the poems. You may
find it helpful to highlight or underline words and phrases in the poems and link them to a central note. Your notes can then be used
as a basis for a fuller answer (see table on the next page).
‘Remember’
‘At the Draper’s’
Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
“I STOOD at the back of the shop, my dear,
But you did not perceive me.
Well, when they deliver what you were shown
I shall know nothing of it, believe me!”
Christina Rossetti
“And screwed in a box before they could dress you
‘In the last new note in mourning,’
As they defined it. So, not to distress you,
I left you to your adorning.”
And he coughed and coughed as she paled and said,
“O, I didn’t see you come in there—
Why couldn’t you speak?” — “Well, I didn’t. I left
That you should not notice I’d been there.
“You were viewing some lovely things. ‘Soon required
For a widow, of latest fashion’;
And I knew ‘twould upset you to meet the man
Who had to be cold and ashen
Thomas Hardy
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Comparison resource
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
While it is likely that Rossetti is writing personally,
Hardy is …
Hardy suggests the feelings of the husband by …
Rossetti’s emotions are more …
Both poems have a definite verse form. ‘Remember’
is a …
Both writers use language which is …
The use of imagery in the poems is …
The use of ‘yet’ in ‘Remember’ indicates …
(Is there a change of emphasis in ‘At the Draper’s’?)
Rossetti contrasts the present and the future, the physical
and the abstract, e.g. …
Hardy’s poem also contains contrasts …
Overall, I think …
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Comparison resource
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
To the teacher
Comparing texts is a sophisticated skill and students need to be introduced to it gently.
Many exam questions will ask them to focus on specific elements. This table offers a way
of organising a general comparison in order to build some confidence in their abilities to
see similarities and differences. Having the two poems immediately visible next to each
other is an additional help.
If the table can be enlarged to A3, so much the better and students may like to work on
it in pairs. Further notes can be made in the spaces under the poems.
Alternatively, the table could be projected onto a whiteboard and filled in as a class
discussion activity.
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Comparison resource
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
Exam questions
AQA exam style question
Section C: Unseen poetry
Answer both questions in this section
At the Draper’s
“I STOOD at the back of the shop, my dear,
But you did not perceive me.
Well, when they deliver what you were shown
I shall know nothing of it, believe me!”
5
10
15
And he coughed and coughed as she paled and said,
“O, I didn’t see you come in there—
Why couldn’t you speak?”—“Well, I didn’t. I left
That you should not notice I’d been there.
“You were viewing some lovely things. ‘Soon required
For a widow, of latest fashion’;
And I knew ‘twould upset you to meet the man
Who had to be cold and ashen
“And screwed in a box before they could dress you
‘In the last new note in mourning,’
As they defined it. So, not to distress you,
I left you to your adorning.”
Thomas Hardy
1. In ‘At the Draper’s’, how does the poet presents the speaker’s feelings about his wife?
[24 marks]
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Exam questions
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
Remember
Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
5
Remember me when no more day by day
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
10
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
Christina Rossetti
2. In both ‘At the Draper’s’ and ‘Remember’ the speakers describe how people deal with
the prospect of death. What are the similarities and/or differences between the ways the
poets present those feelings?
[8 marks]
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Exam questions
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
Edexcel exam style question
SECTION B, Part 2 – Unseen Poetry
Read the two poems and answer the question.
You should spend about 45 minutes on this section.
At the Draper’s
“I STOOD at the back of the shop, my dear,
But you did not perceive me.
Well, when they deliver what you were shown
I shall know nothing of it, believe me!”
And he coughed and coughed as she paled and said,
5
“O, I didn’t see you come in there—
Why couldn’t you speak?”—“Well, I didn’t. I left
That you should not notice I’d been there.
“You were viewing some lovely things. ‘Soon required
For a widow, of latest fashion’;
10
And I knew ‘twould upset you to meet the man
Who had to be cold and ashen
“And screwed in a box before they could dress you
‘In the last new note in mourning,"
As they defined it. So, not to distress you,
15
I left you to your adorning.”
Thomas Hardy
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Unit 1
Exam questions
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
Remember
Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
5
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
10
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
Christina Rossetti
1. Compare the ways the writers present the prospect of death in At the Draper’s and
Remember.
In your answer you should compare:



the ideas in the poems
the poets’ use of language
the poets’ use of form and structure.
Use evidence from the poems to support your comparison.
(Total for question = 20 marks)
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Exam questions
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
WJEC Eduqas exam style question
SECTION C (UNSEEN POETRY)
Answer both part a) and part b). You are advised to spend about 20 minutes on part
(a) and about 40 minutes on part (b).
1. Read the two poems, At the Draper’s by Thomas Hardy and Remember by Christina
Rossetti. In both of these poems the poets write about the prospect of death.
(a) Write about the poem At the Draper’s by Thomas Hardy and its effect on you.
[15]
You may wish to consider:




what the poem is about and how it is organised;
the ideas the poet may want us to think about;
the poet’s choice of words, phrases and images and the effects they create;
how you respond to the poem.
At the Draper’s
“I STOOD at the back of the shop, my dear,
But you did not perceive me.
Well, when they deliver what you were shown
I shall know nothing of it, believe me!”
And he coughed and coughed as she paled and said,
“O, I didn’t see you come in there—
Why couldn’t you speak?”—“Well, I didn’t. I left
That you should not notice I’d been there.
“You were viewing some lovely things. ‘Soon required
For a widow, of latest fashion’;
And I knew ‘twould upset you to meet the man
Who had to be cold and ashen
“And screwed in a box before they could dress you
‘In the last new note in mourning,’
As they defined it. So, not to distress you,
I left you to your adorning.”
Thomas Hardy
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Exam questions
‘At the Draper’s’ by Thomas Hardy and ‘Remember’ by Christina Rossetti
(b) Now compare At the Draper’s by Thomas Hardy and Remember by Christina Rossetti.
[25]
You should compare:




what the poems are about and how they are organised
the ideas the poets may have wanted us to think about
the poets’ choice of words, phrases and images and the effects they create
how you respond to the poems.
Remember
Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
Christina Rossetti
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Unit 1
Exam questions
’At the Draper’s’ by Thomas Hardy and ‘Now’ by Robert Browning
OCR exam style question
Section A
Poetry across time
Read the two poems below and then answer both part a) and part b).
You are advised to spend about 45 minutes on part a) and 30 minutes on part b).
a) Compare how the speakers in these poems express feelings about the prospect of loss.
You should consider:



ideas and attitudes in each poem
tone and atmosphere in each poem
the effects of the language and structure used.
[20]
AND
b) Explore in detail one other poem from your anthology which also explores death.
[20]
At the Draper’s by Thomas Hardy
“I stood at the back of the shop, my dear,
But you did not perceive me.
Well, when they deliver what you were shown
I shall know nothing of it, believe me!”
And he coughed and coughed as she paled and said,
“O, I didn’t see you come in there—
Why couldn’t you speak?”—“Well, I didn’t. I left
That you should not notice I’d been there.
“You were viewing some lovely things. ‘Soon required
For a widow, of latest fashion’;
And I knew ‘twould upset you to meet the man
Who had to be cold and ashen
“And screwed in a box before they could dress you
‘In the last new note in mourning,’
As they defined it. So, not to distress you,
I left you to your adorning.”
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Unit 1
Exam questions
’At the Draper’s’ by Thomas Hardy and ‘Now’ by Robert Browning
Now by Robert Browning
Out of your whole life give but a moment!
All of your life that has gone before,
All to come after it, - so you ignore
So you make perfect the present, –condense,
In a rapture of rage, for perfection’s endowment,
Thought and feeling and soul and sense –
Merged in a moment which gives me at last
You around me for once, you beneath me, above me–
Me– sure that despite of time future, time past, –
This tick of our life-time’s one moment you love me!
How long such suspension may linger? Ah, Sweet –
The moment eternal – just that and no more –
When ecstasy’s utmost we clutch at the core
While cheeks burn, arms open, eyes shut and lips meet!
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Unit 1
Exam questions
’Late Love’ by Jackie Kay
Unit 2
Teaching notes – Late love
Teaching notes
‘Late Love’
Jackie Kay
(b.1961)
First encounter

The questions here are to provoke discussion. The tone of the poem suggests that the
negative view of those not in love is that of the ones who are in love but this is not
overtly stated. This is a question of reading between the lines and of admitting that two
diverging views are possible.
Getting closer to the poem

This section focuses more closely on the tone and asks students to discriminate between
some subtle differences. There is an opportunity to discuss the distinction between
‘ironic’ and ‘sarcastic’, for example. Again, there is room for disagreement; is Kay being
merely observant or is she herself looking down on both sets of people?
Structure – the way the poem is built

There are many reflections of the first stanzas in the second part. Less able students
could take the highlighted version below and look for equivalents in the third and fourth
stanzas.
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
How filmic they are just for this time.
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
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Teaching notes
’Late Love’ by Jackie Kay

There are, of course, many differences too. Perhaps the most striking occurs with the
fourth stanza and the last, separate line, which moves away from the caricatures of the
preceding stanzas and seems more reflective and sympathetic – the poet’s own voice
coming through, perhaps?
The words on the page

Students should be on firmer ground here, looking at the writer’s language choices and
their effect. While focusing on word choice, draw attention to the significant repetition
of ‘they’ and ‘their’. Doesn’t this give the poem a very ‘us’ and ‘them’ feeling?
Inside the poem

The poem does have a coherence and a form which is made quite explicit in the way the
poet has divided it into four equal stanzas and with lines of similar length. Students can
have some fun spotting rhyme and near rhyme. The change of tone towards the end of
the poem together with the final line make for a challenge. What is it that is miles away,
fading? And why is the poem called ‘Late Love’? There is no hint in the rest of the poem
that the topic is that of people falling in love later in life but perhaps that is what Kay
wishes us to pick up on. Maybe younger people who are ‘in love’ don’t go around so full
of themselves?
Thoughts, response, conclusion

It will be interesting to hear how students respond to the poem. Its theme does seem
rather worldly for a young readership – but young readers can surprise with their insights.
The poet on the poem

This quote from Jackie Kay is included in order to add to a final discussion – though it
doesn’t answer all of the questions posed above!
‘Late Love’ is the opening poem in my collection Life Mask, a book that dwells on the
various masks we wear. In this poem, I was interested in how people in love differ from
people who have fallen out of love and how physically that manifests itself. I was also
interested in the idea that when people are madly in love they are in love with the idea
of being in love as much as they are with each other, and so the world feels as if it
belongs to them, and they feel invincible, forgetting the other, sadder state of not
being desired or wanted.
I wanted the poem to explore both states – in and out of love – and turn on a line, the
way that love can change in a day. And I hoped that the poem might make people laugh
with recognition. I wanted to explore the idea that being in love itself can be a kind of a
mask, and that there is a certain amount of kidding that must go on – ‘I’ve never felt
like this before’ etc. – for the crazy state to be entered fully!
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Unit 2
Teaching notes
’Late love’ by Jackie Kay
Late Love
‘Late Love’
Jackie Kay
(b.1961)
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
How filmic they are just for this time.
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
How dull the lot that are not in love.
Their clothes shabby, their skin lustreless;
how clueless they are, hair a mess; how they trudge
up and down streets in the rain,
remembering one kiss in a dark alley,
a touch in a changing-room, if lucky, a lovely wait
for the phone to ring, maybe, baby.
The past with its rush of velvet, its secret hush
already miles away, dimming now, in the late day.
Glossary: mundane – dull and routine.
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Unit 2
Student workbook
Student workbook
First encounter
1. What kind of person does the writer seem to be? (Someone who has never been in
love? Someone once in love but no longer? Someone who finds the idea of ‘being in
love’ foolish? Or… ?) Do you find the portrayal of people in love and not in love
realistic?
.................................................................................................
.................................................................................................
.................................................................................................
2. Try to sum up how the poem depicts the two sorts of people in your own words.
Those who are in love are .................................................................
.................................................................................................
Those who are not in love are ............................................................
.................................................................................................
3. (Do you know someone who is ‘in love’? Are they like that? And someone who is not
‘in love?’) Do you think the description of those who are not in love is actually the
viewpoint of the writer or of those who are in love, looking down on those who are
not?
Getting closer to the poem
1. How would you describe the tone of the poem? These words might be helpful but
feel free to add your own and to put them in order of how accurate they are,
according to your views.
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’Late Love’ by Jackie Kay
Student workbook
2. Pick out three words from the poem which describe each type of person:
Those who are in love:
Those who are not in love:
Structure – the way the poem is built
1. The poem is clearly in two halves and the second half mirrors the first half in a
number of ways. Pick out the similarities and differences between the two halves.
Stanzas one and two
Stanzas three and four
Similarities
Begin with ‘How …’
Begin with ‘How …’
Differences
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’Late Love’ by Jackie Kay
Student workbook
The words on the page
1. Pick out words and phrases which show that the writer is critical of ‘people in love’:
.................................................................................................
.................................................................................................
2. Pick out the key words in the third stanza which depict the people not in love in a
negative way:
3. Read the poem leaving out the word ‘How’. What difference does that make to the
effect?
.................................................................................................
.................................................................................................
Inside the poem
1. Rhythm and sound: The poem has no formal pattern of rhythm or rhyme and
yet there is a sense of an underlying pattern. How regular are the lines and
the stanzas (count the stressed syllables)? Can you detect rhymes or
near rhymes?
.................................................................................................
.................................................................................................
2. Change of tone: There is a clear change of direction between the second and
third stanzas but there is also a change of tone between the third and fourth
stanza. How is the fourth stanza different from the others?
.................................................................................................
.................................................................................................
3. The ending: What do you make of the ending?
.................................................................................................
.................................................................................................
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’Late Love’ by Jackie Kay
Student workbook
4. The title: Looking back now at the title, how well does it fit the poem?
.................................................................................................
.................................................................................................
Thoughts, response, conclusion
1. Is this a poem which perhaps speaks mainly to an older readership, to people who
have ‘seen it all’, and ‘been there, done that’? Or does it have a relevance to a
younger reader?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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Unit 2
’Late Love’ by Jackie Kay
’Love and Friendship’ by Emily Brontë
Teaching notes – Love and friendship
Teaching notes
‘Love and Friendship’
Emily Brontë
(1818-1848)
First encounter

Some students may need assistance and could be given a word bank to choose from.
Here are some words and phrases to start with:
beautiful
fragrant
in bouquets
thorns
sharp
prickles
winter
shiny
long-lasting
Getting closer to the poem

What does the writer tell us about a) the rose, b) the holly? Literally, she tells us that the
rose is sweet in spring and its summer blossoms scent the air; the holly is dark when the
rose-briar blooms. Figuratively, she implies that the rose is short-lived and the holly is
long-lasting. It should be possible to tease this out with a minimum of guidance

Some of the statements are very close in meaning, the idea being to encourage discussion
that will get to the core of the poem’s argument.
Structure – the way the poem is built

Some students may find a guided response helpful:
1. The holly may look dark but – it is implied – it will bloom ...............................
2. The rose will flourish in spring and summer, but ..........................................
3. Therefore ................................ so that .............................................
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Unit 2
Teaching notes
’Love and Friendship’ by Emily Brontë
The words on the page

This activity will focus students’ attention on the poet’s word choices and make them
aware that there are subtle changes over time in the way words are used. For example,
we rarely use ‘fair’ to mean ‘pretty’ or ‘beautiful’ these days; we tend to use it to mean
light-coloured.
Inside the poem

The terms are ‘extended metaphor’, ‘personification’ and ‘rhetorical question’. It’s good
for students to have these and other terms readily available as long as they don’t see
them as an end in themselves.
Thoughts, response, conclusion

Students who are familiar with Wuthering Heights could have an interesting discussion
arising from these questions. If not, some background will be of interest but reassure
students that such knowledge will not be expected in an exam.
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Unit 2
Teaching notes
’Love and Friendship’ by Emily Brontë
Love and Friendship
‘Love and Friendship’
Emily Brontë
(1818-1848)
Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?
The wild rose-briar is sweet in spring,
Its summer blossoms scent the air;
Yet wait till winter comes again
And who will call the wild-briar fair?
Then scorn the silly rose-wreath now
And deck thee with the holly’s sheen,
That when December blights thy brow
He still may leave thy garland green.
Glossary: garland – wreath.
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Unit 2
Student workbook
’Love and Friendship’ by Emily Brontë
First encounter
1. Read the poem through twice then look again at the first two lines. What associations
are conjured up by a wild rose and by holly? Jot down your thoughts and then
compare them with those of a partner.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
Getting closer to the poem
1. What does the writer tell us about a) the rose b) the holly?
The rose: ....................................................................................
.................................................................................................
The holly: ....................................................................................
.................................................................................................
2. Why does she consider the holly to be superior?
.................................................................................................
.................................................................................................
3. Discuss these statements about the message of the poem with a partner. Label them
1-6 in order, with 1 being the best description of the poem’s message.
Love and friendship are different and should not be confused
Friendship is better than love
Friendship is longer lasting than love
Love is fragile but friendship is hardy
Holly’s beauty will outlast that of the wild rose
Friendship can be relied upon but love cannot
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Student workbook
’Love and Friendship’ by Emily Brontë
Structure – the way the poem is built
1. The poem is a kind of argument, rather like a lawyer building a logical case. What
are the stages in Brontë’s argument? Look out for words which organise the
argument, such as ‘but’, ‘yet’ and ‘then’.
...........................................................................................
...........................................................................................
...........................................................................................
...........................................................................................
...........................................................................................
...........................................................................................
...........................................................................................
...........................................................................................
The words on the page
1. Brontë’s diction is very simple. However, if the poem were to be written today, some
of the words chosen might be different. Consider these words:
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Student workbook
’Love and Friendship’ by Emily Brontë
2. Find a word to replace each of them in the poem:
Yet wait till winter comes again
And who will call the wild-briar
?
Then
the
rose-wreath now
And
thee with the holly’s
That when December
,
thy
He still may leave thy garland green.
Inside the poem
1. The poem takes two plants and compares them throughout the poem to two
emotions. Find out the term that is used to describe a comparison that is carried on
throughout a poem (or for a substantial part of a poem).
.................................................................................................
2. Another poetic technique is used in the last two lines.
What is it?
.................................................................................................
.................................................................................................
3. What kind of questions does Brontë ask?
.................................................................................................
.................................................................................................
Thoughts, response, conclusion
1. Is Emily Brontë right? What experiences might have influenced her to come to her
conclusion about love and friendship? Whether you agree with her or not, what is
your response to the poem?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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Unit 2
Student workbook
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
Comparison resource
‘Late Love’ and ‘Love and Friendship’: Use the table to make brief notes on similarities and differences between the poems.
‘Late Love’
‘Love and Friendship’
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?
How filmic they are just for this time.
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
The wild rose-briar is sweet in spring,
Its summer blossoms scent the air;
Yet wait till winter comes again
And who will call the wild-briar fair?
How dull the lot that are not in love.
Their clothes shabby, their skin lustreless;
how clueless they are, hair a mess; how they trudge
up and down streets in the rain,
Then scorn the silly rose-wreath now
And deck thee with the holly’s sheen,
That when December blights thy brow
He still may leave thy garland green.
remembering one kiss in a dark alley,
a touch in a changing-room, if lucky, a lovely wait
for the phone to ring, maybe, baby.
The past with its rush of velvet, its secret hush
Emily Brontë
already miles away, dimming now, in the late day.
Jackie Kay
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Comparison resource
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
First thoughts
Form
They are from different periods. ‘Love and Friendship’ is older
because …
Both use a verse form which consists of …
The tone of ‘Love and Friendship is’ …
Structure
Language
‘Late Love’ is in two parts, the first …
Both poems use simple language. Brontë’s use of verbs is
restrained, e.g. …
Imagery
Themes
In conclusion …
‘Love and Friendship’ employs an
extended metaphor which …
As well as the theme of love, Brontë’s poem
reflects a rural background, whereas …
Both poems have a message. While Brontë
conveys her views explicitly, Kay …
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Comparison resource
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
To the teacher
The aim here is to get students used to comparing poems and one of the first steps is to see
them side by side and to comment on their various characteristics (whether they are similarities
or differences) without having to pay attention to a specific question. Once students are more
confident in making comparisons, they can move on to address particular questions with a bank
of experience to draw upon. If, later, they were to be asked to comment on the two poets’
attitudes towards love, they would need to extract those parts of their comparison notes which
were relevant, e.g. more on tone, structure, theme and message and less on form.
Even in their brief notes, students should be helped to use terms such as ‘whereas’, ‘on the
other hand’, ‘in contrast to’ and so on. They should also be encouraged to conclude with a
considered personal response.
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Unit 2
Comparison resource
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
Exam questions
AQA exam style question
Section C: Unseen poetry
Answer both questions in this section
Late Love
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
5
10
15
How filmic they are just for this time.
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
How dull the lot that are not in love.
Their clothes shabby, their skin lustreless;
how clueless they are, hair a mess; how they trudge
up and down streets in the rain,
remembering one kiss in a dark alley,
a touch in a changing-room, if lucky, a lovely wait
for the phone to ring, maybe, baby.
The past with its rush of velvet, its secret hush
already miles away, dimming now, in the late day.
Jackie Kay
1. In ‘Late Love’, how does the poet present the speaker’s feelings about people who are in
love?
[24 marks]
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Exam questions
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
Love and Friendship
Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?
5
The wild rose-briar is sweet in spring,
Its summer blossoms scent the air;
Yet wait till winter comes again
And who will call the wild-briar fair?
Then scorn the silly rose-wreath now
10
And deck thee with the holly’s sheen,
That when December blights thy brow
He still may leave thy garland green.
Emily Brontë
2. In both ‘Late Love’ and ‘Love and Friendship’ the speakers describe feelings of being in
love. What are the similarities and/or differences between the ways the poets present
those feelings?
[8 marks]
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Exam questions
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
Edexcel exam style question
SECTION B, Part 2 – Unseen Poetry
Read the two poems and answer the question.
You should spend about 45 minutes on this section.
Late Love
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
How filmic they are just for this time.
5
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
How dull the lot that are not in love.
Their clothes shabby, their skin lustreless;
10
how clueless they are, hair a mess; how they trudge
up and down streets in the rain,
remembering one kiss in a dark alley,
a touch in a changing-room, if lucky, a lovely wait
for the phone to ring, maybe, baby.
15
The past with its rush of velvet, its secret hush
already miles away, dimming now, in the late day.
Jackie Kay
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Unit 2
Exam questions
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
Love and Friendship
Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?
The wild rose-briar is sweet in spring,
5
Its summer blossoms scent the air;
Yet wait till winter comes again
And who will call the wild-briar fair?
Then scorn the silly rose-wreath now
And deck thee with the holly’s sheen,
10
That when December blights thy brow
He still may leave thy garland green.
Emily Brontë
1. Compare the ways the writers present love in Late Love and Love and Friendship.
In your answer you should compare:



the ideas in the poems
the poets’ use of language
the poets’ use of form and structure.
Use evidence from the poems to support your comparison.
(Total for question = 20 marks)
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Exam questions
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
WJEC Eduqas exam style question
SECTION C (Unseen Poetry)
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a)
and about 40 minutes on part (b).
1. Read the two poems, Late Love by Jackie Kay and Love and Friendship by Emily Brontë. In
both of these poems the poets write about love.
(a) Write about the poem Late Love by Jackie Kay, and its effect on you.
[15]
You may wish to consider:




What the poem is about and how it is organised;
The ideas the poet may have wanted us to think about;
The poet’s choice of words, phrases and images and the effects they create;
How you respond to the poem.
Late Love
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
How filmic they are just for this time.
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
How dull the lot that are not in love.
Their clothes shabby, their skin lustreless;
how clueless they are, hair a mess; how they trudge
up and down streets in the rain,
remembering one kiss in a dark alley,
a touch in a changing-room, if lucky, a lovely wait
for the phone to ring, maybe, baby.
The past with its rush of velvet, its secret hush
already miles away, dimming now, in the late day.
Jackie Kay
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Exam questions
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
(b) Now compare Late Love by Jackie Kay and Love and Friendship by Emily Brontë.
[25]
You should compare:




what the poems are about and how they are organised;
the ideas the poets may have wanted us to think about;
the poets’ choice of words, phrases and images and the effects they create;
how you respond to the poems.
Love and Friendship
Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?
The wild rose-briar is sweet in spring,
Its summer blossoms scent the air;
Yet wait till winter comes again
And who will call the wild-briar fair?
Then scorn the silly rose-wreath now
And deck thee with the holly’s sheen,
That when December blights thy brow
He still may leave thy garland green.
Emily Brontë
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Exam questions
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
OCR exam style question
Section A
Poetry across time
Read the two poems below and then answer both part a) and part b).
You are advised to spend about 45 minutes on part a) and 30 minutes on part b).
(a) Compare how the speakers in these poems express attitudes towards romantic love.
You should consider:



ideas and attitudes in each poem
tone and atmosphere in each poem
the effects of the language and structure used.
[20]
AND
(b) Explore in details one other poem from your anthology which expresses a different
attitude towards love.
[20]
Late Love by Jackie Kay
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
How filmic they are just for this time.
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
How dull the lot that are not in love.
Their clothes shabby, their skin lustreless;
how clueless they are, hair a mess; how they trudge
up and down streets in the rain,
remembering one kiss in a dark alley,
a touch in a changing-room, if lucky, a lovely wait
for the phone to ring, maybe, baby.
The past with its rush of velvet, its secret hush
already miles away, dimming now, in the late day.
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Unit 2
Exam questions
’Late Love’ by Jackie Kay and ‘Love and Friendship’ by Emily Brontë
Love and Friendship by Emily Brontë
Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?
The wild rose-briar is sweet in spring,
Its summer blossoms scent the air;
Yet wait till winter comes again
And who will call the wild-briar fair?
Then scorn the silly rose-wreath now
And deck thee with the holly’s sheen,
That when December blights thy brow
He still may leave thy garland green.
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Unit 2
Exam questions
’Finding the Keys’ by Robin Robertson
Unit 3
Teaching notes – Finding the keys
Teaching notes
‘Finding the keys’
Robin Robertson
(b.1955)
First encounter

Students may notice all sorts of things about the poem at a first or second reading. They
may pick out the lack of sentences and/or the very short sentences. They may notice the
alliteration in the first few lines or the oddity of ‘handles’, ‘hinges’, ‘latches’ and
‘keyholes’. Whatever they notice is a starting point for discussion about the importance
of first impressions, which is key to a poem’s impact, and its dangers!
Getting closer to the poem

Getting closer to the poem and Structure force students to look closely at the text.
There are many inter-connections between the sections which could be brought out using
a whiteboard projection and drawing the links. ‘Deer’ and ‘antlers’ or the two mentions
of ‘seed’ could be examples.

The phrases in the table are a challenge. Can we really say what Robertson means by the
‘many griefs of autumn’? This is good practice because there will be things that they will
not fully understand – indeed, that their teacher might not fully understand – and this is
the case with poetry.
The words on the page

The use of ‘Keys’ as a title and an ending is similar in its resistance to being pinned
down. It’s a play on words but is it more than that? What has been lost and found? Is it an
example of rich allusion, a reference to the genetic key in the ash seed or of the poet
merely (or also) enjoying word play? It links to ‘latches’ and ‘keyholes’ and so on – but
do the twigs and branches really look like hinges and handles? Perhaps they do; it might
make us look again.
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Teaching notes
’Finding the Keys’ by Robin Robertson
Inside the poem

There is a lot to talk about in this poem but one would not expect students to
comment on everything. An exam question would probably focus on something
like ‘How effective is the poem in portraying the seasons?’ The answers to the
tasks set for the students above would provide more than enough material for an
answer to such a question. As a practice exercise, having worked through the
tasks, ask students to pick out five key points they would select in order to
answer ‘How effective is the poem in portraying the seasons?’

Students having difficulty with this could begin by arranging some bullet points in
order of priority, e.g.

many snapshots of the
seasons
short phrases get your
attention
the images are unusual
uses sound as well as
sight
he has looked at things
differently
is knowledgeable about
nature
… and described them
in new ways
writes familiar words in
unusual ways
and adding short quotes
as examples.
All students should be helped and encouraged to develop their vocabulary. Here
are some alternative phrases for some of the bullet points:
evocative snapshots
arresting images
unconventional angles
staccato phrases
close observation
+?
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Teaching notes
’Finding the Keys’ by Robin Robertson
Finding the keys
‘Finding the keys’
Robin Robertson
(b.1955)
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the leaves.
Buds tick and crack in the sun, break open
slowly in a spur of green.
*
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
That woody clack of antlers.
In yellow and red, the many griefs of autumn.
The dawn light through amber leaves
and the trees are lanterned, blown
the next day to empty stars.
Smoke in the air; the air, turning.
*
Under a sky of stone and pink
faring in from the north and promising snow:
the blackbird.
In his beak, a victory of worms.
The winged seed of the maple,
the lost keys under the ash.
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Student workbook
’Finding the Keys’ by Robin Robertson
First encounters
1. What is the first thing you notice about the poem?
.................................................................................................
.................................................................................................
2. Read the poem again, if possible aloud. In an exam you won’t be able to do this so
practise hearing it ‘in your head’, saying the words to yourself very carefully.
3. Ignore the title. What title would you give the poem? Why?
.................................................................................................
.................................................................................................
.................................................................................................
Getting closer to the poem
1. Each section of the poem contains a series of brief descriptions, like snapshots. They
comprise both sights and sounds. In each section, which of these conjures up the
season best?
Sounds
set seed and bulbs
twigs and
branches
green buds
silence
buds tick and
crack
The green buds
spur of green
sums up spring
best
Winter
Autumn
Summer
Spring
Sights
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’Finding the Keys’ by Robin Robertson
Structure – the way the poem is built
1. The writer has neatly divided the poem into four parts, representing the four
seasons. In pairs, draw or find four images that represent the different seasons. Now
allocate the four sections of the poem to the correct season. What ways are the four
parts linked? (Look for things which are mentioned in one part and referred to again
later.)
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the
leaves.
Buds tick and crack in the sun, break open
slowly in a spur of green.
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
That woody clack of antlers.
In yellow and red, the many griefs of
autumn.
Under a sky of stone and pink
faring in from the north and promising
snow:
The dawn light through amber leaves
and the trees are lanterned, blown
the blackbird.
In his beak, a victory of worms.
the next day to empty stars.
Smoke in the air; the air, turning.
The winged seed of the maple,
the lost keys under the ash.
The words on the page
1. The language of the poem is mostly straightforward but there are some words which
might need some extra thought. It may not be the words themselves that are difficult
but the way in which they are used, for example: small-change colours / spill of
birdsong / griefs of autumn / trees are lanterned / victory of worms.
2. You may not be sure, but jot down some suggestions of what the poet is getting at
with these phrases. When you have completed the table share your ideas with a
partner. Did they have similar suggestions to you?
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Student workbook
’Finding the Keys’ by Robin Robertson
small-change
colours
a spill of
birdsong
the griefs of
autumn
the trees are
lanterned
Lanterns give out light – not always very bright – perhaps the
light is just struggling to come through the leaves …
a victory of
worms
Inside the poem
1. Think about:
a. The way the poem is punctuated. What effect does this have?
.................................................................................................
.................................................................................................
b. Read the poem aloud to a partner. Every time you come across an example of
onomatopoeia or alliteration try to emphasise this.
2. Sound: What effect do the sounds of the words in the poem have?
Where do you notice this most?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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’Finding the Keys’ by Robin Robertson
3. Imagery: You have seen that the writer uses unusual phrases and there are
other interesting images in the poem: ‘keyholes’, ‘hinges’ and so on.
Select two or three examples and comment on how effective they are.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
Thoughts, response, conclusion…
1. What do you think is the significance of ‘keys’ in the poem?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
2. Does this poem evoke the seasons for you? If not, why not? Write two or three
sentences in answer to this.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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Student workbook
’October’ by Robert Frost
Teaching notes – October
Teaching notes
‘October’
Robert Frost
(1874-1963)
First encounters

While the poem itself is not particularly difficult, the questions to the students are quite
demanding. We are giving them less and less information and expecting them to
undertake more of the close reading themselves.

The mood of the poem seems to be quiet and meditative but with something of
restrained desperation in the pleas to October to slow down! The use of ‘O’ and ‘thy’
(unusual for Frost) indicate the prayer-like quality, together with the specific requests –
‘retard’, ‘beguile’ and so on. If students find the idea of appealing to the season absurd,
remind them how one might casually look out of the window before a match or a trip,
murmuring, ‘Oh, please don’t rain!’
Getting closer to the poem

The requests/prayers cannot, of course, be literally granted but perhaps there is a way in
which the we (and/or the writer) can slow down so that we are more able to appreciate
the season passing?
Structure – the way the poem is built

The first part offers a familiar description, including the knowledge that (in England just
as in new England) a mild autumn day can well be followed by the opposite. The final
lines, though, are more unusual. Few of us are worrying about our grapes! It’s as if he has
suddenly remembered his vines and the gentle movement of the lines is abruptly altered
by the interjection of ‘Slow, slow!’, realising that there is a practical reason for wanting
the mildness of the season to be extended.
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Teaching notes
’October’ by Robert Frost
The words on the page and inside the poem

The strength of the poem lies in its use of verbs rather than adjectives. It’s all about
wanting things to happen or not happen. Repetition has some part to play, particularly
in slowing down the poem at line 7 and the ‘ow’ sound in ‘slow’ is prevalent throughout
the poem and does, to some extent, slow the pace. The poem rhymes throughout but in
an artless, seemingly random way. To begin with we think it will be an ABAB pattern but
this is soon disturbed. Is it too fanciful to describe the way the rhymes fall as like the
way the leaves fall from the trees? Whatever students’ feelings about that suggestion, it
is the case that the rhymes and the rhythms hold the poem together but in a very gentle,
loose manner.
Thoughts, response, conclusion

Students’ responses are considered important by examiners and the more reflective, the
better. A thoughtful response might recognise that the average reader does not have
grapes to worry about but could empathise with the desire to delay the onset of winter
at the same time as appreciating the qualities of autumn.

Note: Some grape varieties are deliberately left until after the first frost – but they do
still need their fill of warmth first. This information may or may not interest your
students.
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Teaching notes
’October’ by Robert Frost
October
‘October’
Robert Frost
(1874-1963)
O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost —
For the grapes’ sake along the wall.
Glossary:
beguile – to charm or enchant.
amethyst – a gem with a purple colouring
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Student workbook
’October’ by Robert Frost
First encounter
1. Read the poem through and then read it again, pausing for a few seconds at each full
stop. At each pause, think of a word that describes the mood of the sentence you’ve
just read. When you’ve read the poem, choose three words that sum up the overall
mood.
2. There is a hint or echo of a hymn or prayer in the poem, especially in the first half.
Which words convey that impression?
.................................................................................................
.................................................................................................
3. What is the focus of Frost’s plea to October?
.................................................................................................
.................................................................................................
Getting closer to the poem
1. At line 7 the poet begins a whole list of imperatives – i.e. words which ask or
command. Working with a partner, go through the poem highlighting these command
words or phrases then write them below:
.................................................................................................
.................................................................................................
.................................................................................................
2. Is there any way in which these requests could be granted?
.................................................................................................
.................................................................................................
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’October’ by Robert Frost
Structure – the way the poem is built
1. The poem has a very definite beginning, middle and end. In pairs, one of you sums up
what the beginning is about. The other should sum up what the middle is about.
Compare your thoughts, then together sum up what the ending is about.
Beginning
Middle
End
The words on the page
1. Frost is very restrained in his use of adjectives. How many can you spot? Read
through the poem with a partner and take it in turns to spot the adjectives. What
kinds of words are more important in his poem? Why?
.................................................................................................
.................................................................................................
2. How important a part does repetition play in the poem?
.................................................................................................
.................................................................................................
Inside the poem
1. How would you describe the rhyme and rhythm of the poem?
.................................................................................................
.................................................................................................
2. How far does the rhyme and rhythm reflect the mood of the poem?
.................................................................................................
.................................................................................................
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’October’ by Robert Frost
3. What is the effect of the interruption of ‘Slow, slow!’?
.................................................................................................
.................................................................................................
4. Which vowel sounds tend to dominate the poem? What effect does that have?
.................................................................................................
.................................................................................................
Thoughts, response, conclusion
1. What is your reaction to the poem? Does it reflect your thoughts about autumn or
does it seem to describe somewhere that is very different from your experiences?
.................................................................................................
.................................................................................................
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Student workbook
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
Comparison resource
Remember when you compare poems bear in mind the following features:




The ‘voice’ of the poet – the tone, the approach or persona of the poet.
Language – the vocabulary used by the poet ,repetitions, person and tense , grammar
Techniques – imagery, sound effects, rhyme and rhythm
Structure – verse form and variations, the ‘direction’ of the poem
Task
Compare the two poets’ descriptions of nature and the passing of time.
Before you start, use one highlighter to mark the similarities in the poem and another
highlighter to mark the differences, focusing on the comparison points above.
‘October’
O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost —
For the grapes’ sake along the wall.
Robert Frost
‘Finding the Keys’
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the leaves.
Buds tick and crack in the sun, break open
slowly in a spur of green.
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
That woody clack of antlers.
In yellow and red, the many griefs of autumn.
The dawn light through amber leaves
and the trees are lanterned, blown
the next day to empty stars.
Smoke in the air; the air, turning.
Under a sky of stone and pink
faring in from the north and promising snow:
the blackbird.
In his beak, a victory of worms.
The winged seed of the maple,
the lost keys under the ash.
Robin Robertson
Compare the two poets’ descriptions of nature and the passing of time.
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Comparison resource
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
To the teacher
Provide the two poems side by side and ask students to use highlighters or some other means of
marking the text in order to show similarities and pick out differences. In the example below,
the grey highlighting marks similarities to do with slowness and quiet. Together with italics it
marks the mention of the wind’s effect on the leaves and with underline, the two mentions of
birds. The blue highlighting picks out some of the differences, explained underneath the table.
‘October’
O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost —
For the grapes’ sake along the wall.
© www.teachit.co.uk 2017
‘Finding the Keys’
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the
leaves.
Buds tick and crack in the sun, break open
slowly in a spur of green.
*
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
*
That woody clack of antlers.
In yellow and red, the many griefs of
autumn.
The dawn light through amber leaves
and the trees are lanterned, blown
the next day to empty stars.
Smoke in the air; the air, turning.
*
Under a sky of stone and pink
faring in from the north and promising snow:
the blackbird.
In his beak, a victory of worms.
The winged seed of the maple,
the lost keys under the ash.
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Comparison resource
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
Marking ‘O hushed October morning mild’ is a reminder to comment on the very different voices
of the poets. Where Frost makes a personal appeal to the season, Robertson seems quite absent
from the writing. This feeling is emphasised by the stark verb-less phrases: the jottings of the
neutral observer.
‘Amethyst’ is a reminder of the single use of colour in ‘October’ (unusual in a poem about
autumn!) compared with Robertson’s frequent use of colours. ‘For the grapes’ sake’ is another
indication of Frost’s personal involvement and a very specific focus of attention, again an
unusual one in autumn writing.
In ‘October’ there is one mention of crows, whereas in ‘Finding the Keys’ not only are there
more creatures, they are active: singing, clacking antlers, finding worms. The marking of ‘tick’,
‘crack’ and ‘clack’ points to the use of sound in Robertson’s poem and its absence in Frost’s.
=====
When marking the texts, students might want to jot a short note to themselves as reminders of
aspects to pick up on when they write a full answer. They should also look out for questions like
this one which make two requests. Having discussed the poets’ descriptions of nature, they need
to say something about time. The difference between the poems is quite clear but they may
need help in finding the right words. Here are some suggestions for discussion. Students will also
need to allocate the words/phrases to the appropriate poem(s).
delay
natural pace
accepting the
passing of
the passage of
time
positive
anxious
hold back
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negative
relaxed
realistic
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’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
Exam questions
AQA exam style question
Section C: Unseen poetry
Answer both questions in this section
Finding the keys
5
10
15
20
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the leaves.
Buds tick and crack in the sun, break open
slowly in a spur of green.
*
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
*
That woody clack of antlers.
In yellow and red, the many griefs of autumn.
The dawn light through amber leaves
and the trees are lanterned, blown
the next day to empty stars.
Smoke in the air; the air, turning.
*
Under a sky of stone and pink
faring in from the north and promising snow:
the blackbird.
In his beak, a victory of worms.
The winged seed of the maple,
the lost keys under the ash.
Robin Robertson
1. In ‘Finding the Keys’, how does the poet present the speaker’s feelings about nature?
[24 marks]
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Exam questions
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
October
O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
5
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
10
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost —
For the grapes’ sake along the wall.
Robert Frost
2. In both ‘Finding the Keys’ and ‘October’ the speakers describe feelings about nature and
the passing of time. What are the similarities and/or differences between the ways the
poets present those feelings?
[8 marks]
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Exam questions
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
Edexcel exam style question
SECTION B, Part 2 – Unseen Poetry
Read the two poems and answer the question.
You should spend about 45 minutes on this section.
Finding the Keys
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the leaves.
Buds tick and crack in the sun, break open
5
slowly in a spur of green.
*
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
10
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
*
That woody clack of antlers.
In yellow and red, the many griefs of autumn.
The dawn light through amber leaves
15
and the trees are lanterned, blown
the next day to empty stars.
Smoke in the air; the air, turning.
*
Under a sky of stone and pink
faring in from the north and promising snow:
20
the blackbird.
In his beak, a victory of worms.
The winged seed of the maple,
the lost keys under the ash.
Robin Robertson
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Exam questions
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
October
O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
5
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
10
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
15
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost —
20
For the grapes’ sake along the wall.
Robert Frost
2. Compare the ways the writers present nature and the passing of time in Finding the Keys
and October.
In your answer you should compare:



the ideas in the poems
the poets’ use of language
the poets’ use of form and structure.
Use evidence from the poems to support your comparison.
(Total for question = 20 marks)
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Exam questions
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
WJEC Eduqas exam style question
SECTION C (Unseen Poetry)
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a)
and about 40 minutes on part (b).
1. Read the two poems, Finding the Keys by Robin Robertson and October by Robert Frost. In
both of these poems the poets write about nature and the passing of time.
(a) Write about the poem Finding the Keys by Robin Robertson, and its effect on you.
[15]
You may wish to consider:




what the poem is about and how it is organised;
the ideas the poet may have wanted us to think about;
the poet’s choice of words, phrases and images and the effects they create;
how you respond to the poem.
Finding the Keys
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the leaves.
Buds tick and crack in the sun, break open
slowly in a spur of green.
*
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
*
That woody clack of antlers.
In yellow and red, the many griefs of autumn.
The dawn light through amber leaves
and the trees are lanterned, blown
the next day to empty stars.
Smoke in the air; the air, turning.
*
Under a sky of stone and pink
faring in from the north and promising snow:
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Exam questions
’Finding the Keys’ by Robin Robertson and ‘October’ by Robert Frost
the blackbird.
In his beak, a victory of worms.
The winged seed of the maple,
the lost keys under the ash.
Robin Robertson
(b) Now compare Finding the Keys by Robin Robertson and October by Robert Frost.
[25]
You should compare:




what the poems are about and how they are organised;
the ideas the poets may have wanted us to think about;
the poets’ choice of words, phrases and images and the effects they create;
how you respond to the poems.
October
O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost —
For the grapes’ sake along the wall.
Robert Frost
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Exam questions
‘October’ by Robert Frost and ‘The Bluebell’ by Anne Brontë
OCR exam style question
Section A
Poetry across time
Read the two poems below and then answer both part a) and part b).
You are advised to spend about 45 minutes on part a) and 30 minutes on part b).
a. Compare how the speakers in these poems express feelings of regret for the passing of
time.
You should consider:



ideas and attitudes in each poem
tone and atmosphere in each poem
the effects of the language and structure used.
[20]
AND
b. Explore in detail one other poem from your anthology which expresses the poet’s
thoughts on the passing of time.
[20]
The Bluebell
A fine and subtle spirit dwells
In every little flower,
Each one its own sweet feeling breathes
With more or less of power.
There is a silent eloquence
In every wild bluebell
That fills my softened heart with bliss
That words could never tell.
Yet I recall not long ago
A bright and sunny day,
‘Twas when I led a toilsome life
So many leagues away;
That day along a sunny road
All carelessly I strayed,
Between two banks where smiling flowers
Their varied hues displayed.
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Exam questions
‘October’ by Robert Frost and ‘The Bluebell’ by Anne Brontë
Before me rose a lofty hill,
Behind me lay the sea,
My heart was not so heavy then
As it was wont to be.
Less harassed than at other times
I saw the scene was fair,
And spoke and laughed to those around,
As if I knew no care.
But when I looked upon the bank
My wandering glances fell
Upon a little trembling flower,
A single sweet bluebell.
Whence came that rising in my throat,
That dimness in my eye?
Why did those burning drops distil —
Those bitter feelings rise?
O, that lone flower recalled to me
My happy childhood’s hours
When bluebells seemed like fairy gifts
A prize among the flowers,
Those sunny days of merriment
When heart and soul were free,
And when I dwelt with kindred hearts
That loved and cared for me.
I had not then mid heartless crowds
To spend a thankless life
In seeking after others’ weal
With anxious toil and strife.
‘Sad wanderer, weep those blissful times
That never may return!’
The lovely floweret seemed to say,
And thus it made me mourn.
Anne Brontë
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Exam questions
‘October’ by Robert Frost and ‘The Bluebell’ by Anne Brontë
October
O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow’s wind, if it be wild,
Should waste them all.
The crows above the forest call;
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes’ sake, if they were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost —
For the grapes’ sake along the wall.
Robert Frost
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Unit 3
Exam questions
‘Calling Card’ by Tracey Herd
Unit 4
Teaching notes – Calling card
Teaching notes
‘Calling Card’
Tracey Herd
(b.1968)
First encounter

Emphasise to students the importance of their reading of whatever poem is set for the
Unseen. However insistent the ticking of the clock, time must be spent on at least two
unhurried readings. A third reading can be accompanied by jotting down initial thoughts,
ideas and questions.
Getting closer to the poem

At first glance, ‘Calling Card’ is an odd title. A calling card contains a small amount of
significant information. Wikipedia defines it as ‘a card used socially to signify a visit
made to a house if the occupant is absent, or as an introduction for oneself; the
precursor to the modern business card.’ It is all that is left behind; though in the case of
Marina Keegan, she left many words behind, not just a few. ‘Calling’ also resonates with
other images in the poem such as broadcasting. Even so, it is appropriate for students to
comment that a title (or indeed other parts of a poem) is ambiguous.
Structure

The poem is divided into paragraphs, like an essay. However, if we were to write it out
without line breaks, would it fit any particular category of prose writing? The majority of
stanzas start with the specific and move to the abstract. For example, from the very
specific and deliberate 8252 sunrises to the vague ‘wander through eternity …’ Guide
students to look for contrasts between stanzas and within them in any poem they
analyse.
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Teaching notes
’Calling Card’ by Tracey Herd
The words on the page

‘Yellow’ crops up three times and there is also the echo of ‘travel’ in ‘travelling’. How
significant these are is a matter for discussion.

It is not just the words that are important, it is the way that they will go onwards and
outwards like a radio signal into space. Draw students’ attention to the end of the fourth
stanza with the words ‘never left you’. Is there a contradiction here? Are the words ‘still
travelling outwards’ or are they ‘earthbound’? This provides an opportunity to discuss
deliberate or unwitting contradictions in poems. As long as it is relevant to the question,
an examiner will be impressed by a student (tentatively) questioning something in a
poem. It could be suggested that Marina’s words are like some conceptions of the soul,
attached to the earthly body for a while before breaking free.
Inside the poem

There is very little that is still in the poem. The energy and movement is constant except
when we come to the description of the car wreck. Again, noticing contrasts like this is
very helpful and will show that a student has read a poem attentively.

If some students have difficulty compiling notes on themes, offer some hints.

The power of words: most of stanza 3 / so important they swirled around you / words
haunting us / final stanza

The contrast between the prosaic and the unusual: the photograph, the number of
sunrises and sunsets, the accident location and detail, the ashes vs radio tower, swirling
like moths, buds, stars …

Coming to terms with the death of a young person: the first stanza / your words will
travel outwards forever / the writer will always remember her (stanza 5) / ‘you were
rare’ / up there with the stars.
Thoughts, response, conclusion

The student’s personal response is an opportunity for an ‘On the one hand / on the other’
statement. An answer might praise the effectiveness of the descriptions and the way they
evoke the personality of Marina Keegan as well as the reactions of the writer but also
indicate their failure to engage the emotions of the reader.
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Student workbook
’Calling Card’ by Tracey Herd
Calling card
‘Calling Card’
Tracey Herd
(b.1968)
At the last party,
the punctual, the late arrivals,
the ones who never made it
are all one and the same.
Girl in the vivid, yellow peacoat,
with hands tucked into your sleeves,
bangles upon bangles; only
in a photograph, could you be silent.
Your life comprised 8,252 sunrises
and one less sunset.
You are at the top of your
radio tower, speaking
out into the universe.
Your words, considered and private
will travel outwards forever
… thoughts that wander
through eternity …
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’Calling Card’ by Tracey Herd
The car hit the guard rail,
Dennis, Mass, on Route 6,
with your boyfriend asleep at the wheel,
prosaic details you’d have discarded.
They meant nothing, just
a mess of metal and broken glass.
Your words couldn’t protect you,
but they never left you,
swirling around your body like moths.
It’s us they’ll haunt, bearing
their bright, yellow buds.
I’ll never be able to look at
a yellow rose again
without thinking of you.
Your ashes were scattered
against the wind, your body
burned into charred scraps
of paper, random phrases,
all we are in the end.
But you, you were rare. Your words
are up there with the stars,
still travelling outwards
with the occasional earthbound sigh.
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Student Workbook
’Calling Card’ by Tracey Herd
First encounter
1. Read the poem through and then read it again, aloud.
What are your first impressions?
.................................................................................................
.................................................................................................
.................................................................................................
2. This is a ‘eulogy’ (something written in praise of someone who has died). How well
did the poet know Marina Keegan? Base your response on the information in the
poem.
.................................................................................................
.................................................................................................
.................................................................................................
Getting closer to the poem
1. The title is never referred to in the poem. What is a calling card and how much
information does one tend to contain? Why has Herd given that title to this poem?
.................................................................................................
.................................................................................................
.................................................................................................
Structure
1. The poem is divided into stanzas of unequal length. Each one is like a paragraph,
each introducing a slightly different topic. What is each one about? With a partner,
take it in turns to sum up what each stanza is about. Then complete the following
table.
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’Calling Card’ by Tracey Herd
Stanza 1
2
Seems separate from the others – a generalisation (about death?) and not
about Marina specifically.
Introduces Marina. She …
3
4
5
6
2. There is also a vaguely chronological movement through the poem: before the
accident, the accident, after the accident. Could the first stanza fit equally well at
the end of the poem?
The words on the page
1. Herd’s eulogy is equally concerned with Marina Keegan’s words as with her body.
Make two lists of quotes under those two headings. Where does ‘Your life’ fit?
Body
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Words
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’Calling Card’ by Tracey Herd
2. The second stanza gives us a snapshot of Marina. What can we deduce about her from
this small vignette?
.................................................................................................
.................................................................................................
3. Look at the repetition of ‘your’ and make a note of the words which follow it.
Repetition is always worth investigating. Are there other significant repetitions?
your
4. In the third stanza, Herd mentions the sunrises, sunsets and the universe. Make a
note of other words and phrases which have similar connotations.
1
2
3
4
5
5. ‘Only in a photograph could you be silent’. Make
a note of other words and phrases which refer to
Marina’s liveliness, her talkativeness.
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’Calling Card’ by Tracey Herd
Inside the poem
1. Make a note of the images Herd uses which are connected with words. Which are the
most effective, in your opinion? Give your reasons.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
2. Read through the poem again, noticing how many words and phrases seem to create
images of scattering, of movement. Is there anything that is still?
.................................................................................................
.................................................................................................
3. In a poem of this length, it is impossible to discuss everything. Often the exam
question will give you a focus. If not, decide to concentrate on a particular theme.
Here are some possibilities:
the power of words
the contrast between the
prosaic and the unusual
coming to terms with the
death of a young person
Jot down some notes for a paragraph or two on one of these themes.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
Thoughts, response, conclusion
1. Although this is a personal eulogy, does it have an impact on you – or is it just like a
media report on an accident?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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’For Meg’ by Fleur Adcock
Teaching notes – For Meg
Teaching notes
‘For Meg’
Fleur Adcock
(b.1934)
First encounter

Who is the poet addressing? The literal answer is ‘Meg’, the oft repeated ‘you’ of the
poem. But obviously Meg can’t read or hear it, so who is it actually written for? ‘In
memoriam’ poems may be written for a personal kind of therapy in which case, though,
why publish? This is an item for discussion, not something which has an answer.
Getting closer to the poem

The mood of the poem is hardly elegiac; it’s gossipy, conversational, over-excited at
times. It’s as if Adcock is re-creating Meg’s liveliness, her exuberance, in the only way
she knows: in words. Most of the words in the list could be applied to Meg. Again, they
are there to provoke discussion. As should gradually become clear, the poem tells us as
much about Fleur as it does about Meg.
Structure – the way the poem is built

The stanza structure exists as much for the appearance on the page as for any internal
requirements of scansion or sense. The poem moves from what Adcock cannot do, to a
short recollection, to a lengthy recollection and a final summing up. This does throw
more than usual emphasis on the closing lines.

The length of the lines is flexible; there are five or six stresses in each one but the
overall effect is of natural speech. Each of the three long stanzas ends with a short
sentence which undercuts or reflects on the preceding lines. This is the kind of thing that
students need to look out for.
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Teaching notes
’For Meg’ by Fleur Adcock
The words on the page

Verbs: there is plenty to choose from. While the poet ‘staggered’, ‘swayed’, ‘wobbled’
and ‘clung’, Meg ‘galloped’, ‘beamed’, ‘clicked proficientl’y and ‘laughed’. These simple
words at the heart of the poem bring out the essential contrasts between the two
women.
Inside the poem
Now you’ve done the scariest thing there is;
and all the king’s horses, dear Meg, won’t bring you back.

Points to discuss about the final lines include: the reference back to the King of Nepal’s
horses, the reference to Humpty Dumpty (who had a great fall), the return to the theme
of ‘scary’ and the insertion of ‘dear Meg’.
Thoughts, response, conclusions

All we really know about Meg is that she was braver or more foolhardy than the poet; in
fact the poem tells us as much or more about Adcock as it does about Meg. Students
should look out for this kind of disjunction between what a title says and what the poem
actually does. In the final analysis, the poem is about the contrast between the two
women. It is, after all, ‘For Meg’, not ‘About Meg’.

It will, of course, be a matter of opinion as to how sad the poem is. For those who knew
her, it would have a more powerful impact compared to the effect on a readership that
has never known her.
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Teaching notes
’For Meg’ by Fleur Adcock
For Meg
‘For Meg’
Fleur Adcock
(b.1934)
Half the things you did were too scary for me.
Skiing? No thanks. Riding? I’ve never learnt.
Canoing? I’d be sure to tip myself out
and stagger home, ignominiously wet.
It was my son, that time in Kathmandu,
who galloped off with you to the temple at Bodnath
in a monsoon downpour, both of you on horses
from the King of Nepal’s stables. Not me.
And as for the elephants - my God, the elephants!
How did you get me up on to one of those?
First they lay down; the way to climb aboard
was to walk up a gross leg, then straddle a sack
(that’s all there was to sit on), while the creature
wobbled and swayed through the jungle for slow hours.
It felt like riding on the dome of St Paul’s
in an earthquake. This was supposed to be a treat.
You and Alex and Maya, in her best sari,
sat beaming at the wildlife, you with your camera
proficiently clicking. You were pregnant at the time.
I clung with both hot hands to the bit of rope
that was all there was to cling to. The jungle steamed.
As soon as we were back in sight of the camp
I got off and walked through a river to reach it.
You laughed, but kindly. We couldn’t all be like you.
Now you’ve done the scariest thing there is;
and all the king’s horses, dear Meg, won’t bring you back.
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Student workbook
’For Meg’ by Fleur Adcock
First encounter
1. Read the poem to yourself and then read it aloud or listen to someone reading it to
you. What impression do you get of the writer?
The writer seems to be ....................................................................
.................................................................................................
2. A poem written in memory of someone is clearly going to be personal, so we know
that Adcock is the ‘speaker’ – i.e. she has not taken on the persona of another
character. But who is she addressing?
.................................................................................................
.................................................................................................
Getting closer to the poem
1. What is the tone or mood of the poem?
.................................................................................................
.................................................................................................
2. Imagine the writer is talking about Meg to someone who didn’t know her. Which two
words from the following list might she use to describe her?
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’For Meg’ by Fleur Adcock
Explain your choices:
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
Structure – the way the poem is built
1. The poem moves through a series of stages. What is each one about?
The first 4 lines
Lines 5-8
Lines 9 – 24
The final 2 lines
2. Three things to think about:
You will notice that the poem builds to a climax and then ends quite suddenly.
Does that seem satisfactory – or does it leave you wanting more?
The poem is presented in stanzas of the same length (apart from the closing
two) and in lines of similar length. Why do you think the writer has chosen to
end the lines where she does?
What do you notice about the end of each of the three long stanzas?
The words on the page
1. The language of the poem is mainly straightforward. If there are any words which are
unclear to you, try to work out the meaning from the context. ‘Ignominiously’ and
‘proficiently’ are two of the more complex words. Interestingly they underline a
contrast between the writer and Meg. How would you describe that contrast?
The writer is .........................whereas Meg is ...................................
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’For Meg’ by Fleur Adcock
2. Look at the verbs in the poem. Pick out three that you think are particularly
important and say why.
Inside the poem
1. There is a lot of description in the poem but only one use of imagery, a striking
simile.
What is it and how effective is it?
.................................................................................................
.................................................................................................
2. The final lines of a poem are usually important. In this poem they are additionally
emphasised by being set on their own. Make a note of anything you find interesting
or significant in the two lines.
.................................................................................................
.................................................................................................
Thoughts, response, conclusions
1. Your reaction to the poem:
a. How far does it give you a picture of what Meg was like?
.................................................................................................
.................................................................................................
b. Is this a sad poem?
.................................................................................................
.................................................................................................
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Student workbook
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
Comparison resource
Adcock and Herd have each written poems in memory of someone they knew. Explore the ways in which they express their feelings for that
person. How effectively do they portray Meg and Marina?
Here is one way of organising your thoughts.
Adcock
Language is straightforward, as if
she is writing to …
She focuses on memories rather than
…
Herd
Neither creates a
sombre mood …
Their style is conversational,
e.g. …
Language is more lyrical than
Adcock, for example …
She pays more attention to …
They have chosen to write in a
free verse from …
What we learn about Meg is that …
Herd’s portrayal of Marina is …
Both employ lots of
detail, e.g. …
Also …
Overall …
You will need to add a conclusion. It could be along the lines of: ‘Although their styles are similar, the two poems are very different in the way
they portray the dead person. Firstly … ‘‘
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Comparison resource
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
To the teacher
This comparison may be set as a separate activity or used as a follow-up, building on the work
done on the two poems and helping to develop confidence in comparing poems.
In addition to the points covered in the work on the individual poems, the following might be
useful when guiding students who need extra help or when reviewing their answers.

Herd pays more attention to the subject of the eulogy, especially to what she did. She
also gives at least some physical description of the person in the second stanza and even
details the manner of her death.

Adcock tells us very little about Meg except that she did (relatively) scary things. We
learn far more about Fleur than about Meg.

Adcock seems more concerned with a past – perhaps quite a distant one – while Herd’s
words are very much of the present.

There is a definite climax, even a shock, at the end of Adcock’s poem whereas the climax
of Herd’s is in the middle: ‘The car hit the guard rail …’
Students will come up with their own similarities and differences. One of the key tasks is to
guide them into organising their material coherently.
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Comparison resource
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
Exam questions
AQA exam style question
Section C: Unseen poetry
Answer both questions in this section
Calling Card
At the last party,
the punctual, the late arrivals,
the ones who never made it
are all one and the same.
5
Girl in the vivid, yellow peacoat,
with hands tucked into your sleeves,
bangles upon bangles; only
in a photograph, could you be silent.
10
Your life comprised 8,252 sunrises
and one less sunset.
You are at the top of your
radio tower, speaking
out into the universe.
15
Your words, considered and private
will travel outwards forever
… thoughts that wander
through eternity …
The car hit the guard rail,
20
Dennis, Mass, on Route 6,
with your boyfriend asleep at the wheel,
prosaic details you’d have discarded.
They meant nothing, just
a mess of metal and broken glass.
25
Your words couldn’t protect you,
but they never left you,
swirling around your body like moths.
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
It’s us they’ll haunt, bearing
their bright, yellow buds.
I’ll never be able to look at
30
a yellow rose again
without thinking of you.
Your ashes were scattered
against the wind, your body
35
burned into charred scraps
of paper, random phrases,
all we are in the end.
But you, you were rare. Your words
are up there with the stars,
40
still travelling outwards
with the occasional earthbound sigh.
Tracey Herd
1. In ‘Calling Card’, how does the poet present the speaker’s feelings about the girl at the
party?
[24 marks]
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
For Meg
Half the things you did were too scary for me.
Skiing? No thanks. Riding? I’ve never learnt.
Canoing? I’d be sure to tip myself out
and stagger home, ignominiously wet.
5
It was my son, that time in Kathmandu,
who galloped off with you to the temple at Bodnath
in a monsoon downpour, both of you on horses
from the King of Nepal’s stables. Not me.
10
And as for the elephants - my God, the elephants!
How did you get me up on to one of those?
First they lay down; the way to climb aboard
was to walk up a gross leg, then straddle a sack
(that’s all there was to sit on), while the creature
15
wobbled and swayed through the jungle for slow hours.
It felt like riding on the dome of St Paul’s
in an earthquake. This was supposed to be a treat.
You and Alex and Maya, in her best sari,
20
sat beaming at the wildlife, you with your camera
proficiently clicking. You were pregnant at the time.
I clung with both hot hands to the bit of rope
that was all there was to cling to. The jungle steamed.
As soon as we were back in sight of the camp
25
I got off and walked through a river to reach it.
You laughed, but kindly. We couldn’t all be like you.
Now you’ve done the scariest thing there is;
and all the king’s horses, dear Meg, won’t bring you back.
Fleur Adcock
2. In both ‘Calling Card’ and ‘For Meg’ the speakers describe feelings about someone
that has died. What are the similarities and/or differences between the ways the
poets present those feelings?
[8 marks]
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
Edexcel exam style question
SECTION B, Part 2 – Unseen Poetry
Read the two poems and answer the question.
You should spend about 45 minutes on this section.
Calling Card
At the last party,
the punctual, the late arrivals,
the ones who never made it
are all one and the same.
Girl in the vivid, yellow peacoat,
5
with hands tucked into your sleeves,
bangles upon bangles; only
in a photograph, could you be silent.
Your life comprised 8,252 sunrises
and one less sunset.
10
You are at the top of your
radio tower, speaking
out into the universe.
Your words, considered and private
will travel outwards forever
15
… thoughts that wander
through eternity …
The car hit the guard rail,
Dennis, Mass, on Route 6,
with your boyfriend asleep at the wheel,
20
prosaic details you’d have discarded.
They meant nothing, just
a mess of metal and broken glass.
Your words couldn’t protect you,
but they never left you,
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
swirling around your body like moths.
It’s us they’ll haunt, bearing
their bright, yellow buds.
I’ll never be able to look at
a yellow rose again
30
without thinking of you.
Your ashes were scattered
against the wind, your body
burned into charred scraps
of paper, random phrases,
35
all we are in the end.
But you, you were rare. Your words
are up there with the stars,
still travelling outwards
with the occasional earthbound sigh.
40
Tracey Herd
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
For Meg
Half the things you did were too scary for me.
Skiing? No thanks. Riding? I’ve never learnt.
Canoeing? I’d be sure to tip myself out
and stagger home, ignominiously wet.
It was my son, that time in Kathmandu,
who galloped off with you to the temple at Bodnath
in a monsoon downpour, both of you on horses
from the King of Nepal’s stables. Not me.
5
And as for the elephants - my God, the elephants!
How did you get me up on to one of those?
First they lay down; the way to climb aboard
was to walk up a gross leg, then straddle a sack
(that’s all there was to sit on), while the creature
wobbled and swayed through the jungle for slow hours.
It felt like riding on the dome of St Paul’s
in an earthquake. This was supposed to be a treat.
10
15
You and Alex and Maya, in her best sari,
sat beaming at the wildlife, you with your camera
proficiently clicking. You were pregnant at the time.
I clung with both hot hands to the bit of rope
that was all there was to cling to. The jungle steamed.
As soon as we were back in sight of the camp
I got off and walked through a river to reach it.
You laughed, but kindly. We couldn’t all be like you.
20
Now you’ve done the scariest thing there is;
and all the king’s horses, dear Meg, won’t bring you back.
25
Fleur Adcock
1. Compare the ways the writers present someone who has died and their feelings for
that person in Calling Card and For Meg.
In your answer you should compare:



the ideas in the poems
the poets’ use of language
the poets’ use of form and structure.
Use evidence from the poems to support your comparison.
(Total for question = 20 marks)
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
WJEC Eduqas exam style question
SECTION C (Unseen Poetry)
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a)
and about 40 minutes on part (b).
1. Read the two poems Calling Card by Tracey Herd and For Meg by Fleur Adcock. In both these
poems the poets write about their memories of someone who has died.
(a) Write about the poem Calling Card by Tracey Herd, and its effect on you.
[15]
You may wish to consider:
•
•
•
•
what the poem is about and how it is organised;
the ideas the poet may have wanted us to think about;
the poets choice of words, phrases and images and the effects they create;
how you respond to the poem.
Calling Card
At the last party,
the punctual, the late arrivals,
the ones who never made it
are all one and the same.
Girl in the vivid, yellow peacoat,
with hands tucked into your sleeves,
bangles upon bangles; only
in a photograph, could you be silent.
Your life comprised 8,252 sunrises
and one less sunset.
You are at the top of your
radio tower, speaking
out into the universe.
Your words, considered and private
will travel outwards forever
… thoughts that wander
through eternity …
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
The car hit the guard rail,
Dennis, Mass, on Route 6,
with your boyfriend asleep at the wheel,
prosaic details you’d have discarded.
They meant nothing, just
a mess of metal and broken glass.
Your words couldn’t protect you,
but they never left you,
swirling around your body like moths.
It’s us they’ll haunt, bearing
their bright, yellow buds.
I’ll never be able to look at
a yellow rose again
without thinking of you.
Your ashes were scattered
against the wind, your body
burned into charred scraps
of paper, random phrases,
all we are in the end.
But you, you were rare. Your words
are up there with the stars,
still travelling outwards
with the occasional earthbound sigh.
Tracey Herd
(b) Now compare Calling Card by Tracey Herd and For Meg by Fleur Adcock.
[25]
You should compare:
•
•
•
•
what the poems are about and how they are organised;
the ideas the poets may have wanted us to think about;
the poet’s choice of words, phrases and images and the effects they create;
how you respond to the poems.
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Exam questions
’Calling Card’ by Tracey Herd and ‘For Meg’ by Fleur Adcock
For Meg
Half the things you did were too scary for me.
Skiing? No thanks. Riding? I’ve never learnt.
Canoing? I’d be sure to tip myself out
and stagger home, ignominiously wet.
It was my son, that time in Kathmandu,
who galloped off with you to the temple at Bodnath
in a monsoon downpour, both of you on horses
from the King of Nepal’s stables. Not me.
And as for the elephants - my God, the elephants!
How did you get me up on to one of those?
First they lay down; the way to climb aboard
was to walk up a gross leg, then straddle a sack
(that’s all there was to sit on), while the creature
wobbled and swayed through the jungle for slow hours.
It felt like riding on the dome of St Paul’s
in an earthquake. This was supposed to be a treat.
You and Alex and Maya, in her best sari,
sat beaming at the wildlife, you with your camera
proficiently clicking. You were pregnant at the time.
I clung with both hot hands to the bit of rope
that was all there was to cling to. The jungle steamed.
As soon as we were back in sight of the camp
I got off and walked through a river to reach it.
You laughed, but kindly. We couldn’t all be like you.
Now you’ve done the scariest thing there is;
and all the king’s horses, dear Meg, won’t bring you back.
Fleur Adcock
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Exam questions
’Long Distance II’ by Tony Harrison and ‘For Meg’ by Fleur Adcock
OCR exam style question
Section A
Poetry across time
Read Long Distance II by Tony Harrison (from the OCR anthology) and the poem below (For
Meg by Fleur Adcock) and then answer both part a) and part b).
You are advised to spend about 45 minutes on part a) and 30 minutes on part b).
a. Compare how the speakers in these poems express their feelings for the person that had
died.
You should consider:
•
•
•
ideas and attitudes in each poem
tone and atmosphere in each poem
the effects of the language and structure used.
[20]
AND
b. Explore in detail one other poem from your anthology which expresses memories for
another person.
[20]
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Exam questions
’Long Distance II’ by Tony Harrison and ‘For Meg’ by Fleur Adcock
For Meg by Fleur Adcock
Half the things you did were too scary for me.
Skiing? No thanks. Riding? I’ve never learnt.
Canoing? I’d be sure to tip myself out
and stagger home, ignominiously wet.
It was my son, that time in Kathmandu,
who galloped off with you to the temple at Bodnath
in a monsoon downpour, both of you on horses
from the King of Nepal’s stables. Not me.
And as for the elephants - my God, the elephants!
How did you get me up on to one of those?
First they lay down; the way to climb aboard
was to walk up a gross leg, then straddle a sack
(that’s all there was to sit on), while the creature
wobbled and swayed through the jungle for slow hours.
It felt like riding on the dome of St Paul’s
in an earthquake. This was supposed to be a treat.
You and Alex and Maya, in her best sari,
sat beaming at the wildlife, you with your camera
proficiently clicking. You were pregnant at the time.
I clung with both hot hands to the bit of rope
that was all there was to cling to. The jungle steamed.
As soon as we were back in sight of the camp
I got off and walked through a river to reach it.
You laughed, but kindly. We couldn’t all be like you.
Now you’ve done the scariest thing there is;
and all the king’s horses, dear Meg, won’t bring you back.
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Exam questions
’A London Thoroughfare. 2am.’ By Amy Lowell
Unit 5
Teaching notes – A London Thoroughfare
Teaching notes
‘A London Thoroughfare. 2 am’
Amy Lowell
(1874-1925)
First encounter

‘Sidewalks’ should be the most obvious indicator of Lowell’s US origins. The poem is quite
unusual in expressing her feelings quite so obviously, both her dislike of the ‘squalid and
sinister’ city and her love of the moon. Perhaps this says more about her mood than it
does about the city. Some terms which might help some students describe mood are:
out of sympathy with
repelled by
repulsed by
disagreeable
Getting closer to the poem

There are a number of words and phrases which are not in themselves negative but which
add up to an overall mood. ‘Lights glare’, ‘feet shuffle’, for example, and the ‘river’ is
slow-moving yet going nowhere.

‘Light’ is a theme, whether the too bright lights of the city which make the moon appear
feeble, or the black and silver of the river/road. Everything is monochrome, like an old
black and white film.
Structure – the way the poem is built

The first lines should lead students to detect a gradual movement from the broader
picture down to the windows opposite and then to the poet herself and her final
reflection on her feelings, summed up with ‘And this is an alien city’.
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Teaching notes
’A London Thoroughfare. 2 am’ by Amy Lowell
The words on the page

The first activity could be carried out as a class, using a projected version of the text
which could be gradually amended using suggestions from students. A few subtle changes
can make a big difference, though ‘squalid and sinister’ require something more drastic.

The following words are repeated:

Three times:
city
lamps
moon
window
Twice:
cold
(coldly)
river
silver
slowmoving
street
white
In discussion, tease out why some words might be expected to be repeated – ‘city’ and
‘street’, for example, and others are more intriguing – ‘slow-moving’, ‘silver’ and ‘cold’,
for example.
Inside the poem

Imagery. There is the metaphor of the street as river, which is sustained throughout the
first stanza – perhaps enough to be termed an extended metaphor? It’s not an attractive
image: slow-moving, black and silver, going nowhere. Yet it is going somewhere; perhaps
it’s the writer who is going nowhere. The moon is a dominant image in the second half of
the poem, clear and round and yet thin and lustreless, rather like the description. The
fact that the moon is ‘she’ might prompt students to see this as an example of
personification but as it doesn’t behave in any way like a person, it’s not a good
example!

Shape. The poem is long and thin: not particularly like a street but not unlike a
meandering river. The line breaks and punctuation (shouldn’t the first comma be a full
stop or semi-colon?) create an unsettled effect. The isolation of ‘And lies’ is especially
unsettling with its double meaning. The poem, like the observer, is not restful in the way
that it might be perceived on a moonlit night.

The ending. ‘I know the moon, / And this is an alien city.’ We might expect a ‘But’
instead of the ‘And’ – does this make a big difference or not? Taken literally, Lowell is
saying she knows the moon better than the city, which is a bit of poetic whimsy. Students
could be asked to express in their own way the feeling that Lowell is articulating here.
‘The city feels foreign to me but at least the moon is the same as the one at home – even
though the streetlights make it dimmer than it would be back there …’
Thoughts, response, conclusion

The poem is a kind of internal monologue. It may not be too fanciful to say that the poet
is projecting her feelings onto the scene. If students do not relate very strongly to the
poem, it could be instructive. Some poems will speak to them, some will leave them
cold. The important thing is that they are guided to finding ways of expressing their
responses intelligently.
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Student workbook
’A London Thoroughfare. 2 am’ by Amy Lowell
A London Thoroughfare. 2 a.m.
‘A London Thoroughfare. 2 am’
Amy Lowell
(1874-1925)
They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another,
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.
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Student workbook
’A London Thoroughfare. 2 am’ by Amy Lowell
Opposite my window,
The moon cuts,
Clear and round,
Through the plum-coloured night.
She cannot light the city;
It is too bright.
It has white lamps,
And glitters coldly.
I stand in the window and watch the moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.
Glossary: alien – unfamiliar.
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Student workbook
’A London Thoroughfare. 2 am’ by Amy Lowell
First encounter
1. Where do you think the writer comes from? What are her feelings about the city? Do
you think they would be the same at 2 o’clock in the afternoon?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
2. Write a short paragraph to sum up the mood of the poem. Condense the paragraph
to a sentence then finally a single word.
Paragraph
...............................................................................................
...............................................................................................
...............................................................................................
...............................................................................................
Sentence
................................................................................................
Word
Getting closer to the poem
1. Sometimes the poet’s negative feelings are directly expressed, e.g. ‘The city is
squalid and sinister’. Elsewhere the negativity is more indirect. Highlight the words
or phrases which, to you, express negative feelings. Share these with a partner – how
do your answers compare?
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’A London Thoroughfare. 2 am’ by Amy Lowell
2. Light plays an important part in the poem. Jot down all the references to light, dark
and the moon.
Light
Dark
Moon
Structure – the way the poem is built
1. Look at the first line of each stanza. How do these show the focus of attention in the
poem gradually changing?
.................................................................................................
.................................................................................................
The words on the page
1. Here are the words of the first stanza displayed as continuous text. Tweak some of
the words to change the mood from negative to positive.
Some suggestions have been made as an example.
They have watered the street, it shines in the glare light of lamps, cold bright,
white lamps, and lies like a slow-moving river, barred with silver and black.
Cabs go down it, one, and then another. Between them I hear the shuffling of
feet. Tramps doze on the window-ledges, night-walkers pass along the
sidewalks. The city is squalid and sinister, with the silver-barred street in the
midst, slow-moving, a river leading nowhere.
2. Repetition is almost always significant. How many significant words are repeated –
i.e. not including words such as ‘the’, ‘it’ and so on? Highlight all the ones you can
find – you may be surprised at how many there are.
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’A London Thoroughfare. 2 am’ by Amy Lowell
3. Which of the repetitions do you think are most important?
Choose three and explain why.
..............................................................
..............................................................
..............................................................
..............................................................
..............................................................
..............................................................
..............................................................
..............................................................
..............................................................
Inside the poem
1. Imagery: The two thematic images in the poem are ‘river’ and ‘moon’.
How does the poet describe the river and the moon, and what differences
are there in the way they are described?
.................................................................................................
.................................................................................................
2. Shape: Is there anything interesting about the shape of the poem you
could comment on? How does the punctuation affect the way the poem is
read?
.................................................................................................
.................................................................................................
3. The ending: What is the effect of the last two lines?
.................................................................................................
.................................................................................................
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’A London Thoroughfare. 2 am’ by Amy Lowell
Thoughts, response, conclusion
1. Is the poem more effective in creating a picture of the city or a portrait of the poet
and her feelings?
.................................................................................................
.................................................................................................
2. Explain your judgement and go on to say what your personal response to the poem is.
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
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’Frost Fair’ By Rowyda Amin
Teaching notes – Frost Fair
Teaching notes
‘Frost Fair’
Rowyda Amin
First encounter

Students may well be baffled by this poem, especially at first reading. Hence the
reminder that poems can create imaginary worlds, with which they will be familiar from
books, films and television. The writer appears to be melding past and present – hot dogs
and dancing bears, taxis and booths on the frozen Thames. Some things could be from
past or present, others are ambiguous. What are the screaming hens on the sleigh? Girls
on a carousel?

‘You’ seems to be the voice of the protagonist rather than addressed to another person,
but whether it is the voice of the poet or an imagined character, we are left to wonder.

Most students dislike uncertainty but in discussing poetry they will have to get used to it!
They need to become familiar with a vocabulary which will make them feel more
comfortable with expressing uncertainty.
Getting closer to the poem

‘Alas my love, you do me wrong. / Thy girdle of gold so red. / And yet thou wouldst not
love.’ These phrases stand out from the rest of the poem and some may recognise them
as lines from (one version of) Greensleeves. Students would not be expected to know this
in an exam; if the board thought it was sufficiently significant, it would be explained in a
footnote. However, students should be able to see that these lines are different and
have a stab at what part they play. Notice that the first example comes immediately
after the mention of ballad singers. So here the writer is again mingling an old song with
a contemporary setting and mood, which adds to the mysterious quality of the poem.
(Interestingly, the Greensleeves lyric reads ‘And yet thou wouldst not love me’. Some
students may find this intriguing if it is revealed after the activities have been
completed.)
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Teaching notes
’Frost Fair’ By Rowyda Amin

The words provided to describe the mood can be added to. There is no right answer, of
course, but choices require explanation which leads to discussion. A number of the terms
are quite similar in meaning and teasing out differences and subtleties is useful.
Structure – the way the poem is built

There are different ways of dividing the poem, as well. The lines from Greensleeves
could form the final words of each stanza. The first two stanzas then paint pictures
observed by the writer but the final one becomes more personal, expressing the desires
of the writer.
The words on the page

In terms of contrasts, there are many, but the interweaving of past and present, the real
and the imaginary seems key. In some ways, it is all imaginary. After all, there has not
been a frost fair on the Thames for more than two hundred years. This leads back to the
terms used to describe the mood of the poem and then on to the choice of a significant
word. Students could write their word on a post-it and these could be displayed for
comparison and discussion. Anonymity is often helpful.
Inside the poem

Imagery. There is some interesting figurative language, which students may or may not
find effective. Why, for example, are taxis ‘black as death’s pyjamas’? It’s an arresting
image but is it a good or appropriate one?

Sound. There is a repetition of an ‘o’ sound in the first half to thirds of the poem. This
adds a certain harmony to a reading but does it have any other purpose? It doesn’t have
to – assonance and alliteration have been used over the centuries simply for the pleasing
sound.

The ending. The poem ends with a seriously indented line and the final song quotation.
What are we to make of the former? (It’s always possible that it’s a typographical error –
stranger things have happened!) It certainly slows the poem down with a jolt, ready for
the final, rather blunt ‘And yet thou wouldst not love’. Is she merely using a line from
Greensleeves as a nice finishing touch or does it have deeper significance? If the ‘you’ is
the writer, is this recognition of an inability or unwillingness to love? Again, the reader
can ponder and wonder but not know for sure.
Thoughts, response, conclusion

Again, students’ responses could be written on separate pieces of paper and then
circulated anonymously to start discussion. It’s a poem full of vivid images, intriguing and
yet, like a dream, impossible to pin down.
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Teaching notes
’Frost Fair’ by Rowyda Amin
Frost Fair
‘Frost Fair’
Rowyda Amin
Slideshow faces flicker from the station.
You’re following the mood to London Bridge
where taxis cruise black as death’s pyjamas.
The Thames you find is glacier silk, shantied
with booths and carousels. Five screaming hens
speed by in a white horse sleigh. Ballad singers
busk their vagrant lines. Alas my love, you do me wrong.
Crowds scoff hotdogs and candyfloss,
cheer as Punch batters Judy with the baby.
Hog roasts spit fat on the ice, children watching
with faces pink and hot. Thy girdle of gold so red.
Falling snow feathers the whipped bear moonwalking in chains.
It looks at you with marshmallow eyes
and you want to take its arms and zip over the ice,
feel fur on your cheeks, skating against the wind to the estuary
where the ice breaks apart, but you smile, hands in pockets,
and turn to the skittles and acrobats,
sugared crepes and hot wine.
And yet thou wouldst not love.
Glossary: Frost Fairs – these were held on the River Thames in London in the 17th-19th
century when the winters were so cold that the river froze over.
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’Frost Fair’ by Rowyda Amin
First encounter
1. What’s going on? What are your first impressions of the scene described? Remember
that poems, like stories can include every kind of imagined experience from fantasy
to science fiction.
.................................................................................................
.................................................................................................
2. I think that what is happening is:
.................................................................................................
.................................................................................................
3. Who? Who is the ‘you’ in the poem? Is the writer referring to herself or someone
else? Give your reasons.
.................................................................................................
.................................................................................................
Getting closer to the poem
1. Past or present? Pick out the references that could only be the present or very
recent past, those that seem from the past and those which could be either.
Present
Either
Past
Hot dogs
Punch and Judy
The frozen river
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’Frost Fair’ by Rowyda Amin
2. There are three short sentences in italics which do not seem to fit with the rest of
the poem. Why – apart from the italics - do they seem different?
.................................................................................................
.................................................................................................
.................................................................................................
.................................................................................................
3. Which one word would you use to describe the poem’s mood? Why?
.................................................................................................
.................................................................................................
Structure – the way the poem is built
1. If the poem were to be divided into three stanzas, where would you make the
divisions?
Draw arrows where you would make the divisions. Next to them write a brief
explanation of why you’ve made the division there.
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’Frost Fair’ by Rowyda Amin
The words on the page
1. Look at the instances of ‘you’. Where are they concentrated? How does this make
this part of the poem stand out from the rest?
2. Find contrasts in the poem, for example ‘hot and cold’, ‘slow and fast’, ‘past and
present’.
Contrast
Examples
Hot and cold
3. Which five words strike you as the most important or unusual?
4. Pick one of them and explain why you chose it:
.................................................................................................
.................................................................................................
Inside the poem
1. Imagery. Select two examples where the poet has used figurative language
and explain why it is effective – or not.
.................................................................................................
.................................................................................................
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’Frost Fair’ by Rowyda Amin
2. Sound. One vowel sound is more prevalent than others, especially in the
first half of the poem. What effect does this have on your reading, if any?
.................................................................................................
.................................................................................................
3. The ending. What do you make of the ending? Does it affect how you
understand the rest of the poem?
.................................................................................................
.................................................................................................
Thoughts, response, conclusion
1. Has your view of the poem changed since you first read it? Write a few lines about
your first reaction to the poem and how you view it now. This is your personal
response but still needs to be based on the words on the page.
.................................................................................................
.................................................................................................
.................................................................................................
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’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
Comparison resource
‘Frost Fair’ and ‘A London Thoroughfare. 2 am’: Compare the poets’ feelings about being in the city. Add your thoughts/notes underneath the
heading prompts.
‘A London Thoroughfare. 2 am’
They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another,
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.
Opposite my window,
The moon cuts,
Clear and round,
Through the plum-coloured night.
She cannot light the city;
It is too bright.
It has white lamps,
And glitters coldly.
I stand in the window and watch the moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.
‘Frost Fair’
Slideshow faces flicker from the station.
You’re following the mood to London Bridge
where taxis cruise black as death’s pyjamas.
The Thames you find is glacier silk, shantied
with booths and carousels. Five screaming hens
speed by in a white horse sleigh. Ballad singers
busk their vagrant lines. Alas my love, you do me wrong.
Crowds scoff hotdogs and candyfloss,
cheer as Punch batters Judy with the baby.
Hog roasts spit fat on the ice, children watching
with faces pink and hot. Thy girdle of gold so red.
Falling snow feathers the whipped bear moonwalking in chains.
It looks at you with marshmallow eyes
and you want to take its arms and zip over the ice,
feel fur on your cheeks, skating against the wind to the estuary
where the ice breaks apart, but you smile, hands in pockets,
and turn to the skittles and acrobats,
sugared crepes and hot wine.
And yet thou wouldst not love.
Rowyda Amin
Amy Lowell
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Comparison resource
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
monochrome/colour
cold/warm
listlessness/energy
negative/positive
one sense/many senses
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one feeling/range of feelings
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isolated/engaged
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Comparison resource
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
‘Frost Fair’ and ‘London Thoroughfare 2 a.m.’: Compare the poets’ feelings about being in the city.
Use the words and phrases from the word bank to fill in the cells under appropriate headings. Some may fit under more than one heading.
Monochrome / colour
Cold / warm
listlessness / energy
Negative / positive
One sense / many senses
Isolation / company
alien city
skating against the wind
shuffling
too bright
children watching
black as death’s pyjamas
you smile
shuffling of feet
tramps doze
falling snow feathers
skittles and acrobats
white horse sleigh
marshmallow eyes
cannot light
glitters coldly
clear and round
leading nowhere
silver and black
crepes and hot wine
zip over the ice
cold white lamps
pink and hot
singers busk
you do me wrong
feel fur
girdle of gold so red
plum-coloured night
slow-moving
crowds
thou wouldst not love
glacier silk
scoff hotdogs
squalid and sinister
cheer
glare of lamps
screaming hens speed by
thin and lustreless
spit fat
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’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
To the teacher
There are three variations offered here. One simply provides the two poems with space between
for students’ jottings.
For those who need support, there is a version with suggested headings which will help them to
focus on the contrasts between the poems.
Finally, there is a version in table form. Students can either copy words and phrases from the
word bank below into the appropriate cells or, if using a word processor, drag and drop or copy
and paste.
All of the activities should give students enough material to write a well-evidenced commentary
and conclusion. Lowell’s poem creates a monochrome picture, ‘plum-coloured’ being the only
variation. Her poem could be considered cold. Amin’s, though mentioning ice and glacier, is
much warmer. Lowell focuses on slow or no movement where Amin portrays vivacious movement
and energy. ‘London Thoroughfare’ creates a feeling of isolation, ‘Frost Fair’ is full of people.
In terms of senses, Lowell concentrates on sight – the only exception being ‘shuffling of feet’;
Amin uses sight, sound, touch and taste. Overall, ‘London Thoroughfare’ could be interpreted as
negative, dismal and almost antagonistic; ‘They’ have watered the street and the city is ‘Alien’.
‘Frost Fair’, in spite of the words of the song and the curious reference to death’s pyjamas, is
positive, brimming with energy and a range of feelings.
These are some of the qualities which one hopes students will be able to identify and then use in
order to create an answer to the question:
Compare the poets’ feelings about being in the city.
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Comparison resource
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
Exam questions
AQA exam style question
Section C: Unseen poetry
Answer both questions in this section
A London Thoroughfare. 2 am
How they strut about, people in love,
how tall they grow, pleased with themselves,
their hair, glossy, their skin shining.
They don’t remember who they have been.
5
How filmic they are just for this time.
How important they’ve become – secret, above
the order of things, the dreary mundane.
Every church bell ringing, a fresh sign.
How dull the lot that are not in love.
10
Their clothes shabby, their skin lustreless;
how clueless they are, hair a mess; how they trudge
up and down streets in the rain,
remembering one kiss in a dark alley,
a touch in a changing-room, if lucky, a lovely wait
15
for the phone to ring, maybe, baby.
The past with its rush of velvet, its secret hush
already miles away, dimming now, in the late day.
Amy Lowell
1. In ‘A London Thoroughfare. 2 am, how does the poet present the
speaker’s reaction to being in London?
[24 marks]
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Exam questions
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
Frost Fair
Slideshow faces flicker from the station.
You’re following the mood to London Bridge
where taxis cruise black as death’s pyjamas.
The Thames you find is glacier silk, shantied
5
with booths and carousels. Five screaming hens
speed by in a white horse sleigh. Ballad singers
busk their vagrant lines. Alas my love, you do me wrong.
Crowds scoff hotdogs and candyfloss,
cheer as Punch batters Judy with the baby.
10
Hog roasts spit fat on the ice, children watching
with faces pink and hot. Thy girdle of gold so red.
Falling snow feathers the whipped bear moonwalking in chains.
It looks at you with marshmallow eyes
and you want to take its arms and zip over the ice,
15
feel fur on your cheeks, skating against the wind to the estuary
where the ice breaks apart, but you smile, hands in pockets,
and turn to the skittles and acrobats,
sugared crepes and hot wine.
And yet thou wouldst not love.
Rowyda Amin
2. In both ‘A London Thoroughfare. 2 am’ and ‘Frost Fair’ the speakers describe feelings
about being in a city. What are the similarities and/or differences between the ways the
poets present those feelings?
[8 marks]
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Exam questions
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
Edexcel exam style question
SECTION B, Part 2 – Unseen Poetry
Read the two poems and answer the question.
You should spend about 45 minutes on this section.
A London Thoroughfare. 2 am
They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another.
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.
5
10
15
Opposite my window,
The moon cuts,
Clear and round,
Through the plum-coloured night.
She cannot light the city;
It is too bright.
It has white lamps,
And glitters coldly.
20
I stand in the window and watch the moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.
25
Amy Lowell
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Exam questions
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
Frost Fair
Slideshow faces flicker from the station.
You’re following the mood to London Bridge
where taxis cruise black as death’s pyjamas.
The Thames you find is glacier silk, shantied
with booths and carousels. Five screaming hens
5
speed by in a white horse sleigh. Ballad singers
busk their vagrant lines. Alas my love, you do me wrong.
Crowds scoff hotdogs and candyfloss,
cheer as Punch batters Judy with the baby.
Hog roasts spit fat on the ice, children watching
10
with faces pink and hot. Thy girdle of gold so red.
Falling snow feathers the whipped bear moonwalking in chains.
It looks at you with marshmallow eyes
and you want to take its arms and zip over the ice,
feel fur on your cheeks, skating against the wind to the estuary
15
where the ice breaks apart, but you smile, hands in pockets,
and turn to the skittles and acrobats,
sugared crepes and hot wine.
And yet thou wouldst not love.
Rowyda Amin
1. Compare the ways the writers present someone’s feeling towards the city in A London
Thoroughfare. 2 am and Frost Fair.
In your answer you should compare:



the ideas in the poems
the poets’ use of language
the poets’ use of form and structure.
Use evidence from the poems to support your comparison.
(Total for question = 20 marks)
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’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
WJEC Eduqas exam style question
SECTION C (Unseen Poetry)
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a)
and about 40 minutes on part (b).
1. Read the two poems, A London Thoroughfare. 2 am by Amy Lowell and Frost Fair by Rowyda
Amin. In both of these poems the poets write about being in a city.
a. Write about the poem A London Thoroughfare. 2 am by Amy Lowell, and its effect on
you.
[15]
You may wish to consider:




what the poem is about and how it is organised;
the ideas the poet may have wanted us to think about;
the poet’s choice if words, phrases and images and the effects they create;
how you respond to the poem.
A London Thoroughfare. 2 am
They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another.
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.
5
10
15
Opposite my window,
The moon cuts,
Clear and round,
Through the plum-coloured night.
She cannot light the city;
It is too bright.
It has white lamps,
And glitters coldly.
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Exam questions
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Frost Fair’ by Rowyda Amin
I stand in the window and watch the moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.
25
Amy Lowell
b. Now compare A London Thoroughfare. 2 am by Amy Lowell and Frost Fair by Rowyda
Amin.
[25]
You should compare:




what the poems are about and how they are organised;
the ideas the poets may have wanted us to think about;
the poets’ choice of words, phrases and images and the effects they create;
how you respond to the poems.
Frost Fair
Slideshow faces flicker from the station.
You’re following the mood to London Bridge
where taxis cruise black as death’s pyjamas.
The Thames you find is glacier silk, shantied
with booths and carousels. Five screaming hens
speed by in a white horse sleigh. Ballad singers
busk their vagrant lines. Alas my love, you do me wrong.
Crowds scoff hotdogs and candyfloss,
cheer as Punch batters Judy with the baby.
Hog roasts spit fat on the ice, children watching
with faces pink and hot. Thy girdle of gold so red.
Falling snow feathers the whipped bear moonwalking in chains.
It looks at you with marshmallow eyes
and you want to take its arms and zip over the ice,
feel fur on your cheeks, skating against the wind to the estuary
where the ice breaks apart, but you smile, hands in pockets,
and turn to the skittles and acrobats,
sugared crepes and hot wine.
And yet thou wouldst not love.
Rowyda Amin
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Exam questions
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Boat Stealing’ by William Wordsworth
OCR exam style question
Section A
Poetry across time
Read the two poems below and then answer both part a) and part b).
You are advised to spend about 45 minutes on part a) and 30 minutes on part b).
a) Compare how the speakers in these poems express feelings of a power of place.
You should consider:



ideas and attitudes in each poem
tone and atmosphere in each poem
the effects of the language and structure used.
[20]
AND
b) Explore in detail one other poem from your anthology which expresses the relationship
between man and place. [20]
A London Thoroughfare. 2 am by Amy Lowell
They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another.
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.
5
10
15
Opposite my window,
The moon cuts,
Clear and round,
Through the plum-coloured night.
She cannot light the city;
It is too bright.
It has white lamps,
And glitters coldly.
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Exam questions
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Boat Stealing’ by William Wordsworth
I stand in the window and watch the moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.
25
Amy Lowell
Boat Stealing (From 1799 Prelude)
I went alone into a Shepherd’s boat,
A skiff, that to a willow-tree was tied
Within a rocky cave, its usual home.
The moon was up, the lake was shining clear
Among the hoary mountains; from the shore
I pushed, and struck the oars, and struck again
In cadence, and my little boat moved on
Just like a man who walks with a stately step
Though bent on speed. It was an act of stealth
And troubled pleasure. Not without the voice
Of mountain echoes did my boat move on,
Leaving behind her still on either side
Small circles glittering idly in the moon,
Until they melted all into one track
Of sparkling light. A rocky steep uprose
Above the cavern of the willow-tree,
And now, as suited one who proudly rowed
With his best skill, I fixed a steady view
Upon the top of that same craggy ridge,
The bound of the horizon — for behind
Was nothing but the stars and the grey sky.
She was an elfin pinnace; twenty times
I dipped my oars into the silent lake,
And as I rose upon the stroke my boat
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Exam questions
’A London Thoroughfare. 2 am’ by Amy Lowell and ‘Boat Stealing’ by William Wordsworth
Went heaving through the water like a swan —
When from behind that rocky steep, till then
The bound of the horizon, a huge cliff,
As if voluntary power instinct,
Upreared its head. I struck, and struck again,
And, growing still in stature, the huge cliff
Rose up between me and the stars, and still,
With measured motion, like a living thing
Strode after me. With trembling hands I turned,
And through the silent water stole my way
Back to the cavern of the willow-tree.
There in her mooring place I left my bark,
And through the meadows homeward went with grave
And serious thoughts; and after I had seen
That spectacle, for many days my brain
Worked with a dim and undetermined sense
Of unknown modes of being. In my thoughts
There was darkness — call it solitude,
Or blank desertion — no familiar shapes
Of hourly objects, images of trees,
Of sea or sky, no colours of green fields,
But huge and mighty forms that do not live
Like living men moved slowly through my mind
By day, and were the trouble of my dreams.
William Wordsworth
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Unit 5
Exam questions
’Long life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Unit 6
Unit 6 Teaching notes – Frost Fair
Teaching notes
This pair of poems, ‘Long Life’ and ‘Fish oil, exercise and no wild parties’ are presented here in
a different way to the previous units. This is part of a process of building student confidence and
developing their independence. These poems are presented with some accompanying
annotations but they are not displayed in a particular order.
The annotations are probably more clearly expressed and neater than actual ones would be,
whether in an exam or a practice situation. The annotations to ‘Fish oil…’ are even less ordered,
being presented as hand-written jottings.
Both are intended to give the student an idea of how notes can be really helpful in building up to
a full response.
For both poems, ask students to:



add their own observations about the poem, including their personal response
use a system, such as numbering, to organize the notes into an appropriate order
write a response to the poem in continuous prose, using well demarcated paragraphs.
‘Long Life’
For students who need some extra guidance:

Draw their attention to the language choices which have been highlighted. Are there
others which echo the general tone? ‘Calm’ and ‘reflective’ have been suggested as
descriptions of the tone or mood. What other words might sum it up – ‘meditative’?
‘measured’?

The run-on lines (enjambment) assist the reflective tone but are in sharp contrast to the
first line of staccato nouns. What is the effect of this?

Ask students to think about the effect of ‘a fortune beyond any deserving’ and ‘forgive
us, we’d like to hold on’.
‘Fish oil, exercise and no wild parties’
For students who need some extra guidance:

Draw their attention to the tone of the poem – is it appropriate for someone who is, or
has been, seriously ill? Think about the language of friendship in the poem.

What is the effect of the use of rhyme? Again, is it appropriate?

Explore the image of the fish from flopping in a bucket through to weaving upstream –
and beyond.
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Teaching notes
’Long Life’ by Elaine Feinstein
The experience of writing poetry
The point has been made many times that students should experience writing some poetry. This
is not a waste of precious preparation time but a crucial way of building a personal confidence in
poetry as a medium and gaining an insight into the whole process that a writer of poems goes
through. They could use ‘Long Life’ as a model:
Autumn. Rain outside. The street-lights.
I guess I am lucky to be here
With only my small problems
As I try to tackle my Shakespeare …
Or ‘Fish oil, exercise and no wild parties’
My lifelong mate, old chap,
These days you’re letting things slip.
You’re up on the ramp,
Your exhaust full of holes
Rear suspension quite limp
And brake linings worn …
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Student worksheet
’Long Life’ by Elaine Feinstein
Long life
‘Long Life’
Elaine Feinstein
(b.1930)
Late Summer. Sunshine. The eucalyptus tree.
It is a fortune beyond any deserving
to be still here, with no more than everyday worries,
placidly arranging lines of poetry.
I consider a stick of cinnamon
bound in raffia, finches
in the grass, and a stubby bush
which this year mothered a lemon.
These days I speak less of death
than the mysteries of survival. I am
no longer lonely, not yet frail, and
after surgery, recognise each breath
as a miracle. My generation may not be
nimble but, forgive us,
we’d like to hold on, stubbornly
content – even while ageing.
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Student worksheet
’Long Life’ by Elaine Feinstein
Use the annotations as a starting point for your response to the poem.
Add your own points and a personal conclusion.
A wide view, gradually
focusing down. Short, sharp
observations. Nouns – no fussy
adjectives.
Late Summer. Sunshine. The eucalyptus tree.
A simple statement of feeling.
It is a fortune beyond any deserving
to be still here, with no more than everyday worries,
A definite verse form with
simple rhyme scheme: ABCA
placidly arranging lines of poetry.
I consider a stick of cinnamon
Everyday objects – at least to
her. Focusing on things closer.
bound in raffia, finches
in the grass, and a stubby bush
‘mothering’ – more interesting
than ‘produced’
which this year mothered a lemon.
These days I speak less of death
A return to feelings, simply
expressed.
than the mysteries of survival. I am
no longer lonely, not yet frail, and
after surgery, recognise each breath
Language – calm, reflective –
NB highlights
as a miracle. My generation may not be
nimble but, forgive us,
Moving to a more general
statement. Addressing us all.
we’d like to hold on, stubbornly
content – even while ageing.
Rhymes ABAA(?) ageing is a
near rhyme.
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Unit 6
Student worksheet
’Fish oil, exercise and no wild parties’ by Beatrice Garland
Fish oil, exercise and no wild parties
‘Fish oil, exercise and
no wild parties’
Beatrice Garland
My lifelong friend, dear heart,
these days you’re losing the plot:
you’re a fish in a bucket,
open-mouthed, flopping about
in a panic, bereft of your sheen,
all confidence gone.
Examined in action
on a black and white screen,
every movement recorded,
you’re haplessly tethered,
chaotically jumping, locked
into a pulse of your own. Tracked
by the inks on that turning drum
we see what will come
if that spidery record persists
Slow down then, no coffee, resist
the enticement of alcohol,
not even a thimbleful
and I will net you, my flailing fish,
land you without a splash
into calm waters, weaving
upstream, steady and breathing.
Till the hook’s savage grab
lands us both on a slab.
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Unit 6
Student worksheet
’Fish oil, exercise and no wild parties’ by Beatrice Garland
Use the annotations as a starting point for your response to the poem.
Add your own points and a personal conclusion.
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Student worksheet
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Comparison resource
‘Fish oil, exercise and no wild
parties’
‘Long Life’
My lifelong friend, dear heart,
Late Summer. Sunshine. The eucalyptus tree.
It is a fortune beyond any deserving
these days you’re losing the plot:
to be still here, with no more than everyday
you’re a fish in a bucket,
open-mouthed, flopping about
worries,
placidly arranging lines of poetry.
in a panic, bereft of your sheen,
I consider a stick of cinnamon
bound in raffia, finches
all confidence gone.
in the grass, and a stubby bush
which this year mothered a lemon.
Examined in action
on a black and white screen,
These days I speak less of death
than the mysteries of survival. I am
every movement recorded,
you’re haplessly tethered,
no longer lonely, not yet frail, and
after surgery, recognise each breath
chaotically jumping, locked
into a pulse of your own. Tracked
as a miracle. My generation may not be
nimble but, forgive us,
we’d like to hold on, stubbornly
by the inks on that turning drum
content – even while ageing
we see what will come
by Elaine Feinstein
if that spidery record persists
Slow down then, no coffee, resist
the enticement of alcohol,
not even a thimbleful
and I will net you, my flailing fish,
land you without a splash
into calm waters, weaving
upstream, steady and breathing.
Till the hook’s savage grab
lands us both on a slab.
by Beatrice Garland
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Unit 6
Comparison resource
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Question: ‘Compare the way the two poets tackle the issue of illness and death.’
Think about the exam question’s use of ‘the way’. This can be taken to mean both
the techniques the poets use and their attitudes. Make sure you cover both aspects
and, if possible, link them together.
Other points to consider:
Who is the writer addressing? What difference does it make?
What is their tone? How can you tell? What effect do they want to have on their
audience?
Explore the similarities and differences in use of verses, rhyme and rhythm. How do
these affect the reader or listener?
Look at the nouns and verbs in each poem – how does the choice of specific words
make a difference to the effect of the poems?
Overall, what impact does each poem have on you?
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Comparison resource
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Exam questions
AQA exam style question
Section C: Unseen poetry
Answer both questions in this section
Fish oil, exercise and no wild parties
5
10
15
20
My lifelong friend, dear heart,
these days you’re losing the plot:
you’re a fish in a bucket,
open-mouthed, flopping about
in a panic, bereft of your sheen,
all confidence gone.
Examined in action
on a black and white screen,
every movement recorded,
you’re haplessly tethered,
chaotically jumping, locked
into a pulse of your own. Tracked
by the inks on that turning drum
we see what will come
if that spidery record persists
Slow down then, no coffee, resist
the enticement of alcohol,
not even a thimbleful
and I will net you, my flailing fish,
land you without a splash
into calm waters, weaving
upstream, steady and breathing.
Till the hook’s savage grab
lands us both on a slab.
Beatrice Garland
1. In ‘Fish oil, exercise and no wild parties’, how does the poet present the speaker’s
feelings about getting old?
[24 marks]
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Unit 6
Exam questions
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Long Life
Late Summer. Sunshine. The eucalyptus tree.
It is a fortune beyond any deserving
to be still here, with no more than everyday worries,
placidly arranging lines of poetry.
5
I consider a stick of cinnamon
bound in raffia, finches
in the grass, and a stubby bush
which this year mothered a lemon.
These days I speak less of death
10
than the mysteries of survival. I am
no longer lonely, not yet frail, and
after surgery, recognise each breath
as a miracle. My generation may not be
nimble but, forgive us,
15
we’d like to hold on, stubbornly
content – even while ageing.
Elaine Feinstein
2. In both ‘Fish oil, exercise and no wild parties’ and ‘Long Life’ the speakers describe their
feelings about illness and death. What are the similarities and/or differences between
the ways the poets present those feelings?
[8 marks]
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Exam questions
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Edexcel exam style question
SECTION B, Part 2 – Unseen Poetry
Read the two poems and answer the question.
You should spend about 45 minutes on this section.
Fish oil, exercise and no wild parties
My lifelong friend, dear heart,
these days you’re losing the plot:
you’re a fish in a bucket,
open-mouthed, flopping about
in a panic, bereft of your sheen,
5
all confidence gone.
Examined in action
on a black and white screen,
every movement recorded,
you’re haplessly tethered,
10
chaotically jumping, locked
into a pulse of your own. Tracked
by the inks on that turning drum
we see what will come
if that spidery record persists
15
Slow down then, no coffee, resist
the enticement of alcohol,
not even a thimbleful
and I will net you, my flailing fish,
land you without a splash
20
into calm waters, weaving
upstream, steady and breathing.
Till the hook’s savage grab
lands us both on a slab.
Beatrice Garland
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Page 146 of 161
Unit 6
Exam questions
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
Long Life
Late Summer. Sunshine. The eucalyptus tree.
It is a fortune beyond any deserving
to be still here, with no more than everyday worries,
placidly arranging lines of poetry.
I consider a stick of cinnamon
5
bound in raffia, finches
in the grass, and a stubby bush
which this year mothered a lemon.
These days I speak less of death
than the mysteries of survival. I am
10
no longer lonely, not yet frail, and
after surgery, recognise each breath
as a miracle. My generation may not be
nimble but, forgive us,
we’d like to hold on, stubbornly
15
content – even while ageing.
Elaine Feinstein
1. Compare the ways the writers present the issue of illness and death in Fish oil, exercise
and no wild parties and Long Life.
In your answer you should compare:



the ideas in the poems
the poets’ use of language
the poets’ use of form and structure.
Use evidence from the poems to support your comparison.
(Total for question = 20 marks)
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Exam questions
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
WJEC Eduqas exam style question
SECTION C (Unseen Poetry)
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a)
and about 40 minutes on part (b).
1. Read the two poems, Fish oil, exercise and no wild parties by Beatrice Garland and Long Life
by Elaine Feinstein. In both of these poems the poets write about the effects of illness and
death.
(a) Write about the poem Fish oil, exercise and no wild parties, and its effects on you.
[15]
You may wish to consider:




what the poem is about and how it is organised;
the ideas the poet may have wanted us to think about;
the poet’s choice of words, phrases and images and the effects they create;
how you respond to the poem.
Fish oil, exercise and no wild parties
My lifelong friend, dear heart,
these days you’re losing the plot:
you’re a fish in a bucket,
open-mouthed, flopping about
in a panic, bereft of your sheen,
all confidence gone.
Examined in action
on a black and white screen,
every movement recorded,
you’re haplessly tethered,
chaotically jumping, locked
into a pulse of your own. Tracked
by the inks on that turning drum
we see what will come
if that spidery record persists
Slow down then, no coffee, resist
the enticement of alcohol,
not even a thimbleful
and I will net you, my flailing fish,
land you without a splash
into calm waters, weaving
upstream, steady and breathing.
Till the hook’s savage grab
lands us both on a slab.
Beatrice Garland
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Unit 6
Exam questions
’Long Life’ by Elaine Feinstein and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
(b) Now compare Fish oil, exercise and no wild parties by Beatrice Garland and Long Life by
Elaine Feinstein.
[25]
You should compare:




what the poems are about and how they are organised;
the ideas the poets may have wanted us to think about;
the poets’ choice of words, phrases and images and the effects they create;
how you respond to the poems.
Long Life
Late Summer. Sunshine. The eucalyptus tree.
It is a fortune beyond any deserving
to be still here, with no more than everyday worries,
placidly arranging lines of poetry.
I consider a stick of cinnamon
bound in raffia, finches
in the grass, and a stubby bush
which this year mothered a lemon.
These days I speak less of death
than the mysteries of survival. I am
no longer lonely, not yet frail, and
after surgery, recognise each breath
as a miracle. My generation may not be
nimble but, forgive us,
we’d like to hold on, stubbornly
content – even while ageing.
Elaine Feinstein
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Unit 6
Exam questions
’Cold Knap Lake’ by Gillian Clarke and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
OCR exam style question
Section A
Poetry across time
Read Cold Knap Lake by Gillian Clarke (can be found in the OCR poetry anthology) and Fish
oil, exercise and no wild parties by Beatrice Garland.
You are advised to spend about 45 minutes on part a) and 30 minutes on part b).
a. Compare how the speakers in these poems express the value of life.
You should consider:



ideas and attitudes in each poem
tone and atmosphere in each poem
the effects of the language and structure used.
[20]
AND
b. Explore in detail one other poem from your anthology which expresses feelings about
growing old.
[20]
Fish oil, exercise and no wild parties
My lifelong friend, dear heart,
these days you’re losing the plot:
you’re a fish in a bucket,
open-mouthed, flopping about
in a panic, bereft of your sheen,
all confidence gone.
Examined in action
on a black and white screen,
every movement recorded,
you’re haplessly tethered,
chaotically jumping, locked
into a pulse of your own. Tracked
by the inks on that turning drum
we see what will come
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Page 150 of 161
Unit 6
Exam questions
’Cold Knap Lake’ by Gillian Clarke and ‘Fish oil, exercise and no wild parties’ by Beatrice Garland
if that spidery record persists
Slow down then, no coffee, resist
the enticement of alcohol,
not even a thimbleful
and I will net you, my flailing fish,
land you without a splash
into calm waters, weaving
upstream, steady and breathing.
Till the hook’s savage grab
lands us both on a slab.
Beatrice Garland
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Unit 6
Exam questions
Additional practice exam questions
Extra exam questions
Teaching notes
Please note that this final pair of poems are quite challenging and don’t come with
accompanying resources – a true exam experience!
Depending on your class, you may like to provide them with some supporting notes. ‘An
Aviary of Small Birds’ relates to a sensitive topic so your students might benefit from
some contextual information. You can read more about the poem here.
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Teaching notes
Additional practice exam questions
AQA
Section C: Unseen poetry
Answer both questions in this section
Answer both questions in this section.
An Aviary of Small Birds
My love is an aviary
of small birds
and I must learn
to leave the door ajar…
5
10
15
20
Are you the sparrow
who landed when I sat
at a slate table
sowing lettuces?
Webbs Wonder, Lollo
Rosso, English Cos…
Swift and deft
you flit and peck peck
quick as the light that
constitutes your spirit.
Yes, you were briefer
than Neruda’s octobrine.
So much rain that night.
Our room is an ocean
where swallows dive.
The bubble bursts
too soon, too late, too long:
all sorts of microscopia
swim upstream, float in
on summer’s storm.
25
The tenor of your heart
is true as a tuning fork struck
—and high! My love
is the bird who flies free.
Karen McCarthy Woolf
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Teaching notes
Additional practice exam questions
1. In ‘An Aviary of Small Birds’, how does the poet present the speaker’s feelings about her
child?
[24 marks]
Mother o’Mine
If I were hanged on the highest hill,
Mother o’ mine, O mother o’ mine!
I know whose love would follow me still,
Mother o’ mine, O mother o’ mine!
5
If I were drowned in the deepest sea,
Mother o’ mine, O mother o’ mine!
I know whose tears would come down to me,
Mother o’ mine, O mother o’ mine!
If I were damned of body and soul,
10
I know whose prayers would make me whole,
Mother o’ mine, O mother o’ mine!
Rudyard Kipling
2. In both ‘An Aviary of Small Birds’ and ‘Mother o’Mine’ the speakers describe feelings
about a loved one. What are the similarities and/or differences between the ways the
poets present those feelings?
[8 marks]
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Teaching notes
Additional practice exam questions
Edexcel
SECTION B, Part 2 – Unseen Poetry
Read the two poems and answer the question.
You should spend about 45 minutes on this section.
An Aviary of Small Birds
My love is an aviary
of small birds
and I must learn
to leave the door ajar…
Are you the sparrow
who landed when I sat
at a slate table
sowing lettuces?
5
Webbs Wonder, Lollo
Rosso, English Cos…
Swift and deft
you flit and peck peck
10
quick as the light that
constitutes your spirit.
Yes, you were briefer
than Neruda’s octobrine.
15
So much rain that night.
Our room is an ocean
where swallows dive.
The bubble bursts
20
too soon, too late, too long:
all sorts of microscopia
swim upstream, float in
on summer’s storm.
The tenor of your heart
is true as a tuning fork struck
—and high! My love
is the bird who flies free.
25
Karen McCarthy Woolf
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Teaching notes
Additional practice exam questions
Mother o’Mine
If I were hanged on the highest hill,
Mother o’ mine, O mother o’ mine!
I know whose love would follow me still,
Mother o’ mine, O mother o’ mine!
If I were drowned in the deepest sea,
Mother o’ mine, O mother o’ mine!
I know whose tears would come down to me,
Mother o’ mine, O mother o’ mine!
If I were damned of body and soul,
I know whose prayers would make me whole,
Mother o’ mine, O mother o’ mine!
Rudyard Kipling
1. Compare the ways the writers present their feelings about a loved one in ‘An Aviary of
Small Birds’ and ‘Mother o’Mine’.
In your answer you should compare:



the ideas in the poems
the poets’ use of language
the poets’ use of form and structure.
Use evidence from the poems to support your comparison.
(Total for question = 20 marks)
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Unit 6
Teaching notes
Additional practice exam questions
WJEC Eduqas
SECTION C (Unseen Poetry)
Answer both part (a) and part (b). You are advised to spend about 20 minutes on part (a)
and about 40 minutes on part (b).
1. Read the two poems An Aviary of Small Birds by Karen McCarthy Woolf and Mother o’Mine by
Rudyard Kipling.
(a) Write about the poem An Aviary of Small Birds, and its effect on you.
[15]
You may wish to consider:




what the poem is about and how it is organised;
the ideas the poet may have wanted us to think about;
the poet’s choice of words, phrases and images and the effects they create;
how you respond to the poem.
An Aviary of Small Birds
My love is an aviary
of small birds
and I must learn
to leave the door ajar…
Are you the sparrow
who landed when I sat
at a slate table
sowing lettuces?
Webbs Wonder, Lollo
Rosso, English Cos…
Swift and deft
you flit and peck peck
quick as the light that
constitutes your spirit.
Yes, you were briefer
than Neruda’s octobrine.
So much rain that night.
Our room is an ocean
where swallows dive.
The bubble bursts
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Teaching notes
Additional practice exam questions
too soon, too late, too long:
all sorts of microscopia
swim upstream, float in
on summer’s storm.
The tenor of your heart
is true as a tuning fork struck
—and high! My love
is the bird who flies free.
Karen McCarthy Woolf
(b) Now compare An Aviary of Small Birds by Karen McCarthy Woolf with Mother o’Mine
by Rudyard Kipling.
[25]
You should compare:




what the poems are about and how they are organised;
the ideas the poets may have wanted us to think about;
the poets’ choice of words, phrases and images and the effects they create;
how you respond to the poems.
Mother o’Mine
If I were hanged on the highest hill,
Mother o’ mine, O mother o’ mine!
I know whose love would follow me still,
Mother o’ mine, O mother o’ mine!
If I were drowned in the deepest sea,
Mother o’ mine, O mother o’ mine!
I know whose tears would come down to me,
Mother o’ mine, O mother o’ mine!
If I were damned of body and soul,
I know whose prayers would make me whole,
Mother o’ mine, O mother o’ mine!
Rudyard Kipling
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Additional practice exam questions
OCR
Section A
Poetry across time
Read the two poems An Aviary of Small Birds (below) and Morning Song by Sylvia Plath (this
can be found in the OCR poetry anthology) and then answer both part a) and part b).
You are advised to spend about 45 minutes on part a) and 30 minutes on part b).
a.
Compare how the speakers in these poems express feelings towards their child
You should consider:



ideas and attitudes in each poem
tone and atmosphere in each poem
the effects of the language and structure used.
[20]
AND
b. Explore in detail one other poem from your anthology which expresses a sense of freedom
in relationships.
[20]
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An Aviary of Small Birds
My love is an aviary
of small birds
and I must learn
to leave the door ajar…
Are you the sparrow
who landed when I sat
at a slate table
sowing lettuces?
Webbs Wonder, Lollo
Rosso, English Cos…
Swift and deft
you flit and peck peck
quick as the light that
constitutes your spirit.
Yes, you were briefer
than Neruda’s octobrine.
So much rain that night.
Our room is an ocean
where swallows dive.
The bubble bursts
too soon, too late, too long:
all sorts of microscopia
swim upstream, float in
on summer’s storm.
Karen McCarthy Woolf
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Acknowledgements
Acknowledgements
‘Late Love’ by Jackie Kay. From Darling: New and Selected Poems (Bloodaxe Books
2007). Reproduced with permission of Bloodaxe Books.
‘Finding the Keys’. From Hills of Doors by Robin Robertson. Reprinted with the kind
permission of Rogers, Coleridge and White. Copyright © Robin Robertson 2013.
‘Calling Card’ by Tracey Herd. From Not in This World (Bloodaxe Books, 2016).
Reproduced with permission of Bloodaxe Books.
‘For Meg’ by Fleur Adcock. From Poems 1960-2000 (Bloodaxe Books, 2000). Reproduced
with permission of Bloodaxe Books.
‘Frost Fair’ by Rowyda Amin is taken from Desert Sunflowers (flipped eye, 2014); used
with permission.
‘Long Life’ by Elaine Feinstein taken from Cities, 2010. Copyrighted and reprinted by
kind permission of Carcanet Press Limited, Manchester, UK.
‘Fish oil, exercise and no wild parties’ by Beatrice Garland taken from The Spectator.
‘An Aviary of Small Birds’ by Karen McCarthy Woolf. From An Aviary of Small Birds,
2014. Copyrighted and reprinted by kind permission of Carcanet Press Limited,
Manchester, UK.
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Teaching notes