Grade 10 Poetry Booklet
2020
Please note: These poems were taken from Shuters English Home Language 10 Poetry Anthology (Compiled by
B. Krone), as prescribed by the Department of Education. The poems are styled and punctuated as they appear
in this anthology.
The Right Word
Soccer, Karoo Style
Shall I Compare Thee to a Summer’s Day
Caged Bird
Reapers in a mieliefield
a young man’s thoughts before june the 16th
He wishes for the cloths of heaven
Hope is the thing with feathers
Telephone Conversation
The warm and the cold
Imtiaz Dharker
Clive Lawrance
Shakespeare
Maya Angelou
Mbuyiseni Oswald Mtshali
Fhazel Johennesse
W.B. Yeats
Emily Dickinson
Wole Soyinka
Ted Hughes
TONE VOCABULARY
Tone: quality of the voice that conveys the emotional message of a text. (How it would be said.)
Mood: atmosphere or emotion in written texts; shows the feeling or the frame of mind of the
characters; it also refers to the atmosphere produced by visual, audio or multi-media texts. (How it
makes you feel.)
Theme: the central idea or ideas in text; a text may contain several themes and these may not be
explicit or obvious.
1
Positive Tone / Attitude Words
Amiable
Amused
Appreciative
Authoritative
Benevolent
Brave
Calm
Cheerful
Cheery
Compassionate
Complimentary
Confident
Consoling
Content
Dreamy
Ecstatic
Elated
Elevated
Encouraging
Energetic
Enthusiastic
Excited
Exuberant
Fanciful
Friendly
Happy
Hopeful
Impassioned
Jovial
Joyful
Jubilant
Lighthearted
Loving
Optimistic
Passionate
Peaceful
Playful
Pleasant
Proud
Relaxed
Reverent
Romantic
Soothing
Surprised
Sweet
Sympathetic
Vibrant
Whimsical
Agitated
Artificial
Boring
Cold
Disgusted
Hateful
Insulting
Irritated
Furious
Wrathful
Angry
Audacious
Brash
Condemnatory
Disinterested
Condescending
Hurtful
Desperate
Surly
Negative Tone / Attitude Words
Accusing
Apathetic
Belligerent
Childish
Disappointed
Harsh
Contradictory
Indignant
Passive
Threatening
Aggravated
Arrogant
Bitter
Coarse
Disgruntled
Haughty
Critical
Outraged
Facetious
Quarrelsome
Humour / Irony / Sarcasm Tone / Attitude Words
Amused
Comical
Cynical
Flippant
Humorous
Joking
Pompous
Ribald
Sardonic
Bantering
Condescending
Disdainful
Mocking
Insolent
Malicious
Mock-heroic
Ridiculing
Satiric
Bitter
Contemptuous
Droll
Mock-serious
Ironic
Patronizing
Scornful
Teasing
Silly
Caustic
Critical
Giddy
Irrelevant
Quizzical
Sarcastic
Whimsical
Wry
Taunting
Despairing
Disturbed
Embarrassed
Fearful
Foreboding
Gloomy
Grave
Horrific
Hollow
Hopeless
Horror
Melancholy
Miserable
Morose
Mournful
Nervous
Numb
Ominous
Paranoid
Pessimistic
Poignant
Pitiful
Regretful
Remorseful
Resigned
Sad
Serious
Allusive
Callous
Consoling
Didactic
Earnest
Formal
Histrionic
Inquisitive
Judgemental
Matter-of-fact
Obsequious
Pretentious
Reminiscent
Serious
Apathetic
Candid
Contemplative
Disbelieving
Expectant
Forthright
Humble
Instructive
Learned
Meditative
Patriotic
Persuasive
Restrained
Zealous
Authoritative
Ceremonial
Conventional
Factual
Frivolous
Incredulous
Loud
Nostalgic
Urgent
Vexed
Wistful
Questioning
Sincere
Sorrow / Fear / Worry Tone / Attitude Words
Aggravated
Apprehensive
Agitated
Anxious
Apologetic
Concerned
Confused
Dejected
Depressed
Neutral Tone / Attitude Words
Admonitory
Baffled
Clinical
Detached
Dramatic
Fervent
Haughty
Informative
Intimate
Lyrical
objective
Pleading
Reflective
Resigned
2
The Right Word
Outside the door,
Lurking in the shadows,
is a terrorist.
Is that the wrong description?
Outside the door
taking shelter in the shadows,
is a freedom-fighter.
Imtiaz Dharker
1
5
I haven’t got this right.
Outside, waiting in the shadows,
is a hostile militant.
10
Are words no more
than waving, wavering flags?
Outside your door,
watchful in the shadows,
is a guerilla warrior.
15
God help me.
Outside, defying every shadow,
stands a martyr.
I saw his face.
No words can help me now.
Just outside the door,
lost in the shadows,
is a child who looks like mine.
One word for you.
Outside my door,
his hand too steady,
his eyes too hard,
is a boy who looks like your son, too.
I open the door.
Come in, I say.
Come in and eat with us.
20
25
30
The child steps in
and carefully, at my door,
takes off his shoes.
3
Glossary:
Lurking
Terrorist
Freedom-fighter
Hostile
Militant
Wavering
Guerilla
Defying
Martyr
prowling, creeping around
radical, extremist
a person who takes part in a revolutionary struggle to achieve a political goal
unfriendly, aggressive
activist, rebel, revolutionary
hesitating, indecisive
member of a small band of armed fighters (also spelled guerrilla)
challenging, confronting
someone who dies for his/her beliefs
About the poet – Imtiaz Dharker
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She was born in 1954 to Pakistani parents.
Brought up in Scotland.
She is an award-winning poet, artist and filmmaker.
Many of her poems focus on home, freedom and displacement and feminism.
About the poem:
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This poem was written in 2006, five years after the (11 September 2001) terrorist attack in the USA. For some people
the perpetrators of “9/11” were people fighting oppression while others saw them as murderers.
The poem explores the power of words and their connotations. The poet tries different ways of describing the person
outside her door but eventually, in stanza six, she abandons words and just uses her eyes. In this way she moves from
fearfully describing the person as a ‘terrorist’ to inviting a child into her home.
This poem is written in free verse – there are no rhyming words and no regular rhythm. This could be indicative of her
bafflement and confusion.
Conversational/colloquial style, albeit in nine separate stanzas.
The poem is a conversation that the poet is having with herself about the perceptions and the connotations of words.
She states: “I work with film, and I know that I can take one image and edit it ten different ways, write ten different
sets of words, and make it into ten different stories. That's one of the things that I'm trying to do in the poem 'The right
word'. There is just one image, but it's an image that is interpreted in different ways depending on the preconceptions
that fit into each verse.”
Analysis:
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The word ‘terrorist’ creates a complex set of expectations. We believe that we understand how this person will act; we
may even think we know who they are, what they represent, their motives, even their appearance, just from this one
word. ‘Lurking in the shadows’ further suggests that they are a hidden threat waiting for the moment to attack.
Dharker creates tension and mood in just these three opening lines.
However, Dharker deflates these expectations when in the next stanza she asks ‘Is that the wrong description?’.
The ‘terrorist’ is recast as a ‘freedom fighter’ which sets up another range of expectations. In contrast, Dharker now
describes the person as ‘taking shelter in the shadows’, seeking safety against an oppressive enemy. Even a subtle
change in word choice significantly alters our interpretation.
Dharker continues to highlight that there are many ways to frame and reframe a situation. This same person also
becomes a ‘hostile militant’, a ‘guerilla warrior’ and a ‘martyr’. The speaker demonstrates uncertainty as she struggles
to find the right words, asking ‘Is that the wrong description?’ and worrying that she hasn’t ‘got this right’. Unable to
settle on a satisfying description, the speaker asks: ‘Are words no more / than waving, wavering flags?’. Like flags, the
meaning of words can waver, become partial or obscure. Words aren’t concrete and stable, objectively capturing the
essential truth.
This means that the same person can be called a terrorist or a freedom fighter, depending on the views of the
speaker and – crucially – the response they wish to invoke in others. Is this person brave or merely violent? Should
we respect them or fear them? Each term provokes a different reaction.
However, the lurking figure is finally recast as simply a ‘child’. He is a ‘boy who looks like your son’, suggesting for the
first time a familiarity, a fundamental sameness. In the penultimate stanza, the speaker even ‘open[s] the door’ and
invites the child into the intimate family space to ‘Come in and eat with us’. Only once the figure on the outside is
recognised as a child, rather than being described in alarming language, can the door open to them.
The image of the door returns throughout the poem. A wall simply divides two sides. Yet a door can open, providing an
opportunity for the two sides to connect. One side must take the risk and reach out, opening the door to the other and
welcoming them in.
4

Dharker argues that words can create an artificial barrier between people, hiding our similarities and emphasising – or
imagining – fundamental differences. But the right words, like a door, can open up new spaces for friendship and
understanding.
Questions:
1.
Identify the 6 different names attributed to the boy in the poem. Match each name to a word from the following list:
taking shelter, lost, watchful, waiting, lurking, defying.
(6)
2. The names/words freedom fighter and terrorist carry very different connotations. Explain each carefully by choosing
words from the following list: willing to die, willing to kill, brave, intimidating, sacrificial, fearful, violent, principled. (6)
3. How does the word lurking (line 2) create an ominous atmosphere?
(2)
4. What is the purpose of the rhetorical question in line 4?
(2)
5. What is it that the poet has not got right in line 8?
(2)
6. Who is the reader addressing in line 24?
(1)
7. The word outside is used 7 times in the first 7 stanzas. In the last 2 stanzas the word in in used. What does this show us
about the poet’s change in thinking?
(3)
8. Why does the child remove his shoes when he enters the poet’s house? What does this symbolise?
(3)
9. Explain the image of the door in the poem and how it relates to words.
(3)
10. Discuss the context of what was taking place in the world at the time the poem was written.
(3)
5
Soccer, Karoo Style
We had to shoo a fat sow, three piglets
Clive Lawrance
1
and a family of chickens off the pitch,
then carry a somnambulant great dane
from the penalty spot before the game
could begin. Shortly after half-time
5
our goalkeeper hoofed the ball skyward
and it burst into flower and wobbled
to earth.
Both captains tried to shove the bulging
rubber back into its pod, but, with a sad
10
pssst, it died. I thought that was the end
of the game, but someone quickly collected
old socks and underpants and stuffed them
inside the leather casing, and the game
went on, to end in a goalless draw.
15
The teams trooped off the pitch
and the great dane, with a deep sigh,
slouched towards the penalty spot.
Glossary:
Somnambulant
Great Dane
Hoofed
to walk while sleeping
a breed of large, powerful, short-haired dogs
slang – meaning to kick hard
6
About the poet – Clive Lawrance
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Born in South Africa in 1935.
At the age of 21, Clive Lawrance sailed from South Africa to London to play professional football. He met a writer on
board, who, he said, re-aligned his compass towards poetry and journalism.
After a successful career in journalism, based in London, New York, Boston, Cape Town, and his home town of
Pietermaritzgurg, he retired in The Great Karoo and Grahamstown, before settling in his mini-forest in
Pietermaritzburg.
His poems are the result of his seeing and writing, with a humorous twist.
About the poem:
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This poem is written in free verse – there is no definitive rhythm or rhyme scheme.
It is conversational and narrative – it tells a story.
It contains many South African colloquialisms.
Lawrance’s hallmark humour and conversational style convey the message that little can disturb the slow pace of life in
this rural area – people and animals live together in a close community.
Analysis:
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This poem tells the story of a game of soccer played in the Karoo.
The players have to chase animals off the field before they can commence their game.
When the soccer ball bursts, it is stuffed with socks and underwear so that play can continue.
When the game ends, the animals return to the field.
Questions:
1.
2.
3.
4.
5.
6.
7.
Why does the poet use the word ‘shoo’ in line 1?
(2)
Identify and explain the effectiveness of the metaphor in stanza 1.
(3)
Identify an example of onomatopoeia from stanza 2 and explain how this word reflects the unfolding events on the
soccer field.
(3)
Examine the characteristics of the great dane in lines 3 and 18. Discuss how these images create humour.
(3)
Explain the contrast between the (burst) soccer ball and a flower.
(2)
What does the word ‘goalless’ imply about the game?
(2)
Write a short description of what you know about life in this village based on what you learnt from the poem.
(4)
7
Stopping by Woods on a Snowy Evening
Whose woods these are I think I know.
Robert Frost
1
His house is in the village, though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
5
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
10
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
15
And miles to go before I sleep.
Glossary:
Queer
Harness
Downy
strange
leather strap used to control a horse
soft, light and feathery – like the down/feathers of a goose
8
About the poet – Robert Frost
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Born in The United States of America in 1874.
Died in 1963.
He is regarded as one of the most popular and respected poets of the twentieth century.
He won four Pulitzer Prizes in his lifetime.
About the poem:
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The poem is lyrical and has a formal structure – four stanzas in iambic meter – there are 4 stressed syllables per line.
Within each stanza, the first, second and fourth lines rhyme. The third line does not rhyme, but it sets up the rhymes
for the next stanza.
The last stanza is exempt from this pattern, with the last two lines repeated.
The poet uses everyday (colloquial) language. The simplicity highlights the conversational tone. He does not need
elaborate figures of speech or formal language to paint the picture for the reader.
Analysis:
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The poem seems simple on the surface – the speaker stops by some woods on a snowy evening and lingers so long that
his horse becomes restless. He admires the lovely scene in silence and is tempted to stay longer, until he thinks about
his obligations and the distance he still has to travel.
On a deeper level, the desolate woods are not just lovely, but dark and deep as well: the obliterating snow and the
black night have connotations of danger, isolation and death. This contrast between what is known and unknown,
between what is lovely and frightening, evokes a mood that is both sinister and magical.
The title of the poem creates an immediate present – the ‘ing’ in ‘Stopping”. It is also interesting to note that the
speaker is not IN the woods, but rather BY the woods.
The speaker is isolated from other people and seems to enjoy the solitude and ‘one-ness’ with nature.
Questions:
1.
2.
3.
4.
5.
The speaker is torn between wanting to stay and needing to leave. Discuss this contrast (dichotomy) by referring to the
diction in the poem.
(4)
Discuss how the regular rhythm affects the overall atmosphere of the poem.
(2)
Identify and explain the effectiveness of the assonance in stanza 3.
(3)
How does the alliteration in line 9 contribute to the image we have of the horse?
(3)
Discuss the effectiveness of the repetition of the last two lines within the context of the poem as a whole.
(3)
9
Caged Bird
Maya Angelou
A free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wing
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 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.
1
5
10
15
20
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.
Glossary:
Trill
Trade winds
25
30
35
a quavering sound, like a bird’s warbling
winds blowing towards the equator
10
About the poet – Maya Angelou
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She was born in 1928 in The United States of America.
She died in 2014.
She was a poet, author, dancer, singer, film producer, activist and feminist.
She was most famous for her autobiography I Know Why the Caged Bird Sings which tells the story of her tough
working-class background.
She won numerous awards during her lifetime and was Professor of American studies in North Carolina.
About the poem:
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This poem has a lyrical/musical quality, which reinforces the idea of singing, a central theme in the poem.
Angelou uses simple but powerful diction throughout.
There is very little use of punctuation in this poem. Most of the stanzas are comprised of a single sentence.
The extensive use of enjambment, repetition and the refrain all contribute to the musical quality.
American poet Paul Laurence Dunbar was one of Angelou’s favourite writers. The title comes from his poem
"Sympathy":
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,
When he beats his bars and would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart's deep core,
But a plea, that upward to Heaven he flings –
I know why the caged bird sings.
Analysis:
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The poem compares the different experiences of a free bird and a caged bird and the poet highlights why it is that the
caged bird sings – it is all it can do to taste freedom.
Metaphorically the caged birds represent those who are imprisoned and oppressed and those who enjoy privilege and
who are free. (Birds are often associated with freedom because of their ability to fly.)
The contrasting circumstances depicted could relate to gender inequality, or any other situation where one group is
empowered and the other is not.
The mood of the poem moves from joyful to dark, but is ultimately defiant – the caged bird refuses to be silent and
uses the only thing it has at its disposal: its voive.
The poem contrasts the caged bird with the free bird and their different characteristics, emphasising the caged bird.
o The bird represents people in the actual world who are restricted/ oppressed/ discriminated against.
o The bars of the cage represent the things that keep people from doing what they wish.
o The poem also speaks about the hope that people have.
o The speaker wants people to see and hear the difference between the free birds and the caged bird.
o Lastly the speaker wants us to take home the idea that people with similar experiences may feel the same
way; like a caged bird, who is not free, but has hope within them.
Questions:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Comment on the poet’s use of verbs in stanza 1: how do they convey the experience of a free bird?
(3)
By referring to stanza 2, explain the ways in which the caged bird is trapped and explain why he stalks.
(4)
What does the caged bird’s singing reveal about him?
A. He is terribly unhappy.
B. He does not want to fly.
C. He is afraid to be free.
D. He does not want to be heard
(1)
Explain why the caged bird’s song is fearful.
(3)
Explain the following metaphor: a caged bird stands on the grave of dreams.
(3)
Explain how the refrain contributes to the overall meaning of the poem.
(2)
What are the differences between how the caged bird sees and experiences the world and how the free bird sees the
world?
(4)
The free bird “names the sky his own”. Why would he do this, and what is the importance of ‘naming’ something? (3)
The caged bird “sings of freedom”. Why would he do this, and why would the free bird not do the same?
(3)
11
Reapers in a mieliefield
Faces furrowed and wet with sweat,
Bags tied to their wasp waists,
women reapers bend mielie stalks,
break cobs in rustling sheaths,
toss them in the bags
and move through row upon row of maize.
Behind them, like a desert tanker,
a dust-raising tractor
pulls a trailer,
driven by a pipe-puffing man
flashing tobacco-stained teeth
as yellow as the harvested grain.
He stops to pick up bags
loaded by thick-limbed labourers
in vests baked
brown with dust.
The sun lashes
the workers with
a red-hot rod;
they stop for a while
to wipe a brine-bathed brow
and drink from battered cans
bubbling with malty maheu
Thirst is slaked in seconds,
Men jerk bags like feather cushions
and women become prancing wild mares;
soon the day’s work will be done
and the reapers will rest in their kraals.
Glossary:
Furrowed
Sheaths
Tanker
Brine
Maheu
Slaked
Kraals
Mbuyiseni Oswald Mtshali
1
5
10
15
20
25
deeply wrinkled
casings
truck used to transport goods
salty water
mielie meal gruel, slightly fermented and drunk cold
quenched
enclosures/village
12
About the poet – Mbuyiseni Oswald Mtshali
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South African poet and teacher. He was born in 1940.
His poetry deals mostly with the devastating effects of life under Apartheid.
About the poem:
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The poem is written in free verse – there is not set rhythm or rhyme.
The enjambed lines allow for a free flow of ideas as the difficult working conditions of the labourers are described.
The five stanzas are rich with sound devices and many similes and metaphors.
Analysis:
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
Mtshali points out the harsh conditions under which many labourers work.
He records the suffering of the workers as he evokes the tedium, sweat and exhaustion of this kind of manual labour.
Questions:
1.
2.
3.
4.
5.
6.
7.
8.
9.
What are the labourers doing?
(2)
What equipment do they have?
(2)
Describe the weather conditions.
(2)
What do they drink when they are thirsty?
(2)
Identify the poetic device used in stanza 4. Discuss how it contributes to your understanding of the labourers working
conditions.
(3)
Refer to lines 25 – 26: Identify the figures of speech and how they illustrate the effect of the break that the labourers
have taken.
(4)
In your opinion does the poet succeed in conveying the extreme working conditions of the workers? Give a reason for
your answer by referring closely to the text.
(3)
Describe the mood of the poem by referring closely to the diction.
(3)
Identify the sound devices in the following extracts:
(5)
a. wet with sweat
b. rustling
c. loaded by thick limbed labourers
d. brine-bathed brow
e. battered cans/bubbling with malty maheu
13
a young man’s thoughts before june the 16th
tomorrow i travel on a road
Fhazel Johennesse
1
that winds to the top of the hill
i take with me only the sweet
memories of my youth
my heart aches for my mother
5
for Friday nights with friends
around a table with the broad belch of beer
i ask only for a sad song
sung by a woman with downturned eyes
and strummed by an old man with
10
a broken brow
o sing my sad song sing for me
for my sunset is drenched with red
Glossary:
belch
strummed
drenched
to loudly let air out of the stomach through the mouth; also known as to ‘burp’
played a musical instrument such as a guitar by moving the fingers across the strings
completely wet
14
About the poet – Fhazel Johennesse
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South African poet born in 1954.
He wrote most of his poetry during the 1970s and early 1980s.
He and the poet Chris van Wyk started a Black Consciousness (a movement that promoted an awareness of the dignity
and rights of black people, started by Steve Biko) literary magazine, Wietie, which gave a voice to young aspirant black
writers. However, the magazine was short-lived, as it was banned by the apartheid government.
About the poem:
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This poem has a mixture of forms. It is in free verse, because it does not rhyme or have a particular rhythm or
structure. There is no punctuation – it is not formalised.
It can also be seen as an elegy, because of its sad, mournful tone.
The mood of the poem is melancholy, wistful and anxious. The poet conveys a sense of potential loss, pain and suffering
and an awareness of what will be sacrificed.
It also has the characteristics of a lyric as it expresses the poet’s feelings.
Analysis:

On 16 June 1976, high school children from Soweto marched to protest against the government law that half of their
schooling had to be in Afrikaans, which they saw as the language of the apartheid leaders and oppressors. The police
shot live bullets and teargas, and many were injured or killed. After this tragic episode many young people went into
exile to join the underground resistance. In this poem, Johennesse imagines himself as one of those teenagers the day
before the event, foreseeing the tragedy that will take place.
Questions:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Identify three things that the poet knows he will have to give up once he embarks on his journey of protest.
(3)
Find an example of each of the following: enjambment, euphemism, alliteration.
(3)
Discuss the context in which this poem was written.
(3)
Explain the meaning of the last two lines of the poem.
(3)
Summarise the message of the poem in a short sentence.
(2)
Comment on the effectiveness of the alliteration in the following lines:
a. “the broad belch of beer”
b. “a sad song sung by a woman”
c. “strummed by an old man with a broken brow”
d. “o sing my sad song sing for me"
(2 x 4)
Describe the structure of this poem (not what it is about) and say whether you think it is effective.
(3)
What is implied about the persona in the lines, “i take with me only the sweet/memories of
my youth”?
(1)
From lines 8 – 12, the poet mentions adults and what their response will be “tomorrow”. In the context of the poem,
explain why the adults should sing and play a “sad song”.
(2)
Do you find the last line a fitting ending to the poem? Explain your answer.
(2)
Comment on the rich imagery used in the last line.
(3)
Refer to the title. Explain the significance of the date.
(1)
What is suggested about the road that “winds to the top of the hill” (line 2)?
(2)
How does the poet create a sense of immediacy and realism? Quote in support of your answer.
(2)
Identify the tone in lines 8 – 13. Refer to an image and the use of diction in support of your answer.
(3)
Sunsets are often “red”. Here, the poet suggests something more. Discuss.
(2)
15
He wishes for the cloths of heaven
Had I heavens’ embroidered cloths,
William Butler Yeats
1
Enwrought with golden and silver lights,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet
5
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
Glossary:
Embroidered
Enwrought
embellished, decorated by sewing
carefully crafted and embellished
16
About the poet: William Butler Yeats




Irish poet 1865-1939
He was very involved in Irish politics and was a passionate advocate of Irish nationalism.
He is considered to be one of the greatest poets of the twentieth century.
He was awarded the Nobel Prize for literature in 1923.
About the poem:



This is a lyrical poem divided into three parts: the wish (lines 1-5), the offer (lines 6-7) and the request (line 8).
o The first five lines of the poem “Had I…your feet…” can be counted as the wish of the poet. Here the poet
wishes he had the cloths of heaven. He would decorate them with golden and silver light. He would change
night and the light and the half-light in blue, dim and dark colours for her clothes. And he would spread the
cloths on her way.
o Lines 6-7 – “But I… Your feet” can be taken as an offer made by the poet to his beloved. He offers his sweet
and tender dreams under her feet, since he is a poor man.
o The final line of the poem “Tread…dreams” can be taken as a humble request to put her feet on his dreams as
they are equally good as heavens’ embellished cloths. He warns her to be careful while walking because his
dreams are fragile.
It has an a-b-a-b-c-d-c-d rhyme scheme.
There is a sharp change in tone between lines 5 and 6. The first 5 lines detail heaven in images of dark and light and
line 6 introduces a complication with the conjunction But.
Analysis:

The message is straightforward, and a recurrent one in poetry and many songs: The speaker, addressing his lover or
would-be lover, says: if I were a rich man, I’d give you the world and all its treasures. If I were a god, I could take the
heavenly sky and make a blanket out of it for you. But I’m only a poor man, and obviously the idea of making the sky
into a blanket is silly and out of the question, so all I have of any worth are my dreams. And dreams are delicate and
vulnerable – hence ‘Tread softly’.
Questions:
1.
2.
3.
4.
5.
What does the poet wish he could give his beloved?
Discuss the effectiveness of repetition in this poem. Quote and discuss two examples.
Identify the refrain and discuss its effectiveness. Refer to the attitude of the poet towards his beloved.
Discuss the change in tone that occurs between lines 5 and 6.
Discuss the ‘message’ of the poem in no more than 4 sentences.
(2)
(4)
(3)
(3)
(4)
17
Hope is the thing with feathers
Hope is the thing with feathers
Emily Dickinson
1
That perches in the soul,
And sings the tune without the words,
And never stops at all.
And sweetest in the gale is heard
5
And sore must be the storm
That could abash the little bird
That kept so many warm.
I’ve heard it in the chillest land,
And on the strangest sea –
10
Yet, never, in extremity,
It asked a crumb of me.
Glossary:
Perches
Gale
Sore
Abash
Chillest
Extremity
rests, roosts like a bird
a very strong wind
painful and harsh
to humble or humiliate someone, embarrass
NOT a spelling error – coldest
furthest away, highest degree, great danger or distress
18
About the poet: Emily Dickinson







American poet: 1830-1886
She was born in Massachusetts into a prominent family and was well-educated.
She became a recluse and, by the end of her life, refused to leave her home or meet people.
Her poems are often mysterious and make use of unusual punctuation marks.
Common themes include death, nature and her own struggles and suffering.
Only 7 of her 2000 poems were published in her lifetime.
She is considered the greatest female American poet of the 19th century.
About the poem:



This poem is a lyric in which the poet explores her understanding of hope, through the development of an extended
metaphor.
It is written simply but powerfully using minimum words, mainly single-syllable words and a loose rhyme scheme:
some end rhymes and some internal rhymes.
Dickinson’s signature use of dashes is also evident.
Analysis:






The poet uses a central metaphor of a tiny bird to convey her feelings about hope.
She reflects on its frailties and strengths as well how it sustains her.
The poem is reflective and introspective and suggests a quiet confidence in the power of hope.
Full of figurative language, this poem is an extended metaphor, transforming hope into a bird (the poet loved birds)
that is ever present in the human soul. It sings, especially when times get tough. Hope springs eternal, might be a
reasonable summing up. (As per the speaker, this bird never wavers by her side in coldest of lands and strangest of
seas, yet it never demanded a bread crumb, singing away merrily.)
With typical disregard for convention, Emily Dickinson's odd-looking syntax has clauses interrupted by dashes, and only
one comma throughout. This can be confusing for the reader because of the need to pause and place extra emphasis
on certain phrases.
The rhythm of the poem varies in places too, which may not be apparent on first sighting. Readily set to music, the
words are a reminder of the poet's yearning for fulfilment in both creativity and love. And they beautifully encapsulate
what hope is for us all - something that inspires and can make us fly.
Questions:
1.
2.
3.
4.
5.
6.
Identify and explain the qualities of the bird revealed in the first stanza.
What does the gale represent in this poem?
Explain the significance of the poet’s choice of words in line 5: And sweetest in the gale is heard.
How can hope’s song be endless?
Explain what the poet is implying when she says: And sore must be the storm / That could abash… warm.
Discuss the effectiveness of the last stanza in the context of the poem as a whole.
(3)
(1)
(3)
(1)
(3)
(3)
19
by your own definition
by your own definition
Shabbir Banoobhai
1
i drink too deeply
the blood of roses
lean on a leaf
for comfort
5
mistake mysteriously
a thorn for a star
when the world curls itself
around my fingers
seas gather in my palms
10
trees sustain the sky
my life lifts to loving
love leaps to living
and without words i strive to answer
questions you have never asked
15
oh making you understand
is like trying to crush
the skull of a mountain
20
About the poet: Shabbir Banoobhai



South African poet, born in Durban in 1949.
He has published eleven volumes of poetry which explore spiritual, political and personal themes.
He has a personal website, Veilsoflight.com, where he publishes philosophical meditations.
About the poem:




The poem is written in free verse – there is no definitive rhythm or rhyme scheme.
Punctuation (including capital letters) is absent in this poem.
The stanzas create natural pauses but the lines run on (enjambments), evoking Banoobhai’s effort to answer the
questions you have never asked.
The placement of the stanzas on the page creates a more organically ‘shaped’ poem than if they were lined up and
tabbed left. This shape adds to the message that the poet wants to convey: he wants to live naturally, creatively and
without constraints.
Analysis:



In this abstract poem the poet addresses someone who does not understand him.
The poet makes it clear that he believes this person to be an unrealistic dreamer.
This poem should not be over-analysed/translated. It illustrates TS Eliot’s observation that: “Genuine poetry can
communicate before it is understood.”
Questions:
1.
2.
3.
4.
Using words from the list provided, complete the sentences below. Your answers should illustrate your understanding
of stanzas 1-3 in sequence.
(Word list: imaginative, trusting, passionate)
According to you, I (the poet) am too ____, too ____, and too ____ in my approach to life and nature.
(3)
Comment on the effectiveness of the poet’s use of alliteration in stanza five.
(3)
Explain how the lack of punctuation and the unusual structure of the poem contribute to the poet’s intention.
(4)
How effective is the final simile in conveying the poet’s frustration?
(2)
21
The warm and the cold
Freezing dusk is closing
Like a slow trap of steel
On trees and roads and hills and all
That can no longer feel.
But the carp is in its depth
Like a planet in its heaven.
And the badger in its bedding
Like a loaf in the oven.
And the butterfly in its mummy
Like a viol in its case.
And the owl in its feathers
Like a doll in its lace.
Freezing dusk has tightened
Like a nut screwed tight
On the starry aeroplane
Of the soaring night.
But the trout is in its hole
Like a chuckle in a sleeper.
The hare strays down the highway
Like a root going deeper.
The snail is dry in the outhouse
Like a seed in a sunflower.
The owl is pale on the gatepost
Like a clock on its tower.
Moonlight freezes the shaggy world
Like a mammoth of ice The past and the future
Are the jaws of a steel vice.
But the cod is in the tide-rip
Like a key in a purse.
The deer are on the bare-blown hill
Like smiles on a nurse.
The flies are behind the plaster
Like the lost score of a jig.
Sparrows are in the ivy-clump
Like money in a pig.
Ted Hughes
1
5
10
15
20
25
30
35
Such a frost
The flimsy moon
Has lost her wits.
A star falls.
40
The sweating farmers
Turn in their sleep
Like oxen on spits.
22
Glossary:
Dusk
Carp
Badger
Viol
Trout
Hare
Mammoth
Vice
Cod
Tide-rip
Score
Jig
Flimsy
Spits
after sunset and before night-time
type of large freshwater fish
short-legged omnivores in the family Mustelidae, which also includes the otters, polecats, weasels, and
wolverines.
a musical instrument similar to a violin
freshwater fish
a fast-running, long-eared mammal that resembles a large rabbit, having very long hind legs and typically
found in grassland or open woodland.
a type of large, hairy elephant with long tusks that curved upwards – now extinct
a metal tool with moveable jaws that are used to clamp an object firmly in place
a large fish that lives in the northern Atlantic Ocean – often caught and eaten
an area of rough water caused by one current flowing across another current, or by a current moving over
an uneven bottom
a document showing all the notes of a piece of music
a type of lively dance or music
insubstantial or easily damaged
a thin pointed stick that is used for holding meat over a fire to cook it
About the poet: Ted Hughes





English poet and author  1930-1998
The animals and landscape of Yorkshire, England, had a big influence on his poetry.
Many of his poems deal with the natural world which represented, for Hughes, qualities such as beauty, violence and
the survival instinct.
His tone was often harsh and his imagery brilliant.
He was married to the famous poet, Sylvia Plath.
About the poem:


This is a lyrical poem – it has a musical quality with alternating verse and chorus sections. The verse sections are the
eight-line parts that describe the effects of an icy winter. The chorus sections are the eight-line parts that describe how
the country animals behave in such cold weather. The last seven lines of the poem are like the final coda in a piece of
music – the end part of a piece of music or a play.
This poem is part of a set of poems, called ‘Season Songs’, that Hughes wrote about the seasons of the year in England.
Analysis:




This poem focuses on the very coldest part of winter and makes extensive use of similes. All of the animal comparisons
are positive; they are all content in their natural environment. It is only the farmers, sweltering in their artificial
warmth, who are compared to something negative.
The poet describes how various wild animals find different kinds of shelter in the countryside.
There is a turn or twist towards the end of the poem, when he shifts his attention to humans.
The tone is confident. The poet is familiar with the kind of countryside, animals and people that he describes, as well as
with the effects that the cold has on them.
Questions:
1.
2.
3.
4.
5.
6.
7.
8.
9.
What time of day does the poem describe? Quote one word as your answer.
(1)
What pattern can you identify in the poem? Look at the three lines below for clues:
Stanza 1: carp, badger, butterfly, owl
Stanza 2: trout, hare, snail, owl
Stanza 3: cod, deer, flies, sparrows
(4)
Explain the similes in the following lines: 1-3, 5-6, 7-8, 9-10, 11-12, 13-14, 17-18, 19-20, 21-22, 23-24, 25-26, 29-30, 3132, 33-34, 35-36.
(15x2)
Explain the effectiveness of the simile in lines 41-43 AND explain how this simile differs from the rest of the similes in
the poem.
(4)
What point does Hughes make about the difference between humans and animals?
(2)
What does the ordered structure of the poem imply?
(2)
Why is line 40 on its own?
(2)
Find and explain one example each of a metaphor and personification.
(4)
Explain the title of the poem.
(2)
23
List of Sources
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
https://www.poetryarchive.org/poem/right-word
https://genius.com/Imtiaz-dharker-the-right-word-annotated
https://poetryshark.wordpress.com/2016/01/10/language-and-reality-the-right-word-by-imtiaz-dharker-poemanalysis/
http://findingground.co.za/Home/Shop/Clive's-Poetry
Holm, Linda Kathu High School Poetry Booklet 2018
https://www.poetryfoundation.org/poems/.../stopping-by-woods-on-a-snowy-evening
Krone, B. Shuters English Home Language Poetry Anthology 10 Shuter&Shooter, Pietermaritzburg, 2015
http://mentalfloss.com/article/75541/11-facts-about-i-know-why-caged-bird-sings
http://benson.k12.mn.us/common/pages/DisplayFile.aspx?itemId=3137595
https://learn.stleonards.vic.edu.au/yr8eng/files/2015/02/Caged-Bird-by-Maya-Angelou-Text-and-Activities.pdf
http://knowledge4africa.com/english/poetry/june16-a.jsp
http://mrsavarind.blogspot.co.za/2011/10/young-mans-thoughts-before-jun-16th.html
https://www.ecexams.co.za/2013_September_Trial_Exams_Gr12/Gr12-ENGHL-P2-S13-QP-Eng.pdf
https://interestingliterature.com/2015/11/06/a-short-analysis-of-yeatss-he-wishes-for-the-cloths-of-heaven/
https://poemanalysis.com/hope-is-the-thing-with-feathers-emily-dickinson-poem-analysis/
https://quizlet.com/10330476/hope-is-the-thing-with-feathers-study-pg435-flash-cards/
http://www.literarytourism.co.za/index.php?option=com_content&view=article&id=64:shabbirbanoobhai&catid=13:authors&Itemid=28
https://www.s-cool.co.uk/gcse/english/poetry-of-ted-hughes/revise-it/the-warm-and-the-cold
24
Suggested answers for Grade 10 Poetry
The Right Word
Imtiaz Dharker
1.
Identify the 6 different names attributed to the boy in the poem. Match each name to a word from the following list:
taking shelter, lost, watchful, waiting, lurking, defying.
(6)
 Terrorist – lurking; freedom fighter – taking shelter; hostile militant – waiting; guerrilla warrior – watchful;
martyr – defying; a child - lost
2. The names/words freedom fighter and terrorist carry very different connotations. Explain each carefully by choosing
words from the following list: willing to die, willing to kill, brave, intimidating, sacrificial, fearful, violent, principled. (6)
 Freedom fighter – willing to die, brave, sacrificial, strong principles
 Terrorist – willing to kill, intimidating, fearful, violent
 PLEASE ensure learners understand the difference!
3. How does the word lurking (line 2) create an ominous atmosphere?
(2)
 ‘Lurking’ is a word associated with thieves/criminals. The word creates an ominous atmosphere as the reader
is unaware of the person’s intentions. We do not know why the person is there.
4. What is the purpose of the rhetorical question in line 4?
(2)
 The poet asks herself if she has described the person correctly. It shows that the poet is unsure of her
description of the person outside her door. Shows doubt.
5. What is it that the poet has not got right in line 8?
(2)
 She feels that she has not described the person correctly – he is, according to her, neither a ‘terrorist’ nor a
‘freedom-fighter’.
6. Who is the reader addressing in line 24?
(1)
 She addresses the reader.
7. The word outside is used 7 times in the first 7 stanzas. In the last 2 stanzas the word in in used. What does this show us
about the poet’s change in thinking?
(3)
 The movement from outside to in shows what happens literally as the person outside comes into the house. It
also demonstrates the figurative change in the poet’s thinking: she starts the poem by separating herself from
the person and at the end of the poem she integrates him into her own life and sees the person as someone
who looks like her own son.
8. Why does the child remove his shoes when he enters the poet’s house? What does this symbolise?
(3)
 The child removes his shoes which is a mark of respect and humility. The poet is (I RESEARCHED THIS!) a
Muslim woman. In Muslim culture, a person does not wear ‘outside’ shoes inside the house.
9. Explain the image of the door in the poem and how it relates to words.
(3)
 The image of the door returns throughout the poem. A wall simply divides two sides. Yet a door can open,
providing an opportunity for the two sides to connect. One side must take the risk and reach out, opening the
door to the other and welcoming them in. Dharker argues that words can create an artificial barrier between
people, hiding our similarities and emphasising – or imagining – fundamental differences. But the right words,
like a door, can open up new spaces for friendship and understanding.
10. Discuss the context of what was taking place in the world at the time the poem was written.
(3)
 The poem was written 5 years after the events of 9/11 – the attack on the United States of America. Many
people were outraged by the attack and misdirected their anger at all Muslim people everywhere, imagining
terrorists around every corner. Muslim people were feared and banded together – she tries to make that point
that not all Muslim people are terrorists! This is a universal theme – we cannot judge people based on actions
of others. (i.e. Not all white people are racists etc.)
Soccer, Karoo Style
1.
2.
3.
4.
Clive Lawrance
Why does the poet use the word ‘shoo’ in line 1?
(2)
 Creates informal feeling, South African colloquialism, humour, puts reader ‘into’ the action. AVA
Identify and explain the effectiveness of the metaphor in stanza 1.
(3)
 “The ball… burst into a flower.” The ball is compared to a flower – just like a flower has petals that open, so too
the split ball has flaps of fabric that spread out from its centre. The split ball looks like a blooming flower.
Identify an example of onomatopoeia from stanza 2 and explain how this word reflects the unfolding events on the
soccer field.
(3)
 “psst” – the word echoes the sound made by the air escaping the soccer ball as it goes flat. There is a risk,
when the ball goes flat, that the game will also go ‘flat’ and have to be stopped.
Examine the characteristics of the great dane in lines 3 and 18. Discuss how these images create humour.
(3)
25

5.
6.
7.
The dog is described as “somnambulant” – a sleepwalker. He needs to be carried off the field as he blocks the
penalty spot. This emphasises the informality of the play, and the way in which the opposing teams work
together. When the game concludes, the dog ‘slouches’ back to his spot. The humour stems from the fact that
it seems that the dog accommodates the players and he remains indifferent to the drama of the game.
Explain the contrast between the (burst) soccer ball and a flower.
(2)
 See answer for question 2.
What does the word ‘goalless’ imply about the game?
(2)
 Neither team scored a goal – good defence? A friendly game?
Write a short description of what you know about life in this village based on what you learnt from the poem.
(4)
 People are poor – soccer pitch where animals roam and an old ball which splits halfway through the game. The
players are determined – they move animals off the pitch. They are resourceful – they stuff old clothes into the
ball so that the game can continue. A seemingly unhurried, rural environment.
Stopping by Woods on a Snowy Evening
1.
2.
3.
4.
5.
The speaker is torn between wanting to stay and needing to leave. Discuss this contrast (dichotomy) by referring to the
diction in the poem.
(4)
 The woods represent that which is restful, seductive, “dark and lovely”. Their unexplored depths represent the
unknown and unchartered possibilities. The speaker wants to stay and relish the atmosphere. On the other
hand, the speaker is reminded that he has “promises to keep” and even his little horse finds it strange to
dawdle long on this “darkest evening of the year”.
Discuss how the regular rhythm affects the overall atmosphere of the poem.
(2)
 The regularity and predictability of the rhythm allows for a sense of security and comfort in the face of the
unknown and dark woods. (I really hate questions like these.)
Identify and explain the effectiveness of the assonance in stanza 3.
(3)
 The repetition of the soft ee sound (“sweep” and “easy”) echoes the gentle whispering of the falling snow.
(Could one argue that the hard “ake” sound in “mistake”, “shake” and “flake” stand in opposition to the
gentility of the falling snow? I know that’s not technically assonance, but it sounds cool?! 😉)
How does the alliteration in line 9 contribute to the image we have of the horse?
(3)
 The repetition of the harsh “ss” sound echoes the clattering noise made by the bells on the harness. This
emphasises the frustration of the horse as he shakes his head.
Discuss the effectiveness of the repetition of the last two lines within the context of the poem as a whole.
(3)
 The repetition emphasises the two possible meanings of the word “sleep”: literally it denotes rest. Figuratively,
the connotations relate to death. In this way, the dichotomy that typifies the poem – that which is both lovely
and awful – is emphasised at its close. The poet feels he has so much to do before he rests/dies.
Caged Bird
1.
2.
3.
4.
5.
6.
Robert Frost
Maya Angelou
Comment on the poet’s use of verbs in stanza 1: how do they convey the experience of a free bird?
(3)
 “leaps, floats, dips” are all movements. The bird can fly unrestricted in many different directions. It makes the
most of the space, wind and currents available to it. It can take risks and make choices, reflected in “dares”
and it is powerful: “claim the sky”.
By referring to stanza 2, explain the ways in which the caged bird is trapped and explain why he stalks.
(4)
 The cage is narrow, there is little view, his wings are clipped and his feet are tied. He stalks because his
movement is so limited by these restrictions. He cannot fly or even walk normally. “Stalks” could also suggest
the rage referred to, implying hostility or anger in the movement, in response to its circumstances.
What does the caged bird’s singing reveal about him?
 A - He is terribly unhappy.
(1)
Explain why the caged bird’s song is fearful.
(3)
 “Fearful” could imply that the singing is anxious, uncertain or that the bird is afraid because it does not know
what suffering lies ahead – “things unknown”. More likely it has the connotation of ‘powerful’, ‘very great’. It
is stated that ‘he opens his throat’ – the sound is released, not quiet and is heard even ‘on the distant hill’. It
could imply a warning to those who have caged it: the repressed longing, anguish and anger reflected in his
song will seek release.
Explain the following metaphor: a caged bird stands on the grave of dreams.
(3)
 A grave is where someone or something which has died is found. “A grave of dreams” would hold dreams
which have died. A person who is oppressed, who does not have opportunities to flourish and live life fully will
have dreams that have not been realised: his/her dreams will die.
Explain how the refrain contributes to the overall meaning of the poem.
(2)
26

7.
8.
9.
The refrain contributes to the musicality of the poem; it is like a song’s chorus which is repeated. This is
relevant to “the caged bird” singing. The repetition of the refrain hints at ongoing resistance to oppression.
Voices against inequality and oppression will ‘sing out’ again and again. They cannot be silenced even though
they are caged.
What are the differences between how the caged bird sees and experiences the world and how the free bird sees the
world?
(4)
 The caged bird is trapped and has very little view. He cannot leave or move unrestricted. He has no freedom.
The free bird can ‘leap’ and ‘float’ to its heart’s content. He is unrestricted and can see panoramas from above.
There is no mention made of the free bird ever singing.
The free bird “names the sky his own”. Why would he do this, and what is the importance of ‘naming’ something? (3)
 He claims the sky as his – he is free to own. The sky is virtually limitless, as is the free bird’s freedom (for lack of
a better word). He names the sky – HE takes the action, does not wait for an instruction. He is free to do what
he pleases and when it suits him.
The caged bird “sings of freedom”. Why would he do this, and why would the free bird not do the same?
(3)
 He sings as an expression of his desire for freedom. His desire to be heard cannot be suppressed. The free bird
does not need to sing of freedom, as he is already free. He desires nothing, as he is free.
Reapers in a mieliefield
1.
2.
3.
4.
5.
6.
7.
8.
9.
What are the labourers doing?
(2)
 They are harvesting mielies.
What equipment do they have?
(2)
 They have sacks and a tractor and trailer.
Describe the weather conditions.
(2)
 It is extremely hot and dusty.
What do they drink when they are thirsty?
(2)
 They drink home-made beer called ‘maheu’.
Identify the poetic device used in stanza 4. Discuss how it contributes to your understanding of the labourers working
conditions.
(3)
 Personification – the sun is personified as a slave driver or prison warder who carries a red-hot rod which he
uses to lash the workers to force them to keep working. This image evokes extreme pain and suffering. The
conditions are dreadful.
Refer to lines 25 – 26: Identify the figures of speech and how they illustrate the effect of the break that the labourers
have taken.
(4)
 Line 25: simile – the heavy bags which contain mielies become as light as bags containing feathers. There is a
renewed energy as a result of the break. Line 26: metaphor – the women are described as “prancing wild
mares”. This comparison demonstrates the renewed vigour with which the women return to their task.
In your opinion does the poet succeed in conveying the extreme working conditions of the workers? Give a reason for
your answer by referring closely to the text.
(3)
 Mtshali conveys the extreme working conditions. The work is physically demanding – he describes their faces
as “furrowed” and the exertion makes them “wet with sweat”. It is also very dusty work. Their vests are “baked
brown with dust”. The sun beats down mercilessly – “lashes the workers with a red-hot rod”.
Describe the mood of the poem by referring closely to the diction.
(3)
 There is a definite sense of oppression. Although the poem is mostly narrative, it portrays extreme labour in
extreme circumstances with a “pipe-puffing man” overseeing the labour done.
Identify the sound devices in the following extracts:
(5)
 wet with sweat - assonance
 rustling - onomatopoeia
 loaded by thick limbed labourers - alliteration
 brine-bathed brow - alliteration
 battered cans/bubbling with malty maheu – alliteration and onomatopoeia
a young man’s thoughts before june the 16th
1.
2.
Mbuyiseni Oswald Mtshali
Fhazel Johennesse
Identify three things that the poet knows he will have to give up once he embarks on his journey of protest.
 His youth, his mother and his friends.
Find an example of each of the following: enjambment, euphemism, alliteration.
 Enjambment – lines 3-4; 10-11
 Euphemism – line 13 – “sunset is drenched with red”
(3)
(3)
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3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
 Alliteration – line 6 (f); line 7 (b) lines 8-9 (s); line 11 (b); line 12 (s)
Discuss the context in which this poem was written.
(3)
 This poem was written during Apartheid and some time after the events of June 16 1976. School children took
to the streets in protest against being taught in Afrikaans – the language of the oppressor. The young man in
the poem foresees the tragic events of the day in which many school children were killed by the police.
Explain the meaning of the last two lines of the poem.
(3)
 In the last two lines the young man indicates that he may die in the protest march and therefore will not be able
to sing the song himself. He mentions his ‘sunset’ which is a symbol for the ending of his life. He describes it as
being ‘drenched with red’, which means that he imagines that he might die in a bloody, violent way.
Summarise the message of the poem in a short sentence.
(2)
 The poem concentrates on the human aspect of this young freedom fighter, rather than his political intentions.
The poet uses the poem to convey the HUMANITY of resistance, the life of one young man. Political criticism
does not feature in this poem.
Comment on the effectiveness of the alliteration in the following lines:
 “the broad belch of beer” - The alliteration of “a broad belch of beer” evokes the picture and sound of happy
young people enjoying an evening together in a carefree manner.
 “a sad song sung by a woman” – the sibilant ‘s’ slows down the sentence – the emphasis is on the sadness of
the impending song. Melancholy.
 “strummed by an old man with a broken brow” - emphasis on the ‘broken brow’ – frowning, pain, foreshadows
horrors of the following day?
 “o sing my sad song sing for me" – sibilant ‘s’ emphasises the sadness
(2 x 4)
Describe the structure of this poem (not what it is about) and say whether you think it is effective.
(3)
 free verse/no punctuation/stream of consciousness poetry. It is suitable because it clearly describes the anxious,
disordered thoughts of a teenager who does not know what the next day will bring.
What is implied about the persona in the lines, “i take with me only the sweet/memories of
my youth”?
(1)
 The persona has a sense that they are leaving their youth behind – it is now just a memory. ‘sweet’ implies that
he had a good childhood – good memories.
From lines 8 – 12, the poet mentions adults and what their response will be “tomorrow”. In the context of the poem,
explain why the adults should sing and play a “sad song”.
(2)
th
 “tomorrow” is June 16 , the day of the Soweto Uprising, when the brutal murders of teenaged protesters
caused their parents and adults in their community to go into mourning.
Do you find the last line a fitting ending to the poem? Explain your answer.
(2)
 It is fitting for several reasons – the red sunset speaks of blood and the end of something, so foreshadows the
day ahead. The blood of innocent children was shed and “drenched” - helps us feel that horror// OR the
persona speaks of “my sunset” being ‘drenched”, changing what is normally beautiful, a sunset, life, into
something grotesque// OR it is a young person’s response to an indescribable horror – it must be expressed
strongly.
Comment on the rich imagery used in the last line.
(3)
 Sunset is often the metaphor for the end of life - death. Here, however, it is not a gentle death but one which is
‘drenched with red’. Notice the harshness of the word ‘drenched’. The life of the young people has been ripped
apart by police bullets, and their blood flows freely, drenching the sunset (and streets) with red.
Refer to the title. Explain the significance of the date.
(1)
 Soweto Youth Uprising – children marched peacefully against Afrikaans policy in schools. Police shot and killed
many children.
What is suggested about the road that “winds to the top of the hill” (line 2)?
(2)
 Long road to freedom – will be an ‘uphill’ journey – difficult and long.
How does the poet create a sense of immediacy and realism? Quote in support of your answer.
(2)
 ‘tomorrow’, ‘I’, the intimacy of drinking beers with friends, reference to his mother. Present tense verb in line
12.
Identify the tone in lines 8 – 13. Refer to an image and the use of diction in support of your answer.
(3)
 Ominous, fearful, resolute? He asks for a ‘sad song’ and knows that there will be blood in his ‘tomorrow’.
Sunsets are often “red”. Here, the poet suggests something more. Discuss.
(2)
 See answer to question 11.
He wishes for the cloths of heaven
1.
What does the poet wish he could give his beloved?
 He wishes he could give her the sky and its changing lights.
William Butler Yeats
(2)
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2.
3.
4.
5.
Discuss the effectiveness of repetition in this poem. Quote and discuss two examples.
(4)
 “my dreams” – he states that he does not have money to give her, only HIS dreams.
 “under your feet” – he is humbled before her – he wants to lay his ‘gifts’ at her feet as a symbol of her power
over him.
Identify the refrain and discuss its effectiveness. Refer to the attitude of the poet towards his beloved.
(3)
 “under your feet” – he expresses his vulnerability. He is humbled before her.
Discuss the change in tone that occurs between lines 5 and 6.
(3)
 The first five lines have a romantic tone, created by images of heaven. The word ‘But’ introduces the change.
The tone in the last three lines is almost apologetic, as the speaker excuses his poverty. He can only offer his
dreams which make him very vulnerable.
Discuss the ‘message’ of the poem in no more than 4 sentences.
(4)
 The speaker wants to give his beloved everything her heart desires or could possibly desire. However, the
speaker is a poor man who does not own much. He offers his dreams to her, he is willing to lay it under her
feet. Think here of the incident where Sir Walter lay his coat over a puddle for Queen Elizabeth I.
Hope is the thing with feathers
1.
2.
3.
4.
5.
6.
Identify and explain the qualities of the bird revealed in the first stanza.
(3)
 The bird is small enough to perch on the soul which is invisible. It sings without knowing all the details. This
suggests that it sings whatever the circumstances. It is tenacious and determined.
What does the gale represent in this poem?
(1)
 Obstacles, problems, everyday difficulties
Explain the significance of the poet’s choice of words in line 5: And sweetest in the gale is heard.
(3)
 The most significant words in the line are ‘sweetest’, ‘gale’ and ‘heard’. The implication is that the sound of
hope (the birdsong) sounds ‘sweetest’ in the ‘gale’ (the storms of life). That is when we need the sweet song of
hope the most, and it does not fail us. The song is audible above the storm – it is clear and determined.
How can hope’s song be endless?
(1)
 Hope never ceases, never stops. We must ALWAYS have hope, even when life is tough.
Explain what the poet is implying when she says: And sore must be the storm / That could abash… warm.
(3)
 ‘Sore’ implies pain – but hope is strong enough to counter even the worst of any ‘storm’ / problems / the worst
trials life can throw at you. ‘and sore must be the storm’ suggests that it would have to be a mighty storm to
abash/deflate hope, to make hope give up. Hope keeps so many ‘warm’ – hope keeps us protected and alive.
Hope is strengthened by hardship.
Discuss the effectiveness of the last stanza in the context of the poem as a whole.
(3)
 The last stanza suggests that hope is to be found everywhere, both on ‘land’ and at ‘sea’, in the ‘chillest’ and
‘strangest’ places. The choice of these superlatives is in keeping with extremity. In even the most
uncomfortable and distressing times, hope is present. Hope gives and never asks for anything in return – the
bird does not ask a crumb of the speaker. The speaker’s gratitude is evident in the simple, yet powerful diction.
by your own definition
1.
2.
3.
4.
Emily Dickinson
Shabbir Banoobhai
Using words from the list provided, complete the sentences below. Your answers should illustrate your understanding
of stanzas 1-3 in sequence.
(Word list: imaginative, trusting, passionate)
 According to you, I (the poet) am too PASSIONATE, too TRUSTING, and too IMAGINATIVE in my approach to life
and nature.
(3)
Comment on the effectiveness of the poet’s use of alliteration in stanza five.
(3)
 The poet’s energetic, joyful and appreciative approach to life is evoked. Just as his life “lifts and leaps”, so too
do the lines “lift and leap” off the tongue and the page, through the repetition of the ‘l’ sound. His meaning is
intensified through the use of the alliteration.
Explain how the lack of punctuation and the unusual structure of the poem contribute to the poet’s intention.
(4)
 The poet celebrates his creativity and unconventional view of life. He enjoys seeing the world in a unique way,
unfettered by convention, rules and practical concerns. His choice to let his words and ideas flow
unconstructed from one to the next without the conventions and formal structure of punctuation suits his
meaning. The organic shape of the poem on the page ties in well with his use of natural images and diction
throughout the poem.
How effective is the final simile in conveying the poet’s frustration?
(2)
 The simile (“like trying to crush the skull of a mountain”) is effective because it conveys the impossibility that
the poet faces: one cannot crush the skull of a mountain and one cannot force someone to see the world as
you see it.
29
The warm and the cold
1.
2.
3.
4.
5.
6.
7.
8.
9.
Ted Hughes
What time of day does the poem describe? Quote one word as your answer.
(1)
 “dusk”
What pattern can you identify in the poem? Look at the three lines below for clues:
(4)
 The pattern is that in each stanza the poet describes a fish, a mammal, an insect and a bird.
Explain the similes in the following lines: 1-3, 5-6, 7-8, 9-10, 11-12, 13-14, 17-18, 19-20, 21-22, 23-24, 25-26, 29-30, 3132, 33-34, 35-36.
(15x2)
 1-3: ‘dusk closes like a trap’ – dusk approaches quickly and is inescapable, like a trap/snare. The cold ‘captures’
all exposed to it, you cannot escape the cold.
 5-6: ‘carp…like a planet in its heaven’ – In the same way that a planet is ‘comfortable’ and suited to be in the
sky (heaven), so too the carp is comfortable in the freezing water. It does not need to escape the cold.
 7-8: ‘badger…like a loaf in the oven’ – The badger is cosy and warm in its nest/bedding. Although badgers do
not hibernate, they will spend long periods asleep in their nests, like a loaf of bread baking in an oven, to be
taken out when ready.
 9-10: ‘butterfly…like a voil’ – the butterfly is in a cocoon, ready to come out when the cold is over. The viol rests
in a padded, safe case until needed. The butterfly and viol are both padded and protected.
 11-12: ‘owl…like a doll in its lace’ – the owl’s feathers keep it warm and makes it look pretty, like a doll with a
lace dress.
 13-14: dusk…like a nut screwed tight’ – dusk has a firm grip on the day, inescapable. Refer to lines 1-3.
 17-18: ‘trout…like a chuckle in a sleeper’ - A trout winters in a hole in a lake or riverbed. They don't hibernate,
but when the water is below 35 degrees they do slow down and appear to sleep. To maintain a modicum of
warmth they find a hole, which means safety and survival for them. When we sleep, we are usually wrapped in
blankets and we dream and snuggle and maybe give a soft chuckle at pleasant sleepy thoughts. It's a feeling of
safety. When people do not feel safe they have a hard time getting to sleep.
 19-20: ‘hares…like a root going deeper’ – like roots that grow straight down into the soil, the hare is running a
straight path down the highway (??) I don’t get this one. Help! Ross? Lynne? Kirst? Panda? ANYONE?!
 21-22: snail…like a seed in a sunflower’ - Here the snail is compared to the dryness and compactness of a seed
in a sunflower. It also suggests a sense of warmth and radiant heat.
 23-24: ‘owl…like a clock on its tower’ – the owl looks like it is standing guard on the gatepost, like a clock on its
tower. Elevated, constant? Round face of the owl similar to the face of a clock?
 25-26: ‘Moonlight…like a mammoth of ice’ – the moon looks HUGE, like a mammoth (of ice) – shaggy world
could refer to a mammoth’s furry coat.
 29-30: ‘cod…like a key in a purse’ – safe, secure? I am running out of ideas…
 31-32: ‘deer…like smiles on nurses’ – deer are serene, quiet and kindly-looking creatures. Nurses have similar
characteristics.
 33-34: ‘flies…like lost score of a jig’ – The noise made by flies behind the plaster (wall) is like lively music. The
buzzing movement of the flies is also like the movement of a busy dance, a jig.
 35-36: ‘sparrows…like money in a pig’ – Sparrows are small and money is small. The sparrows hide in the ivy in
order to save their lives, in the same way money gets saved in a piggy bank.
Explain the effectiveness of the simile in lines 41-43 AND explain how this simile differs from the rest of the similes in
the poem.
(4)
 The farmers are sweating (exertion or over-heated homes) and cannot sleep peacefully. They ‘turn in their
sleep like oxen on spits’. There is a clear sense of discomfort. This is different from all of the other similes which
describe how comfortable and happy the animals are in the cold. The humans are definitely not comfortable.
What point does Hughes make about the difference between humans and animals?
(2)
 Animals suited to this weather, humans not! Animals can adapt, humans struggle to do that.
What does the ordered structure of the poem imply?
(2)
 Nature is ordered – everything in its place, all have purpose and live symbiotically. The last 7 lines deviate from
this ‘neatness’ and structure – emphasises how humans do NOT fit in and adapt to the cold weather.
Why is line 40 on its own?
(2)
 Emphasis – change in tone and subject matter. Nature vs Humans.
Find and explain one example each of a metaphor and personification.
(4)
 Metaphor – ‘The past and future / Are the jaws of a steel vice’;
 Personification – ‘trees… hills that can no longer feel’; ‘dusk has tightened’; flimsy moon has lost her wits’
Explain the title of the poem.
(2)
 Nature/Humans have different reactions to the heat and cold. Nature adapts when it gets cold, humans
cannot.
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