Western Cape Education Department
Directorate: Curriculum FET
English Home Language
REVISION BOOKLET
2025 TERM 2
Grade 11
This revision program is designed to assist you in revising the critical
content and skills envisaged/ planned to be covered during the 2nd term.
The purpose is to prepare you to understand the key concepts and to
provide you with an opportunity to establish the required standard and
the application of the knowledge necessary to succeed in the NCS
examination.
The revision program covers the following topics:
• Preparation for Paper 2 - Poetry
• Preparation for Paper 1 - Advertising , Cartoon Study and Editin
2
Grade 11 English Home Language
Term 2 Revision Material
Literature
UNSEEN POETRY
Unseen poetry can be one of the most daunting aspects of a literature paper. It is so
tough to try to analyse something when you have no idea where to start!
Tackling an unseen poem is a bit like being a detective trying to solve a tough case – we
don’t always know what we’re looking for but we gather clues as we go and try to piece
them together to form a coherent picture.
1. Firstly, and it cannot be repeated enough, but Do Not Panic. It is very easy to be
intimidated by a piece of poetry – especially one you’ve never seen before. But, the
sooner you realise that this poem is yours to play and wrestle with, and that you
don’t have to try and find some sort of deep, secret ‘meaning’ in it, then everything
will be ok.
2. Secondly, look at the poem! Ask yourself questions like the following:
How does its shape appear on the page?
How many lines does it have?
What length are they?
Does it rhyme?
If it does, are there any variations, or any moments when things are changed?
If it doesn’t, why?
What words are unfamiliar? Can I work out the meaning from the context?
How is punctuation used?
If there is no punctuation, why might that be?
3. Make sure to read over the poem a number of times. Don’t worry if the person next
to you is scribbling away from the moment the exam begins, because there’s
nothing worth writing if the text itself hasn’t been properly thought about.
4. Once you’ve read the poem a few times, try to get a feel for who is talking (the
speaker) and what the “topic” or subject of the poem is.
Ask yourself: how does the speaker seem to feel? Where is this taking place? How
do I know this?
5. Once you have the overall feel of the poem, you can focus on the little details.
Every single word, image, piece of grammar or literary technique can be explored.
Nothing is insignificant. Make a note if something stands out to you.
3
e.g.
What does that word remind you of?
What associations do you have with a certain image or metaphor?
Do you think the use of a word is just a bit odd?
Look for figures of speech and sound devices.
What is the mood of the poem?
Ask yourself what feeling/emotion does the poet/speaker express in the
poem or what atmosphere is created.
6. Once you’ve done a bit of thinking and sleuthing, we can begin to look at the
questions and how to answer them. Don’t worry if the answer doesn’t immediately
come to mind. Poetry takes time and you can figure it out with a bit of effort!
Here is an example of an unseen poem with test/exam-style questions beneath it. We
are going to have a look at this poem and use the guidelines above to try to help us
understand the poem and answer the questions.
4
POETRY: “YOU CANNOT KNOW THE FEARS I HAVE”
you cannot know the fears i have - Shabbir Banoobhai
you cannot know the fears i have
as i think about you
i fear that i shall live only at your laughter
lie awake long nights while you sleep
so loneliness does not trouble you
nor hunger, nor thirst
overwhelm your waking world with wonder
with the music of other worlds, your earlier home
read to you poems written the night before
while you smiled bewildered
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10
or just when my very breathing begins to depend on you
even as your tiny fingers close around mine
some insensitive thing
crushes your butterfly spirit
shadows of a sun-darkened land
flow over you
and the eclipse
closes your eyes
i cannot live with the thought of having you, loving you
any other way
a day without such care
has no meaning
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20
we shall find for you a name
your name shall bring light
2.1 To whom is this poem addressed? Justify your answer by quoting from the text.
2
2.2 Mention one physical and one emotional need the speaker hopes to prevent in the
subject.
2
2.3 Comment on the use of run-on lines in the poem.
2
2.4 Explain why the speaker refers to “butterfly spirit” in line 14.
2
2.5 How would you characterise the tone of the poem? Justify your answer by referring to
the text.
2
5
MEMO: “YOU CANNOT KNOW THE FEARS I HAVE”
2.1 The speaker’s baby/child. “tiny fingers” √√
2.2 hunger/thirst, loneliness √√
2.3 Contributes towards flow of the poem, is his thoughts, we don’t think in strict
grammatical accuracy, shows his emotions flowing from him to the child (accept wellreasoned explanations). √√
2.4 Butterflies are delicate, emerge from cocoons (safe spaces). Speaker doesn’t want
his child’s delicate spirit to be crushed/damaged. (accept alternatives if well-reasoned)
√√
2.5 Mark on merit of response. One mark for identifying tone and second mark for
justification from text. √√
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The Sonnet
The poem below is an example of a sonnet, one of the poetic forms you will come across
a lot in grade 11 and 12.
A sonnet is a one-stanza, 14-line poem, written in iambic pentameter. The sonnet, which
derived from the Italian word sonetto, meaning “a little sound or song," is "a popular
classical form that has compelled poets for centuries. The most common—and
simplest—type is known as the English or Shakespearean sonnet, but there are several
other types.
In Renaissance Italy and then in Elizabethan England, the sonnet became a fixed poetic
form, consisting of 14 lines, usually iambic pentameter in English.
Different types of sonnets evolved in the different languages of the poets writing them,
with variations in rhyme scheme and metrical pattern. But all sonnets have a two-part
thematic structure, containing a problem and solution, question and answer, or
proposition and reinterpretation within their 14 lines and a volta, or turn, between the
two parts.
Sonnets share these characteristics:
•
•
•
Fourteen lines: All sonnets have 14 lines, which can be broken down into four
sections called quatrains.
A strict rhyme scheme: The rhyme scheme of a Shakespearean sonnet, for
example, is ABAB / CDCD / EFEF / GG (note the four distinct sections in the
rhyme scheme).
Written in iambic pentameter: Sonnets are written in iambic pentameter, a
poetic meter with 10 beats per line made up of alternating unstressed and
stressed syllables.
Have a look at the below sonnet by Elizabeth Barrett Browning and try to apply some of
the Unseen Poetry techniques referred to above.
Don’t be intimidated by the language – a lot of amazing poetry was written a long time
ago but is still universal in theme and applicable in many ways to our lives today!
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How do I love thee – Elizabeth Barrett Browning
How do I love thee – Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday's
Most quiet need, by sun and candlelight.
I love thee freely, as men might strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints,–I love thee with the breath,
Smiles, tears, of all my life!–and, if God choose,
I shall but love thee better after death.
5
10
Now try to see if you can answer the questions below:
3.1 Explain how line 2 emphasises the extent of the speaker’s love.
2
3.2 Why are “Being” and “Grace” capitalised in line 4?
2
3.3 Why does the speaker tell this person that she loves them “to the level of every
day's// Most quiet need”?
2
3.4 Quote two consecutive words that indicate the speaker loves this person in both
happy and sad times.
2
3.5 Comment on the effect of repetition in the poem.
2
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Suggested answers to “How do I love thee” questions:
3.1 Mentions dimensions (depth, breadth, height). Is how we measure objects.
Emphasises the extent of her loves (i.e. is trying to measure it). √√
3.2 Personifies them. Makes them seem important. Emphasises importance of these
qualities in people’s lives (is what people strive for). √√
3.3 Her love is not just something grand and impressive. She also loves on an everyday
level/in doing mundane tasks. “Quiet” shows that it is not boastful or proud, her love is
expressed in simple, everyday manners too. √√
3.4 “smiles, tears” √√
3.5 She repeats “I love thee” several times throughout the poem. Emphasises the extent
of her love. Shows the object of her love what this poem is about (was meant to be a
private poem for her husband). Is to convey the message that she loves him in all
possible ways. √√
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Poetry – some revision of terminology
Terms you must be familiar with:
Theme
Style
Tone
Form
Rhyme
Symbolism
Intention
Diction
Mood
Rhythm
Imagery
Theme:
It is the subject, central idea or underlying thought. It is sometimes also equated with
the meaning or sense of piece of writing.
Intention:
The reason or motive the poet had for writing his poem. The poet may want:
* to persuade
* to defend
* to evoke
sympathy
* to enrage
* to express
love
* to criticise
* to express
hatred / scorn
* to flatter
* to protest
* to praise
* to warn
* to argue
* to mock
* to incite
* to interrogate
Style:
It is the manner in which a poet or writer expresses himself, his distinctive traits or the
individual manner in which he uses the language at his disposal. It includes many
aspects but sometimes it helps to look at the period in which the poem or work was
written to determine the poet’s style. Sometimes it is useful to sum up a poet’s style in a
word or two:
* humorous
* colloquial
* conversational * emotive
* factual
* terse
* idiomatic
* succinct
*sensational
* technical
Diction:
This refers to the poet’s vocabulary or choice of words. The choice of words and the
order thereof, is intention to suit the poet’s purpose. Remember that words do not
always have a fixed meaning: their exact meaning depends of their context. The sound
of words may be important as well. Every word used by poet must be seen as a way to
enhance his intention.
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Tone:
It is the poet’s attitude towards his or her subject and readers. The tone can only be
determined once one has examined the poem thoroughly. The tone may also vary
within a poem. [AVOID THE FOLLOWING: negative / positive (non-specific) ; sad ;
sarcastic (unless you are using it to describe a form of verbal irony that aims to hurt the
feelings of one); amazing / awesome (overused and clichéd)]
Examples of tone:
*sincere
*loving
*sentimental
*humorous
*bitter
*dismissive
*forceful
*mocking
*adoring
*critical
*joyful;
*cynical
*disdainful
*melancholic
*optimistic
Mood:
Mood or feeling is a term used to refer to the atmosphere the poet creates within his
particular work. It is related to the tone and in some ways mood may also be said to
reflect the poet’s attitude towards his subject matter.
Imagery:
It is the use of word pictures or images that usually appeal to our senses but they may
also appeal to the heart or the mind.
Figures of speech:
Words, phrases or expressions used in a manner other than their literal meaning in
order to produce a special effect. It is important to know how figures of speech work.
POETIC DEVICES & FIGURES OF SPEECH
ANTITHESIS: opposites are contrasted or balanced in two clauses or phrases.
“The years to come seemed waste of breath
A waste of breath the years beyond.”
(N.B. Antithesis contains no contradiction or seeming contradiction, it is merely
opposites/ contrasts)
EUPHEMISM: substitution of vague or mild expression for harsh or direct one, e.g.
“She passed away” is a euphemism for “She died”.
HYPERBOLE: a deliberate exaggeration (e.g. to describe something in such a way that
it seems much bigger than it really is: ‘She gave me a mountainous plate of food.’)
METAPHOR: using one thing to describe another thing which has similar qualities (e.g.
‘Education is the key to success.’)
METONYMY: substitution of the name of something for that of the thing meant, e.g.
"The pen is mightier than the sword," from Edward Bulwer Lytton's play Richelieu.
OXYMORON: a combination of words with contradictory meanings, used deliberately for
effect; it’s usually formed by using an adjective to qualify a noun with an opposite
meaning (e.g. an open secret)
PARADOX: statement which is self-contradictory but which contains some truth. “One
has to be cruel to be kind.”
PERSONIFICATION: attributing human characteristics to non – human things
PUN: uses the double meaning of a word or phrase for suggestive and humorous
purposes.
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SIMILE: comparing one thing directly with another, a word such as ‘like’ or ‘as’ is used
to draw attention to the comparison
Other useful terminology
ALLUSION: reference to a specific person, place, event or literary work in the course of
a poem.
ANTI-CLIMAX: when an expectation of some high point of importance or excitement is
not fulfilled or the seriousness of a literary plot is suddenly lost as a result of a comical,
digressive or meaningless event
CLIMAX: the most exciting, effective, or important part of the story; this important part is
not necessarily at the end
ENJAMBMENT: the continuation of a sentence without a pause beyond the end of a
line, couplet, or stanza.
FREE VERSE: Poetry without a regular fixed pattern of metre or rhyme.
INNUENDO: something unpleasant which is hinted at rather than clearly stated
IRONY: A statement or situation that has an underlying meaning different from its literal
or surface meaning. Irony is related to tone. Note the differences between dramatic,
verbal and situational irony:
Dramatic irony: Occurs when the audience/viewer knows more about the situation and
its implications than the characters involved; it heightens the tension, enjoyment and
audience participation.
Situational irony: a situation in which the outcome is contrary to what was expected
(e.g. A woman who is a traffic cop gets her license suspended for unpaid parking
tickets.)
Verbal irony: is the use of language to express the opposite sentiment than what is
expected. Note that sarcasm is a form of verbal irony (or tone of voice) which is used in
order to be unkind or offensive or to make fun of someone.
PATHOS: quality in writing that excites pity or sadness.
RHETORICAL QUESTION: a question asked not to get a reply but for emphasis or
dramatic effect (e.g. ‘Do you know how lucky you are?’)
SATIRE: the use of ridicule, sarcasm, and irony to comment critically on society or an
individual or a situation
UNDERSTATEMENT: represents something as less than it really is: After the floods,
when things were carried away by the water, we say “We’ve had some rain.”
Wit: the unexpected, quick, and humorous combining of contrasting ideas or
expressions
Sound devices:
The following are not strictly figures of speech, although they are often classified as
such. It is where the sound of words is just as significant as the meaning of the words.
ALLITERATION: repetition of beginning consonant sounds, at short intervals, of
different words
ASSONANCE: repetition of vowel sounds in two or more words, without the
repetition of the same consonant
ONOMATOPOEIA: the use of words to recreate the sounds they describe
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Symbolism:
A symbol is any word or object which represents or suggests an idea.
LANGUAGE – REVISING VISUAL LITERACY
ADVERTISING
Purpose:
•
An advertisement provides information about a product, such as a television, or a
service, such as banking, or getting our support and creating awareness about an
issue, such as save the rhino.
• Manufacturers or businesses want to make money from selling as many products
as possible.
• Service providers want to make money from attracting as many clients as
possible.
• They often use advertising companies to design and create adverts to attract
potential buyers or clients and customers.
• The purpose of an advert is therefore to attract potential buyers or clients and to
convince them to buy that particular brand or to support a cause.
Target market/audience:
•
A specific group of people who would most probably be interested in buying a
particular product.
Catch phrase:
•
The first words in the advert that attract the viewer. The letters of the
catchphrase may be bigger than all the other letters.
Slogan:
•
•
•
•
•
•
•
•
•
•
A short, forceful/hard-hitting phrase that normally appears next to or
underneath the product name. As time passes, a slogan becomes so much part of
a successful product that people automatically identify the slogan with the
product name.
McDonalds – “I'm Lovin' It”
KFC – “Finger Lickin' Good”
Subway – “Eat Fresh”
Kit Kat – “Have a Break, Have a Kit Kat”
Rice Krispies – “Snap! Crackle! Pop!”
Red Bull – “It Gives You Wiiiings!”
Maybelline – “Maybe She’s Born With It, Maybe It’s Maybelline”
De Beers – “A Diamond is Forever”
Nike – “Just Do It”
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Logo:
A sign or symbol that identifies a company or a brand. A logo is a name, mark, or
symbol that represents an idea, organization, publication, or product.
Typically, logos (such as the Nike "swoosh" and Apple Inc.'s apple with a bite
missing) are uniquely designed for easy recognition.
AIDA Principle:
Most advertisements are created according to the AIDA principle.
A: Attention. The advertiser must attract the viewer’s attention. He wants
consumers to read his advert and pay attention to the product he wants them to
buy. Big letters, interesting questions, visuals are used to attract people’s
attention.
I: Interest. The advert must hold the viewer’s interest and must create and
sustain the viewer’s interest. Interest is kept by appealing to the target market
for that particular product – choice of visuals, diction used must appeal to the
target market.
D: Desire. The advertiser must play on the viewer’s desires or what the viewer
wants. For example, the advertiser may urge the viewer to “Buy one, get one
free”, playing on the viewer’s desire to get a good bargain. The advertiser also
convinces people that they need the product, as opposed to simply just wanting
it.
A: Action. The advertiser wants to be sure that the consumer will go out
and buy the product that has been advertised. Expressions such as ‘limited
offer’ or ‘special’ or free give-aways, usually make people take action.
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CARTOONS
Answering the cartoon
Cartoons can be more than just light-hearted fun; they often reflect social trends or
highlight serious issues. A clever cartoon can have more impact than a whole article on
the same subject as it can succinctly capture the essence of the issue.
A cartoon is a single drawing, or a series of drawings, that comments on current events
or social issues. Its topics are human activities and behaviour, public figures, politics,
fashion, sport, relationships, etc.
TERM
Comic strip
Frame
punchline
Font
Movement lines
Punctuation
Speech bubbles
EXPLANATION
A sequence of drawings telling a humorous or adventurous
story – found in newspapers, etc.
Each separate picture in a comic strip is called a frame.
The final phrase or sentence of a cartoon, providing the
humour. The different frames usually build up to the punch
line in the last frame.
It refers to the size and type of letters used. Larger or bold
letters are used for emphasis.
Movement is indicated by means of vertical, curved and
diagonal lines. Speedy action is indicated by streaky lines,
or by the action going out of the frame.
Clever use is made of punctuation to create meaning.
Speech bubbles are used to indicate the words spoken
by the character.
Thought bubbles
Thought bubbles show what the character is thinking.
Visual clues
Some parts of the drawing which may be used to help the
reader establish what the cartoon is about.
When one thing is said, but something else is meant.
An exaggerated preconceived generalisation about the
typical behaviour, attitudes, dress, etc. of various types of
people.
Uses humour to make a serious point. It involves using wit,
irony or sarcasm to highlight human vices or follies.
Irony
Stereotype
Satire
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Anti-climax
this is when tension is created and we expect something
important or exciting to happen, but instead, the ending is
very ordinary or a let-down.
•
Body language means the way in which a character is drawn to show what his or
her feelings are.
•
Facial expression shows the feelings of the character.
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EXAMPLES FROM PAST PAPERS
SECTION C: LANGUAGE IN CONTEXT
QUESTION 3: ADVERTISING
Study Text D below and answer the questions that follow.
TEXT D
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The text on the apple reads: 100% pure fruit. No added sugar. Lightly sparkling.
Preservative free. Low GI.
The text at the bottom left-hand side reads: The ultimate reward of the day.
Appletiser is 100% pure sparkling fruit juice, which means you can enjoy complete
guilt-free indulgence with an exquisite taste, anywhere, any time.
The text at the bottom right-hand side reads: Appletiser. Deliciously good for me.
3.1
Describe the target market of this advertisement.
1
3.2
Comment on the use of the words “100% Pure Fruit. No added sugar.
Preservative free. Low GI”. What are they appealing to in the consumer?
3
3.3
Explain how the visual aspects of the advertisement contribute towards
the appeal of the product.
2
3.4.1 Quote two examples of emotive language from the body copy.
2
3.4.2 What is the intended impact of these examples of emotive language in
the body copy on the reader?
2
[10]
QUESTION 4: OTHER ASPECTS OF THE MEDIA
Read the texts E, F and G below and answer the questions that follow.
TEXT E
4.1
Explain why the father says he was only “partially” successful in his quest to
get his son to fly a kite outside.
2
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TEXT F
4.2
What is being satirised in the above cartoon?
1
4.3
Comment on the way in which the words of the woman and the visual
representation of the couple contribute to the satirical message of this
cartoon.
3
TEXT G
4.4
4.5
Mention two visual details of the cartoon that support Snoopy’s words in
frames 1-3.
2
Explain how irony is used to create humour in the above cartoon.
2
[10]
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MEMO FOR VISUA LITERACY QUESTIONS
SECTION C: LANGUAGE IN CONTEXT
QUESTION 3: ADVERTISING
3.1
Health-conscious people/people who enjoy natural products/people on
diets
1
3.2
They are appealing to a desire to be slim/thin/healthy/the need to fit
society’s beauty ideals/to eat natural ingredients/to feel fuller for longer
and therefore eat less. The desire to only consume healthy, natural
products. One mark each for three different points.
3
3.3
The visuals are clean, neat and aesthetically appealing. The blank white
space provides an excellent backdrop for both the picture of the exploding
apple and the bottles showing the product. The exploding apple is unusual
and will attract attention.
Any two good points.
2
3.4
“ultimate reward” “guilt-free indulgence” “exquisite taste”
3.5
The reader is encouraged to think of the product as something special, a
“reward”. “Ultimate” implies superiority. “Guilt-free” allows the reader to
think that this product will fit in with a healthy life-style. “Indulgence” and
“exquisite” tie in with the idea of something special or extraordinary. Any
two good points.
2
2
[10]
QUESTION 4: OTHER ASPECTS OF THE MEDIA
4.1
The father is concerned that his son doesn’t get much physical activity/play
outdoors etc. He is telling his wife how he tried to convince his son to fly a
kite outdoors. He assumed that this would mean his son would go outside to
fly the kite. However, in frame 3 we see the son is standing inside the house
and flying to kite out the window. Technically speaking, the son is flying the
kite outdoors even though he remains inside. Mark globally.
2
4.2
People neglecting their social obligations (like eye contact and paying
attention when someone is speaking) because they are so busy looking at
information on their cellphones/using technology etc.
1
4.3
The man sits facing away from his wife/girlfriend while staring at the phone
he has held in his hand. The wife/girlfriend sits facing him with her arms
folded across her chest as if frustrated with her husband/boyfriend constantly
looking at his phone when he should be talking/listening to her while they are
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out drinking coffee. He is turned away from her and so engrossed by the
phone, she sarcastically asks if she could strap the phone to her forehead so
that she can “pretend” he is looking at her when she’s speaking. This creates
humour and highlights the ridiculousness of this type of action. Mark globally.
3
4.4
Snoopy and his troop are wearing hats, carrying backpacks and walking
through an area with trees. They are obviously hiking outdoors. This supports
his words “on a hike”, “wild country” and “beyond civilization”.
2
4.5
Snoopy is elaborating about how they are busy hiking in an unexplored and
unknown area of the wilderness, somewhere “man has never trod” or set
foot. We would expect that the area would be remote and have no traces of
civilization. However, this expectation is thwarted when we see the picture of
Snoopy staring at a shopping trolley (an example of a very modern, manmade object).
2
[10]
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MEMO