English
Seen Textual Analysis
Higher and Intermediate 2
3912
August 1998
HIGHER STILL
English
Seen Textual Analysis
Higher and Intermediate 2
Support Materials
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CONTENTS:
1. Introduction
2.
(a)
(b)
(c)
(d)
(e)
Consider the Lilies by Iain Crichton Smith
Suggested Questions (H)
Suggested Assessment Guide (H)
Illustrative Student Responses with Commentaries (H)
Suggested Questions (Int 2)
Suggested Assessment Guide (Int 2)
3.
(a)
(b)
(c)
The Crucible by Arthur Miller
Suggested Questions (H)
Suggested Assessment Guide (H)
Illustrative Student Responses with Commentaries (H)
4. Sparrow by Norman MacCaig
(a) Suggested Questions (Int 2)
(b) Suggested Assessment Guide (Int 2)
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Introduction
Teaching students the skills required to “respond critically to imaginative texts” (the
specified outcome of the literary study unit) is a challenge with which teachers will be
familiar from 5-14 and Standard Grade courses and teachers and lecturers from
Revised Higher courses and Literature modules.
The skills of critical reading and response have traditionally been assessed in their
application: through tasks which require either extended response (in a critical essay,
a review); or a set of relatively restricted responses (in close reading, textual analysis).
The internal assessment requirements of the Literary Study unit are for extended
responses in the form of critical essays. Students who take the external examination,
however, will be tested not only in their extended reading skills (by writing a critical
essay), but also in their close reading skills (by answering a series of textual analysis
questions on a piece of unseen drama, prose or poetry). Clearly, teachers and lecturers
will wish, at appropriate stages, to set aside time to provide students with guidance and
practice both in writing critical essays and in responding to unseen textual analysis.
They will also wish, at appropriate stages, to assess their performance.
This package of materials, however, is not about the assessment (either internal or
external) of critical essays or textual analysis. It is about the development of the
critical reading skills required by both and, more particularly, about the contribution
which can be made to that development by work in seen textual analysis. If the
package has anything to do with assessment, it has to do with formative assessment.
Teachers and lecturers will recognise that in this “learning zone” there are no easy
definitions or conveniently absolute distinctions: for example,



between reading and response - if we are to respect the integrity and complexity
of dynamic interaction of student and text and context
between close and extended reading skills - if we are to respect the interrelated,
interactive nature of these skills, (appreciation of broad concerns and principal
features of a text providing context within which informed close analysis can take
place and close analysis of a text contributing significantly to understanding of its
broad concerns and principal features)
between essay and analysis - if we are to respect the underpinning continuum of
critical reading skill which each may exemplify, (effective study of texts often
requiring the deployment of both close and extended reading skills, if not
simultaneously, then at least in parallel).
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Correlation between reading and response, close and extended reading and essay and
analysis is reinforced by the fact that the performance criteria for the critical essay and
unseen textual analysis share three virtually identical statements: at Higher, for
example,
(a) Understanding
...demonstrate(s) secure understanding of key elements, central concerns and
significant details of the text(s).
(b) Analysis
...explain(s) accurately and in detail ways in which aspects of structure/style/ language
contribute to meaning/effect/impact.
(c) Evaluation
...reveal(s) clear engagement with the text(s) or aspects of the text(s) and stated or
implied evaluation of effectiveness, substantiated with detailed and relevant
evidence from the text(s).
Teachers and lecturers will also recognise how crucial it is to effective learning and
teaching in this context that there be productive encounters between text and student
and between student and teacher or lecturer. Facilitating such encounters and
responding to them in ways which promote student growth and competence in critical
reading and response, although a familiar enough task, is certainly not easy. It requires
careful planning, imaginative preparatory work, sensitive teaching and meticulous
monitoring of student progress. The usual and well documented danger is that
teachers and lecturers will concentrate on assessment at the expense of teaching, on
methods and techniques of critical response (teaching students how to write critical
essays and respond to unseen textual analysis questions, important though these may
be) at the expense of critical reading.
The central - and limited - purpose of the exemplification offered in this package is to
suggest that the close analysis of seen texts, although not in itself an assessment
outcome, offers at least one constructive way of developing critical reading and at the
same time preparing students for critical response in the critical essay and in unseen
textual analysis.
The exemplification is based on three texts:
 the opening chapter of Consider the Lilies by Iain Crichton Smith
 an extract from the courtroom scene in Act Three of The Crucible by Arthur Miller
 the poem Sparrow by Norman MacCaig.
These three texts also serve as an incidental reminder of the requirement that students
must include in this unit the study of a Scottish text and of the fact that differentiation
between levels need not be exclusively by text. While a play such as The Crucible
may appear to be more appropriate to Higher than to Intermediate 2 and a poem such
as Sparrow to Intermediate 2 than to Higher, a novel such as Consider the Lilies may
well prove suitable for both levels.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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2. Consider the Lilies by Iain Crichton Smith
The selection of this novel meets the requirement for the inclusion of a Scottish text
and, by the relative simplicity, but subtlety of its narrative and language, seems
reasonably appropriate to both Higher and Intermediate 2.
Much is clearly possible in the classroom study of the novel: the unravelling of its
underlying themes, the narrative functions of its timeshifts, the characterisation of its
main protagonists, the contribution of its setting in time and in place. Whatever aspects
of the text are selected for study and whatever strategies are employed in exploration
of these, one of the key approaches will always be the asking of appropriate questions:
questions which will not only open up, for example, issues the text raises, features it
displays, but also reveal the extent to which and the ways in which students have
responded.
The decision to focus on the opening chapter is not arbitrary; it is informed by the need
to reinforce the idea that openings are crucial (in the work of published writers and, by
implication, in the work of students as writers).
The exemplification which follows offers:
a) Suggested Questions (H)
b) Suggested Assessment Guide (H)
c) Illustrative Student Responses with Commentaries (H)
d) Suggested Questions (Int 2)
e) Suggested Assessment Guide (Int 2)
The questions have been designed to be specific enough to do justice to the text and
open enough to allow students to give evidence of the critical reading skills required
by the performance criteria of both critical essay and textual analysis.
What follows is offered, therefore, as a possible approach which makes a reasonably
natural, unforced link between teaching and assessment.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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(a) Suggested Questions (H)
You should support all your answers to the questions by close reference to the
text.
Section A: Understanding
1.
Look again at the dialogue towards the end of this chapter:
“I don’t want your house,” she said. “And tell the Duke, he can keep the
pension if that’s what’s worrying him. This house is full of my people’s
blood.”
“You’ll have to leave just the same,” he said, rising.
“God won’t let you put me out,” she said.
(i) Identify some of the central concerns of this novel which are touched on in
this brief exchange between Mrs. Scott and Patrick Sellar.
(ii) Show how each of the aspects you have identified in (i) above is presented
elsewhere in the chapter.
Section B: Analysis
2.
What contribution is made to the characterisation of Mrs. Scott by the way in
which Iain Crichton Smith structures this chapter?
In responding to this question, you should consider one, or more than one, of
the following:
 the contrast between past and present;
 the interaction of character and setting;
 the balance struck between dialogue and narrative.
3.
The author says of this novel:
“I should say something about the style which is, I suppose, rather simple and almost
transparent.”
What evidence is there – in the writer’s use of word choice, imagery and sentence
structure – of a style which is “rather simple and almost transparent”?
What effects are created by this style?
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Section C: Evaluation
4.
Do you think this to be an effective opening chapter?
In responding to this question, you may wish to consider such aspects as:
 the setting established for the narrative;
 the way in which themes are introduced;
 the initial impression created of the characters;
 the way in which the chapter is structured;
 the apparent simplicity of the style.
You should feel free to support your response by referring to any points you may
already have touched on in your answers to questions 1, 2 and 3 above.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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(b) Suggested Assessment Guide (H)
The following assessment guide is designed to illustrate how student responses could
be “marked” if, say, 10 marks were allocated to each of the four questions.
1.
Students should in (i) identify and in (ii) develop, through textual reference to
the rest of the chapter, two of the following:
 Mrs. Scott’s sense of the past (‘This house is full of my people’s blood.’)
 her predicament and the inevitability of it
 her confusion about the purpose of Patrick Sellar’s visit
 her powerlessness as a tenant
 the aggression of the middle-man
 her faith in God - and in God’s power to help her
2.
Students should recognise and comment (with supporting references, where
appropriate) on two of the following:
 the initial presentation of Mrs. Scott and the simplicity established by the
setting
 her inability to recognise threat – or at least articulate it to herself – that
Patrick Sellar’s visit poses a threat to her existence
 the use of contrast (particularly notable in the differing dialogue styles)
between Patrick Sellar’s rudeness and aggression and Mrs. Scott’s
habitual politeness (“gentleman” and the use of the third person)
 the use of inner narrative/monologue to establish not only the past but to
give the reader insight into Mrs. Scott’s character – particularly her faith,
her limitations and her prejudices
 the contrast between the urgency of her present predicament (the present
dialogue) and her attachment to the way of life she knows (her inner
narrative).
3.
Students should identify and develop two of the following:
 that word choice establishes childlike identification and narrative
 the directness and simplicity of Mrs. Scott’s understanding ‘...she knew
that if she left the house she would die.’
 frequent use of short sentences and short sentence-paragraphs: ‘He
came over to where she was sitting.’ conceal a kind of hidden narrative
 repetition: ‘Very thick paper, with very large print on it.’
 sentences starting with ‘And’ and ‘But’ and simple punctuation reinforce
the child-like nature of the narrative and suggest a vulnerability about
Mrs. Scott
 imagery of darkness and light linked to lack of understanding,
confusion (over pension) and (eventually) to enlightenment. ‘“I don’t
understand,” she said in the half-darkness.’
 the gullibility (the Duchess sending ‘free’ meal) and vulnerability of an
old woman whose life is inexorably going to change and who, by her very
character, age and dwelling in the past is ill-prepared for change.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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4.
Students should be able to:
 expand on points already made (with further examples drawn from other
parts of the chapter)
 demonstrate their personal responses and involvement with the text, with
some indication as to how this has been brought about.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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(c) Illustrative Student Responses with Commentaries (H)
Student Script A
Question 1
(i) Central concerns – Mrs. Scott is going to be thrown out of her house which she is
very unhappy about. Main theme is that the old lady is being put out of her house.
Mrs. Scott has a great belief in God and how he will not allow anything to happen
to her.
(ii) Throughout this chapter Mrs. Scott refers to God; ‘God wouldn’t let him do that’.
She tells how she is always going to church. She always believes in being very
polite to the gentleman, showing how she felt it right to be nice – a sign of God.
Question 2
The way Iain Crichton Smith structures this chapter helps to make Mrs. Scott who she
is. You feel sorry for her right from the start. However, if the chapter was written
from Patrick Sellar’s point of view, the picture would be a great deal different. Good
use was made of the contrast between past and present, emphasising how old and
lonely and sad Mrs. Scott really is. Her mind is unable to focus on the matter in hand
and constantly wanders back into the past, to memories of the difficult life she had
with looking after her parents and then, after not marrying until they had passed
away, the way she lost both her husband and her son, her husband going off to fight in
the war and never returning from it alive and her son emigrating to Canada so that
she never saw him again. This makes you sympathise with Mrs. Scott, she has lost so
much. Smith also uses the interaction between character and setting to make us sorry
for Mrs. Scott, the way she lives in a very poorly furnished house without any
electricity or running water. From the dialogue and the narrative we also get a good
contrast between what’s going on inside Mrs. Scott’s head and the polite front she
puts on when she is talking to Patrick Sellar.
Question 3
The language used is deliberately simple to convey the simple atmosphere of the
community to you: the word choice is never particularly elaborate but Sellars
provokes more elaborate use of language. When he talks about the church being
pulled down he says this ‘triumphantly’. This is a contrast in language and
emphasises her simplicity and his sense of a more ‘civilised’ modern way of life.
The simplicity also shows her state of mind, in that she did not have the mental
capacity, perhaps due to her age and the slowing down of her actions, to think or act
any more elaborately.
The sentence structure is also very simple and almost basic. The sentences are fairly
short and succinct, and each contains entirely its own point. This is also reflective of
her state of mind and also of the community.
The imagery is also basic. There are never any strong, fanciful images used to portray
an elaborate point but more natural earthy images. For example images such as Mrs.
Scott ‘pecking’ at her memory provide an image of a hen or chicken relating to the
crofting community. It shows the basic way of life. The use of images, however, are
mainly used to describe Mrs. Scott’s thoughts and show her mind.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Question 4
I think that this is an effective opening chapter. This is because of the initial
impression that is created of the characters as they show both to be completely
different and so you want to read on in order to see what happens to the old woman
and her house. The setting is that of the olden days when many houses were taken
over and people were simply thrown out, to give enough grazing to the sheep and so
has an historic nature to it, this also makes you want to read on so as to see what
happens to her. These both make this opening chapter an effective chapter.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Student Script A: Commentary
Question 1
This very brief response could be said, in (i), to identify both the anguish and the faith
which characterise Mrs. Scott’s response to the predicament now facing her. In (ii),
however, only her faith is loosely exemplified. Not nearly enough has been done to
show secure understanding of key elements, central concerns and significant details.
At best, therefore, 3 marks.
Mark 3
Question 2
Quite a sound response which notes the structural emphasis on Mrs. Scott’s view of
the situation and the use made of contrast between past and present to engage the
reader’s sympathy with her. Interaction between character and setting appears to be
less well understood. Valid comment is made, however, about the purposes of
narrative and dialogue. Just enough explanation of technique generally and its
contribution to the characterisation of Mrs. Scott.
Mark 5
Question 3
Potentially relevant features of a ‘simple’ style are rather scrappily noted and, at a
superficial level, there appears to be some understanding of effects created. What is
sadly lacking, however, is explanation and substantiation of technique that would have
focused and clarified the response. Not enough understanding of literary technique
and its impact.
Mark 3
Question 4
While relevant, the references to character and setting in this response are far too slight
and generalised. They reveal only very limited engagement with the text.
Mark 2
Total 13/40
Overall Comment
Despite some occasional glimmers of understanding and valid critical comment, this
student falls far short of the standard of critical reading and response required for
Higher. Only the response to Q2 is reasonably adequate. Much more understanding
and experience of what is required is clearly needed for success.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Student Script B
Question 1
(i) This chapter shows some of the central concerns such as those in authority forcing
people out of their homes. The woman is upset about leaving her house because
all her family had lived there and she has many memories of them. It shows the
cruelty and lack of understanding of those in authority because they don’t care
about other people, only about the money they can make from the land. It shows
how people can have completely different values and morals from each other.
(ii) The first chapter deals with Patrick Sellar coming to Mrs.Scott’s house and trying
to tell her she must leave it. I came to tell you that you’ll have to leave the house’.
He gets irritated by her because she can’t understand why she must leave and she
feels she cannot. Mrs. Scott is confused by the man and this idea of leaving,
especially when he tells her that she is being put out to make way for the Duke’s
sheep. ‘But the sheep aren’t needing houses to live in. The sheep graze on grass.’
This shows her confusion at the situation. Patrick Sellar’s lack of understanding
and annoyance at her is shown by the way he speaks to her and by his nervous
actions such as pacing up and down all the time and every now and then hitting his
whip against the bench or against his leg. The description of the way he speaks to
her ‘as if through gritted teeth’ also emphasises his impatience with the old
woman. When she attempts to give reasons why she cannot move from her house
such as ‘My father and mother are buried in the church yard’, he answers her
sarcastically with ‘Yes you people are always talking about the dead’. Calling
people like Mrs. Scott ‘you people’ shows his lack of respect. He clearly doesn’t
understand anything about the values of these crofters and what is important to
them. He doesn’t understand anything about their way of life or about their
feelings – and he doesn’t care.
Question 2
The contrast between past and present is important in showing us deep into the
character of Mrs. Scott, her present frailty not just being the result of old age but also
of the hard and difficult life she has lived in the past, looking after her parents, losing
her husband and then being abandoned by her son when he emigrated to Canada. The
past is obviously still very dear to her and this chapter is structured to emphasise the
past through her constant shifting between flashbacks to the past and trying to focus
on the current crisis being presented to her through Patrick Sellar. Just as she
wanders between past and present, so Mrs. Scott also seems to interact with the setting
of her immediate surroundings, obsessed with the milk stain on the floor, for example.
The real narrative is what’s going on inside her head and the dialogue she has with
Patrick Sellar proves awkward for both of them. She can’t concentrate on what he’s
saying or understand it and he can’t be bothered listening to her or trying to make her
understand it. She gets more and more confused and he gets more and more impatient
and angry. Through all of this we learn a lot about Mrs. Scott – her background, her
politeness, her faith, her sense of values – and by the end of the chapter there can be
no doubt that our sympathy for her is well established.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Question 3
The dialogue and the majority of the narrative uses short uncomplicated words. ‘Do
you know him?’, for instance is evidence of a style which is ‘rather simple’ and
‘almost transparent’, as is the use of words and phrases such as ‘I don’t understand’
and ‘it’s very simple’ and ‘I don’t know what you’re talking about’.
The constant repetition of phrases in the dialogue such as ‘is it the pension’ and the
continual reference to the pension and other factors seems to give the impression that
they are getting nowhere, almost going backwards giving a simple and transparent
style as it’s not cluttered by many events and you come to know what’s about to
happen/be said as a sort of pattern of going round in circles develops.
The speech of the two characters is also very simple as is the sentence structure,
sentences starting with ‘but’ and ‘and’. The majority of the sentences being quite
short and very few commas used throughout the chapter in comparison with other
books.
Imagery – no images of one thing being like/compared with another – simply
descriptions of movement/scenes as they are – the true picture. Denotations rather
than connotations.
This style makes the characters seem more realistic and the old woman who doesn’t
speak English very well is displayed well. It also creates sympathy for her as she is
obviously having difficulty in understanding and explaining/defending her
actions/reasons for not wanting to leave.
It also creates feelings of resentment towards Patrick Sellar as the simple style makes
him blunt and straight to the point – basically nasty, and also seems to be fairly
stupid, creating further dislike.
Question 4
I do think this is an effective opening chapter because it is successful in setting the
scene, introducing the characters, introducing the themes, as well as making the story
appear interesting enough to entice the reader to continue reading the novel. The
setting and the physical appearance of the characters is efficiently described – on the
first page. This is good because it means the storyline, dialogues and thoughts later in
the chapter is not interrupted by descriptions of the surroundings or other physical
aspects of the characters. The writer effectively gets into the dialogue and the theme
quickly when the man enters her house. ‘I suppose you know why I’m here.’ This
gives an impression of his abrupt, uncaring, unsympathetic attitude which is
developed throughout the chapter. The old woman’s confusion is also brought to the
attention of the reader in the early stages. ‘Perhaps he had come about the pension.
Her husband had been killed in the war in a place called Spain’. This also gives some
background which is important in the opening chapter.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Student Script B: Commentary
Question 1
Mrs. Scott’s confusion, her attachment to her past, the uncaring attitude of those in
authority and people having different values are all discernible in (i). A narrative
approach is taken in (ii) but there is sufficient evidence of significant detail to
demonstrate secure understanding of how the issues identified are presented in this
chapter. Not a well organised response but adequate in range and insight.
Mark 6
Question 2
The contribution to the characterisation of Mrs. Scott made by the structural features
of the chapter have been well understood and demonstrated; the contrast between past
and present revealing, for example, her ‘hard and difficult life’ and her difficulty in
focusing on the current crisis; the interaction between character and setting (‘the milk
stain on the floor’) exemplifying her confusion; and dialogue and narrative
emphasising how different she is from Patrick Sellar. This response shows insight into
the writer’s use of technique.
Mark 8
Question 3
A more fragmented response but demonstrating, nevertheless, through a range of
techniques (e.g. simple words, repetition, ‘a sort of pattern of going round in circles’,
punctuation, lack of imagery, the role of English) fairly secure understanding of the
effects created by Crichton Smith’s ‘rather simple style’.
Mark 6
Question 4
This succinct response clearly reveals engagement with the text. There is enough
relevant evidence from the text to suggest appreciation of the effectiveness of the text
– the way the writer ‘gets into’ important things ‘quickly’ for example.
Mark 6
Total 26/40
Overall Comment
This is a promising piece showing good evidence of thoughtful critical reading and
response. It has the makings of a solid critical essay and at the same time promises
well for unseen textual analysis.
English Support Materials: Seen Textual Analysis (H) and (Int 2)
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Student Script C
Question 1
(i) The concerns which are identified in this brief exchange are: Mrs. Scott’s
confusion at the news brought by Patrick Sellar; her attachment to her house and
to the past it symbolised; the strength of her character for such a frail old lady;
her unshakeable faith in God and the church; and the callousness of those in
authority such as Patrick Sellar and his superiors.
(ii) Mrs. Scott’s confusion can be seen in her faltering attempts to understand – ‘Is he
wanting the house for himself?’ She is clearly devastated by the news. The
importance of the past to Mrs. Scott runs through the whole chapter. It seems as if
she cannot prevent it from interrupting her thoughts. Her mind is flooded with
memories of her parents who had once lived in the house (‘More than memories
remained of them...The print of their hands’). The same is true of her husband
who had gone off to fight ‘in a place called Spain’ and of her son Iain who had
emigrated to Canada. The underlying strength of Mrs. Scott’s character also
emerges in this chapter. She is old and frail, but she never really gives in to
Patrick Sellar. For example, although he wants to speak outside the house, she
insists that they talk inside. Mrs. Scott’s faith is also strong. She mentions James
the Elder who disappoints her later as does the minister when she goes to ask for
help. This makes it ironic that she ‘liked going to church...liked the minister’ and
felt that she could ‘rely on him’. Patrick Sellar cares nothing for Mrs. Scott. To
him she was only ‘a disposable object’, and his attitude reflected that of his
masters who were evicting crofters like Mrs. Scott because they needed ‘the land
for the sheep’. Mrs. Scott even remembers when the Duchess of Sutherland
wanted payment for a meal she had given to them ‘when the crops were bad’.
Question 2
This opening chapter is structured in a very interesting way, but is a way that is hard
to describe. It seems at first to be only about one single event, but really it contains
lots of different bits and pieces – about Mrs. Scott and where she lives, her past, her
frailty, her forgetting things; also about Patrick Sellar, his self-importance, his
irritableness, his ambitions; about the small community, the church, a sense of
remoteness. All of these seem to be woven together by Iain Crichton Smith to give
more than one layer to the characterisation of Mrs. Scott. For example, the way the
chapter keeps swinging between the past and the present provides us with a fuller
picture of Mrs. Scott’s background and the losses she suffered – her parents, her
husband, her son – the loss of the home that meant so much to her: ‘She couldn’t
exactly put it into words but she knew that if she left the house she would die’.
Although we may feel that Mrs. Scott is perhaps a little bit obsessed with the past, we
cannot help feeling sympathy for this frail old lady as all of this is revealed to us. We
also feel sympathy for her because she is so attached to her setting, so much a part of
it – ‘just an old woman sitting in the sun watching a few hens scrabble in the dust’.
She keeps becoming aware of different aspects of it – the room being ‘dark and chilly
after the warmth outside’, the chair her husband had made, the churchyard where her
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parents are buried, ‘the patch of grey’ on ‘a square of sunlight on the floor’ which
puzzles and annoys her. These little flashes of awareness of her surroundings are just
as frequent and revealing although not quite as lengthy as her intruding memories of
the past. It is the balance between dialogue and narrative which allows for these
‘distractions’. The purpose of Patrick Sellar’s visit is revealed mainly through the
dialogue, as is Mrs. Scott’s politeness and courtesy – ‘Good day to the gentleman’
‘Will the gentleman have a cup of tea?’, in contrast to Patrick Sellar’s impatience –
‘He kept hitting his whip against the bench’ – and his lack of respect – ‘he only
grunted’, ‘And he laughed’. The real impact of his visit, however, is only revealed
through the detail of the narrative, mainly the internal musings of Mrs. Scott on her
past and her own observations and comments about Patrick Sellar.
Question 3
The style of writing is very simple, but also very clever. For example, lots of the
sentences are short, like the opening sentence, and contain no more than two simple
statements joined by ‘and’ or ‘but’. Also, many sentences unusually begin with these
conjunctions. This I think has the effect of a sort of lilt or rhythm, just the way you
would expect an old Highland lady whose first language was ‘the Gaelic’ to talk. The
word choice is also quite simple and almost like a child talking – ‘a white horse with a
man riding on it’, ‘a place called Spain’. Sometimes sentences without verbs and
repeating words adds to this effect – ‘on very important-looking paper. Very thick
paper, with very large print on it.’ There are some very vivid words and images – ‘his
burning little eyes’, something evil about Patrick Sellar, Mrs. Scott’s old and ‘curdled’
face and the nightmarish language used to describe her mother ‘in her nightgown by
the banks of the loch...her face twisted in the light of the moon, turned at bay like an
animal without teeth but very very bright eyes’, using repetition again and almost like
an echo of the evil she saw in Patrick Sellar. The effect of these occasional words and
images only emphasises how clear and slow and simple most of the language of this
opening chatter really is. I suppose it is ‘almost transparent’ because it lets us see
directly into the slow simple but not always clear way in which Mrs. Scott’s mind
works.
Question 4
In my opinion this was a very effective opening chapter to the novel. It seemed to be
sort of multi-layered so that the further you read the deeper you got into the real point
of the story. I liked the way you were given important details bit by bit. For example,
there were only a few hints here and there about the setting – the sparse furniture of
the house, the small community, Annie having to fetch Mrs. Scott’s water, the
dominance of the church, the harshness of the way of life, having to set and light a fire
to make a cup of tea – no big chunks of atmosphere here! The same method was used
to fill in the importance of Mrs. Scott’s past, just as it came back to her as she drifted
in and out of her memories triggered by something she noticed like the churchyard or
by something that was said. The themes of the novel also began to take shape like this
– the hint of tragedy to come as Patrick Sellar rudely interrupts Mrs. Scott’s innocent
daydreaming, the growing feeling that Mrs. Scott is really a prisoner of her past, from
which she only escapes at the end of the novel, and the way her strong faith is
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repeatedly emphasised, preparing the reader even at this early point in the story for
the disillusionment Mrs. Scott will ultimately have to face, What I think I found most
effective in this chapter was the way my initial impression of Mrs. Scott was slightly
changed by Iain Crichton Smith’s characterisation of her. At first I thought she was
just a little bit fussy and annoying – although I sympathised with her loneliness and
frailty – but gradually, through her memories of the way she had sacrificed her youth
for others, and through the contrasts between her politeness and Patrick Sellar’s cruel
rudeness, I actually came to admire her. She was really stronger than she looked. So,
although not much actually happened in the chapter, it did whet my appetite to find
out what would become of the ‘frail-looking’ old lady introduced to us in the very first
line of the novel as ‘Mrs. Scott’.
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Student Script C: Commentary
Question 1
Five substantial concerns are neatly identified in (i) and fully exemplified with insight
and appropriate textual references in (ii). The response shows insight into the central
concerns, and explanation of how these concerns are developed is detailed and
thorough. The quality of the observations and the ease with which apt textual
reference is adduced in support are clear indicators of excellent knowledge and
insight. An unreserved award of 10 marks.
Mark 10
Question 2
A very full response here which again gives clear indication of excellence. Almost all
of the relevant features of the chapter are dealt with, fully supported by appropriate
textual reference, revealing the student’s insight into the writer’s use of literary
technique in building the character of Mrs. Scott. Again, no doubt about 10 marks.
Mark 10
Question 3
This response does more than deal with surface features of style: it offers perceptive
comment which is consistently and appropriately substantiated from the text. Once
again, the response demonstrates clear indication of excellence.
Mark 10
Question 4
The student’s evaluation is perceptive; it shows sophisticated and appreciative
engagement with the text which emanates from a clear sense of the text. Once again,
the handling of textual evidence is very well done. There are many and clear
indicators of excellence in this response.
Mark 10
Total 40/40
Overall comment
These responses give clear indication of excellence in critical reading and response.
This is work of quality which could readily be fashioned towards a critical essay in
response to an appropriately worded task and which instils confidence for
performance in unseen textual analysis.
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(d) Suggested Questions (Int 2)
You should support all your answers to the questions by close reference to the text.
Section A: Understanding
1.
Look again at the opening three paragraphs of this chapter.
What main concerns of this novel do they identify for the reader?
Section B: Analysis
2.
Think again about the way in which this chapter is structured.
What effects are created by the writer’s use of contrast between past and present?
3.
Look again at this short piece of dialogue:
“I’m sorry,” she said, “the gentleman was speaking.”
“Of course I’m speaking. I’m saying that the Duke sent me to put you out.”
i) What is established here about the character of Mrs. Scott and about the
character of Patrick Sellar?
ii) What other aspects of the characters of Mrs. Scott and Patrick Sellar are
revealed elsewhere in the chapter?
iii) Apart from the use of dialogue, can you identify any other techniques of
characterisation used by Iain Crichton Smith in this opening chapter?
Section C: Evaluation
4.
To what extent does this opening chapter succeed in attracting your interest to the
story?
In responding to this question, you may wish to consider such aspects as:
 the setting established for the narrative
 the way in which themes are introduced
 the initial impression created of the characters
 the way in which the chapter is structured
 the apparent simplicity of the style.
You should feel free to support your response by referring to any points you may
already have touched on in your answers to questions 1, 2 and 3 above.
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(e) Suggested Assessment Guide (Int 2)
The following assessment guide is designed to illustrate how student responses could
be “marked” if, say, 10 marks were allocated to each of the four questions.
1.
Students should identify and develop two of the following areas and give
textual reference from the rest of the chapter:
 that these three paragraphs set the scene, to some extent, in time and place
 that Mrs. Scott is the main character
 that she is receiving a visit from a stranger – and that this visit sets the
narrative in motion
 that Mrs. Scott is old and frail – and that she is on her own
 that much of her present life is spent thinking about her past.
2.
Students should identify and develop one of the following areas and make
reference to the rest of the chapter:
 that the dialogue carries much of the narrative of the present
 that the past is narrated through Mrs. Scott’s inner monologue/narrative.
Some students will, perhaps, appreciate that the dialogue is used not only to
tell us about what is happening here and now but also to act as a ‘trigger’ for
Mrs. Scott’s own story – and what this reveals about her character.
3.
In response to (i), students should identify:
 the contrast between Patrick Sellar’s rudeness and Mrs. Scott’s
politeness in this piece of dialogue, and in the dialogue in the rest of the
chapter;
In response to (ii), students should identify two of the following for each
character:
 that Mrs. Scott believes in God and in the minister’s position and power
 that she has a sense of the presence of those she loved
 that she believes more in the past than in the present
 that Patrick Sellar is a middle-man and shows resentment
 that he probably has ambitions, shown in his praise of London
 that he uses what power he has in a bullying way – shown particularly
when he laughs mockingly
In response to (iii), students should identify two of the following:
 Patrick Sellar’s mocking laughter (mentioned above)
 the association between the whip and Patrick Sellar’s bullying nature; the
aspirations and the white horse and the reference to London
 Mrs. Scott’s simplicity and confusion shown in her direct responses
(‘She didn’t particularly like the look of him.’) and in her childlike
memories (‘Once the Duchess...’), and in her wishing that Patrick Sellar
spoke Gaelic.
4.
Students should be able to:
 expand on points already made (with further examples drawn from other
parts of the chapter)
 demonstrate their personal responses and involvement, with some attempt
to indicate how this has been brought about.
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3.
The Crucible by Arthur Miller
The selection of this text is intended to demonstrate that exactly the same
approach as was taken with the prose text Consider the Lilies can also be taken
with a drama text such as The Crucible.
For illustrative purposes, the exemplification is focused on a fairly short scene
from the concluding part of Act Three (from “I have made a bell of my
honour” to “She only thought to save my name”).
The exemplification which follows offers:
a) Suggested Questions (H)
b) Suggested Assessment Guide (H)
c) Illustrative Student Responses with Commentaries (H).
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(a) Suggested Questions (H)
You should support all your answers to the questions by close reference to the
text.
Section A: Understanding
1. “I have made a bell of my honour!”
How important is this statement to your understanding of the thematic opposition
of speaking lies and speaking truth presented in Act Three?
Section B: Analysis
2. “In her life, Sir, she never lied.”
What dramatic effects are created by the cross-examination of Elizabeth Proctor at
this stage of the proceedings?
In answering this question, you should take into account the structuring
and sequencing of events in Act Three.
3. Think carefully about the dramatic and linguistic techniques used by Arthur Miller
in this extract from the point at which Elizabeth enters.
In your opinion, how effectively do they convey Elizabeth Proctor’s moral
predicament in this scene?
Section C: Evaluation
4. “Elizabeth, I have confessed it!”
What impact do these words have on you?
You may wish to support your answer to this question by drawing attention to one,
or more than one, of the following:
 what they reveal of the personal anguish of John Proctor
 what they suggest of the tension between the individual and society
 what stage they mark in the relationship between Elizabeth Proctor and
John Proctor.
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(b) Suggested Assessment Guide
The following assessment guide is designed to illustrate how student responses could
be “marked” if, say, 10 marks were allocated to each of the four questions.
1.
Students should provide textual support, as they refer to and develop two of
the following:
 the thematic opposition (the tension and confrontation) of speaking lies
and speaking truth of which there are examples throughout the play and
in this Act
 the fact that Proctor’s own integrity and honour are in question
 the contrast between Proctor’s unease (hidden guilt) and Elizabeth’s
single-mindedness of purpose (as the audience has so far perceived it)
 the ambivalent and corrupt nature of the justice process
 Abigail’s power to manipulate and to control.
2.
Students should make reference to two of the following:
 that Act Three sets up a structure of questioning and cross-examination (of
Mary Warren, of Abigail and of Proctor)
 that this structure builds up suspense and tension in the confrontation
between the competing forces of truth, lies and justice
 that this is a tension which is without resolution
 that the momentum thus established creates expectation and anticipation
in the audience, brought to a head in the summoning of Elizabeth Proctor
to resolve the impasse.
 the expectation that Elizabeth’s testimony will vindicate Proctor’s
confession and establish his word as truth
 the dramatic twist and unexpected climax - because she lies.
3.
Students should identify and develop two of the following with relevant
textual references:
 stage directions to point up the physical aspects of Elizabeth’s inner moral
difficulties. (Elizabeth constantly trying to glance at Proctor, hesitating,
“faintly” and so on)
 the established power of Danforth and the justice system in relation to
Elizabeth’s vulnerable position as the accused, as shown in Danforth’s
demand for eye contact from her
 the linguistic technique of command-followed-by question(s) and the
repetition (“Look at me only...”, “...look in my eyes only...”, “Woman,
look at me!”, “Look at me!”) that characterises Danforth’s interrogation of
Elizabeth
 the dramatic and linguistic techniques which point up Elizabeth’s
prevarication, shown in the use made of pause, body language (she
glances at Proctor; turns to Abigail), incomplete utterances (“She were-”,
“Your Honour, I -”) and the use of repetition (“sick”) and echo (“good
man”, “goodly man”).
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4.
Depending on the sections chosen, it is hoped that students would respond to
and develop:
 the frustration, pride and humility of Proctor’s cry, and consider the
implications it presages of his fate
 the power of society as portrayed both by the justice system and by other
collective forms of grouping, notably the girls – as against the
powerlessness of the individual
 the relationship between Proctor and Elizabeth to this point (e.g. the
contrast of coldness and passion; of self-discipline and self-indulgence)
and the change in the relationship, in the emergence of genuine love for
each other.
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(c) Illustrative Student Responses with Commentaries (H)
Student Script A
Question 1
This statement sums up the theme of this scene and most of the whole play as well. It
is saying that Proctor has broken his honour by telling the truth; in the long run this
could work out and Abigail could be found out if Elizabeth told the truth. But if she
did it would be calling her husband a lecher. This statement makes me understand
that this scene is very complicated and I understand how important the lies and truth
are. The complications are that honour is so important and if they lied they were
destroying their honour. But Proctor told the truth and lost his honour to everyone
else but inside he had replaced it as he had now confessed. It is very hard to explain
but it is important to understand as it affects the whole play.
Question 2
The cross-examination of Elizabeth makes the reader hopeful. As he hopes Elizabeth
will tell the truth but he knows that inevitably she will lie to save Proctor when in fact
it would be doing the opposite. The cross-examination also creates suspense as now
we are waiting for her to come and sort this out and the longer we have to wait the
more the suspense builds. “My wife cannot lie. I have paid much to learn it, Sir.”
This reflects on the past and goes somewhat into the pain and guilt Proctor feels.
Which is another side to think about.
Question 3
When Elizabeth enters the scene everything focuses on her. All the stage directions
convey Elizabeth’s feelings i.e. “Slight pause.” “Not knowing what to say. Sensing a
situation.” They all are detailed which is unusual and they all emphasise that
Elizabeth is in a predicament When she speaks she stalls for time and she cuts off a
lot of her sentences i.e. “Your Honour, I...” “And this girl...” “He...” This shows
she doesn’t want to say much in case she puts her foot in it. Her moral predicament is
effectively portrayed by these techniques.
Question 4
These words have a huge impact on me as I now know that Elizabeth knows he had
confessed and so she lied for nothing and lost her honour when it was already said.
These words I think show how much they love each other as he confessed for her and
she lied for him, and so now they are both full of anguish for themselves and each
other. But these words particularly show Proctor’s anguish as they are like an
exclamation of what he is feeling inside and the disappointment he feels. They
confirm what we have been suspecting that the scene will turn out like, and I feel
anguish inside from reading them.
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Student Script A: Commentary
Question 1
The response is rather confused but there is adequate evidence of understanding of key
elements and central concerns of the text. More work is needed on how such
understanding is demonstrated, and in supplying the appropriate supporting detail.
Mark 5
Question 2
Although the student responds to the first part of the question (the dramatic effects),
there is no account taken of structuring and sequencing and, in this respect, the
response fails adequately to explain in detail ways in which aspects of structure
contribute to meaning and effect.
Mark 3
Question 3
There is clear evidence that two features of technique have been identified: stage
directions and linguistic technique. There is some rudimentary attempt to link such
features to Elizabeth’s moral predicament – i.e. to explain the contribution of
structure, style and language to meaning and to the dramatic effect created.
Mark 5
Question 4
Genuine personal engagement with the text is revealed in this response. Although
connections are not well made and substantiation by relevant evidence from the text is
implied rather than real, the personal engagement is apparent. The student draws
attention to the strength of the love Proctor and Elizabeth feel for each other and to
their personal and shared anguish at their loss of honour.
Mark 5
Total 18/40
Overall Comment
While the responses are adequate in many respects and show understanding of the
central concerns of the text, there is some weakness of analysis in the response to Q2.
A fairly solid piece of work with potential, but requiring much more sharpness of
critical reading and response.
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Student Script B
Question 1
Lies and truth are all over the place now. No-one knows what will come of the lies or
the truth, what is the right thing to do now. Everyone’s moral beliefs are distorted
beyond recognition. For the sake of the trial Proctor has given away his honourable
name and on the basis of Elizabeth’s reputation he went her way and told the truth.
Now the fact that Elizabeth never lies is a lie and becomes confusing to Proctor. The
truth now seems to be on the side of the lies. The initial aim is put in the background
and the thing on trial is Proctor’s honesty.
Question 2
After Proctor has sworn that Elizabeth cannot lie she is tested on her ability to
answer quickly, after all if she is unable to lie then her answers would require no
contemplation or thought. Therefore taking into consideration Elizabeth’s hesitation
the audience now does not know her answer and are no longer reassured by her
truthful reputation. The suspense is now there and the emotion filled atmosphere
lingers in the courtroom. There is now no distinction between truth and lies coming
from Proctor, Abigail and Elizabeth, and the actual truth makes no odds.
Question 3
When Elizabeth enters her immediate reaction was to glance at Proctor for guidance
or reassurance. Her morals were laid aside for a while to protect her husband and
saving him was her prime interest. She was under a great deal of pressure from
Danforth and she was weak with fright and it showed in the nature of her words. As
far as she knew a lie was the only way of preventing her husband’s death and a truth
would be morally correct, yet have ghastly consequences. She acted on impulse when
questions were fired at her by Danforth and required quick certain answers. She tried
to grab any second of time to think and have time to contemplate the consequences of
either answer – “wetting her lips to stall for time” “She dissatisfied me.” A neutral
answer which allowed for further questions and more thinking time. Miller conveys
her dilemma well with the pauses and details of Elizabeth’s physical and mental
states during the questioning.
Question 4
Great frustration comes to you at this stage. Proctor is very angry that the courts
cannot see what Elizabeth has done for him, although the audience sees the
predicament exactly. The court system is so wrong and the audience can do nothing
to help them. Proctor has now lost his name to compensate Elizabeth’s honesty, and
she has lost her reputation of truth to protect his name. Both their sacrifices have
brought them closer. Just when things go badly wrong, their love grows stronger.
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Student Script B: Commentary
Question 1
The response manages to cut through some of the complexities of truth and lies to
establish that what is now on trial is Proctor’s honesty, thereby demonstrating
evidence of understanding of key elements and central concerns of the text. There is
adequate reference to significant details of the text.
Mark 5
Question 2
The response identifies three of the structural features indicated in the marking
guidelines: the competing forces of truth and lies; audience anticipation; the build-up
of suspense.. Explanation is adequately developed rather than with detail.
Mark 5
Question 3
There is clear evidence that two features of technique have been identified and
developed in demonstrating and establishing the power of Danforth and the
vulnerability of Elizabeth. There is a competent attempt to link such features to
Elizabeth’s moral predicament – that is, to show the contribution of technique on the
impact of the scene and the effect it creates.
Mark 7
Question 4
The response reveals some personal engagement with the text. The student’s
engagement is justified by referring to, and drawing attention to, the justice system
and the strength of the love Proctor and Elizabeth feel for one another now that it is
too late.
Mark 5
Total 22/40
Overall Comment
These responses demonstrate understanding of the central concerns of the text and
reveal some insight in the analysis. All the performance criteria have been adequately
met. Further work on some aspects of detailed reference and relevant evidence from
the text would lead to more impressive achievement and give more confidence in
textual analysis.
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Student Script C
Question 1
‘I have made a bell of my honour! I have sung the doom of my good name – ’
This quote shows the reader Proctor’s intentions. He is fed up lying to people, his
wife and the court, in an attempt to protect his name and integrity in the court.
Proctor feels it is time for change in his life, as if he has no respect for himself now,
and he wants some back.
He has ‘made a bell’ of it by making it clear so that everyone can hear that he is
truthful and honourable now. This should go some way to convincing the court (as he
is so forceful with it) that he and his wife are telling the truth, but unfortunately it
doesn’t.
The word ‘doom’ shows that Proctor’s honour cannot be saved, and the whole court
investigation will never honour the real human truth.
Question 2
‘In her life, Sir, she never lied.’
This cross-examination of Elizabeth adds to the dramatic effect of the scene as
Proctor has told the court she is ‘an honest woman’ and that ‘my wife cannot lie’.
This leads to an exciting scene as the court feels that if they prove Elizabeth not to be
the ‘saint’ as Proctor had built her up to be, then the case will seem clearer to them
as it will discount Proctor’s claim against Abigail.
‘Now we shall touch the bottom of this swamp’
The effect of the cross-examination creates a dramatic effect as it brings in great
reader involvement, as the reader hopes and wills Elizabeth to tell the truth, so true
justice is done. The drama of it all is intensified by the structure of the play as
Elizabeth stalls for time prolonging the answer for as long as possible. The character
that is built up at the beginning of the passage lets us know how honest a character
Elizabeth is, so the following sequence of events in the courtroom act as a dramatic
twist as it is not what we expected to happen.
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Question 3
In this extract the stage directions as Elizabeth enters show how she is alone and
frightened, looking for comfort from Proctor.
‘She stands alone, her eyes looking for Proctor.’
Throughout this scene she frequently glances at Proctor, looking for an indication of
what she should tell the court. This shows the moral dilemma she has, as she does not
want to blacken the name of her husband by telling of his affair, not knowing that he
has already confessed.
‘Then Elizabeth tries to glance at Proctor”
Her situation is not helped by the way Miller makes the judge speak to her, which is
very stern and adamant, only causing to heighten her fear and anxiety.
‘Come here, woman. Woman, look at me!’
Her moral predicament that she is placed in is shown by the way she frequently stalls
and pauses trying to ‘stall for time’.
‘(Not knowing what to say, sensing a situation, wetting her lips to stall for
time): She – dissatisfied me. (Pause)’
Elizabeth then tries to bring her husband into the ‘battle’, by telling the court that
Abigail was dismissed as her husband did not like the job she had done. Proctor had
been told to keep his back turned, but by Elizabeth saying this she is trying to get
Proctor involved so he can give her an indication of what to tell the court to get out of
the agonising situation.
Stage directions again effectively show the pain that this moral dilemma has put her
in, through her actions as she is ‘in agony’ before it gets on top of her, she loses heart
and begins to speak ‘faintly’.
All these forementioned techniques effectively show this troublesome moral
predicament she has been placed in by the court.
Question 4
‘Elizabeth , I have confessed it!’
To hear Proctor’s crying out this statement disappoints the reader as it confirms to us
the Proctors’ only hope of disproving Abigail’s claims of attempted murder. Proctor
had remained strong and defiant in saving his wife’s name throughout the courtroom
scene, but the way in which the stage directions describe him as ‘crying out’ show the
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despair in his voice, and disintegrating hope in him as if he is already resigned to
‘defeat’ in the courtroom. It also shows the frustration and anguish he is feeling at
the way the court has conducted itself and come to its decision. He has gone along
with it extremely reluctantly keeping his back turned and saying nothing even when
Elizabeth was toiling, but when it doesn’t work out in the end he flashes around and
pleads with Elizabeth.
‘tell the truth’
This shows the strength in the relationship between Elizabeth and John Proctor, the
fact that she will go against all her morality as well as increase the risk of herself
being jailed or hanged to protect the reputation of her husband.
‘She only thought to save my name’
As we know though it has been of no help and worsens matters, as they are both
jailed, kept apart for months until Proctor is eventually hanged.
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Student Script C: Commentary
Question 1
The response demonstrates good understanding of key elements and central concerns
of the text – Proctor’s unease and his desire to defend his integrity are clearly defined,
and there is some detailed explanation.
Mark 6.5
Question 2
The response identifies structural features indicated in the marking guide and shows
insight into audience anticipation and dramatic effect, including awareness of
dramatic twist. The response meets the criterion more than adequately.
Mark 6
Question 3
The response reveals insight into the use of literary and linguistic technique – notably
stage direction and the use of language. The student develops the response well, with
clear textual reference, and makes a coherent link between technique and Elizabeth’s
moral predicament.
Mark 8.5
Question 4
Again, there is sound textual reference. The response reveals genuine personal
engagement with the text and insight into Proctor’s predicament. A cogent argument
is developed which substantiates and justifies the nature of the personal response.
Mark 7
Total 28/40
Overall Comment
Overall, this response demonstrates perceptive understanding of the central concerns
of the text. All the performance criteria have been well met and there are clear
indications of excellence throughout – perhaps particularly in the analysis and
evaluation. As evidence of critical reading and response, this shows considerable
promise.
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4. Sparrow by Norman MacCaig
The choice of this particular poem is designed to strike a level of textual complexity
in poetry which appears more appropriate to Intermediate 2 than to Higher. The
likelihood is that this poem might be studied as one of a group of poems by MacCaig
or by a selection of Scottish or other poets including MacCaig or as part of a thematic
grouping of poems.
The exemplification which follows is limited to:
a) Suggested Questions (Int 2)
b) Suggested Assessment Guide (Int 2).
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(a) Suggested Questions (Int 2)
You should support all your answers to the questions by close reference to the
text.
Section A: Understanding
1
“no artist”
“not for him”
“No scholar”
“But...”
What is it about the distinctive nature of the sparrow that the poet appears to
find fascinating – instructive, even?
In answering this question, you should draw evidence from all four stanzas.
Section B: Analysis
2.
Now look at some of the ways in which the poem is structured.
Answer one of the following questions:
(i) What effects are created by the poet’s use of repetition and contrast?
(ii) What effects are created by the varied length, structure and punctuation of
some of the sentences?
3.
How would you describe the tone of this poem?
 Celebratory?
 Humorous?
 Ironic?
 A combination of these?
 In some other way?
Give reasons for your answer.
Section C: Evaluation
4.
Write out a brief talk you would give if you had to introduce this poem to a
group of students of your own age who were about to read it for the first time.
While you should feel free to refer to points you may already have made in
answer to questions 1,2 and 3 above, you should try to make your talk
interesting and persuasive, bringing out why you consider Sparrow to be a
poem well worth studying in detail.
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(b) Suggested Assessment Guide
The following assessment guide is designed to illustrate how student responses could
be “marked” if, say, 10 marks were allocated to each of the four questions.
1.
The quotations set at the head of the question, the wording of the question
itself and the supplementary instruction to draw evidence from all four stanzas
should offer students a very clear indication of what is required in their
answers. There is much that may be adduced:
 the sparrow is rather ordinary, unattractive, “dowdy”, certainly not “pretty”
 it is self-important, opinionated like the blackbird (stanza 1)
 it is content with its “street-fighter” image as opposed to the more
“romantic” image of other “solitary” birds (stanza 2)
 it is unpretentious in the knowledge it has of the elementary, but useful
skills of survival (stanza 3)
 it appears to relish “having the last laugh” when, in winter, these skills keep it
“happily flying” while other birds of more “glamorous” reputation are perishing
(stanza 4).
Responses which demonstrate adequate understanding of the distinctive
nature of the sparrow must provide evidence drawn from all four stanzas.
The quality, range and depth of the comments made should indicate whether
or not the understanding shown is rather more than adequate. Such responses
will at least address the issue of the “fascinating – instructive, even” in the
question. Those responses giving indication of excellence will demonstrate
sound understanding not only of the distinctive nature of the sparrow, but also
of its relevance/significance (a symbol of the value of practical knowledge, the
really important value in life?). Within the constraints of the terms of the
question, be prepared to accept and reward the merit of responses that take a
more usual line, provided always that they give evidence of understanding of
the poem’s main concerns.
2.
Students have a choice within the question. The suggested responses to each
are given below.
i) Repetition and contrast have to be identified (the repeated negatives, the
repetition and alliteration in stanza 2, the contrasts established between the
sparrow and the other birds, recognition of the pivotal function of the dash
and semi-colon in signposting contrast?). One example of each, together
with elementary, but sensible comment on the particular effects created
(rhythm, balance, clarity of definition, cumulative build-up, exaggeration,
humour?), should be sufficient evidence of an adequate response.
Thereafter, the quality, range and depth of the comments made in the
response should determine the marks awarded. Be careful not to assess
responses too mechanically. Make an holistic assessment taking into
account the wording of the question and what students are expected to
demonstrate.
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ii) Students should have little difficulty recognising variation in the length and
structure of sentences (short sentences, long sentences, balanced sentences,
non-sentences, simple sentences, complex sentences, sentences unusually
begun, building up to a climax, containing parenthesis?). More demanding
will be the requirement to “account for” such variation (abruptness,
directness, simplicity – to correspond with the sparrow, a “brokenness”
aided by the dash, the semi-colon – to sharpen the antithesis; a sense of
long, slow languidness – in keeping with the “lifestyle” of the other birds?).
Elementary, but sensible comment on the impact/effect created by at least
two sentences of different length and structure should be accepted as an
adequate response. Thereafter, quality, range and depth of comment
should again be the determining factor in deciding whether or not a
response gives indication of excellence and merits greater reward.
3.
There is much for students to work with in terms of word choice
(denotation, connotation, register) and use of language (literally – “freeze to
branches”, and figuratively – in personification and metaphor). Elementary,
but sensible comment on tone based on one apt example of word choice
and one apt example of the use of imagery should be accepted as an
adequate response. Significantly better, more wide-ranging, more
perceptive responses indicating excellence should receive greater reward.
Be careful not to over-rate responses that fail to demonstrate (even by
implication) some awareness of the linguistic and literary techniques
specified in the question and how these contribute to the impact/meaning/
effect of the text.
4.
In assessing the responses of students to this question, do not expect a
“mini-essay”. It carries no more weight and should require no more
substance nor length than each of the questions in the other two sections.
Keep in mind that this is a question on evaluation. Students are asked to
provide only a brief talk – which should be interesting, persuasive and –
most important of all – demonstrate their personal engagement with the
poem. The requirements are for engagement with the text supported by
reference to the text, and adequate responses must give clear, if brief
evidence that both of these requirements have been met. A holistic
approach which recognises the wording of the question is appropriate to the
assessment of this section.
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