DOCSLIB.ORG

Poetry Anthology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Poetry Anthology Poetry Anthology For more information about Edexcel or BTEC qualifications from Pearson, visit www.edexcel.com or www.btec.co.uk Edexcel is a registered trademark of Pearson Education Limited Pearson Education Limited. Registered in England and Wales No. 872828 Registered Ofce: Edinburgh Gate, Harlow, Essex CM20 2JE The Pearson Edexcel GCSE (9-1) English Literature VAT Reg No GB 278 537121 Poetry Anthology should be used to prepare for Component 2 of your assessment Collection B A Poison Tree (1794) 24 Catrin (1978) 34 William Blake Gillian Clarke The Destruction of Sennacherib (1815) 25 War Photographer (1987) 35 Lord Byron Carole Satyamurti Extract from The Prelude (1850) 26 Belfast Confetti (1990) 36 William Wordsworth Ciaran Carson The Man He Killed (1902) 27 The Class Game (1981) 37 Thomas Hardy Mary Casey Cousin Kate (1860) 28 Poppies (2005) 38 Christina Rossetti Jane Weir Half-caste (1996) 29 No Problem (1996) 39 John Agard Benjamin Zephaniah Exposure (1917) 30 What Were They Like? (1967) 40 Wilfred Owen Denise Levertov The Charge of the Light Brigade (1854) 32 Alfred, Lord Tennyson 23 A Poison Tree I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe: I told it not, my wrath did grow. 5 And I water’d it in fears, Night and morning with my tears; And I sunned it with smiles, And with soft deceitful wiles. And it grew both day and night, 10 Till it bore an apple bright; And my foe beheld it shine, And he knew that it was mine, And into my garden stole When the night had veil’d the pole: 15 In the morning glad I see My foe outstretch’d beneath the tree. William Blake 24 Collection B The Destruction of Sennacherib The Assyrian came down like the wolf on the fold, And his cohorts were gleaming in purple and gold; And the sheen of their spears was like stars on the sea, When the blue wave rolls nightly on deep Galilee. 5 Like the leaves of the forest when Summer is green, That host with their banners at sunset were seen: Like the leaves of the forest when Autumn hath blown, That host on the morrow lay wither’d and strown. For the Angel of Death spread his wings on the blast, 10 And breathed in the face of the foe as he pass’d; And the eyes of the sleepers wax’d deadly and chill, And their hearts but once heaved, and for ever grew still! And there lay the steed with his nostril all wide, But through it there roll’d not the breath of his pride: 15 And the foam of his gasping lay white on the turf, And cold as the spray of the rock-beating surf. And there lay the rider distorted and pale, With the dew on his brow and the rust on his mail; And the tents were all silent, the banners alone, 20 The lances unlifted, the trumpet unblown. And the widows of Ashur are loud in their wail, And the idols are broke in the temple of Baal; And the might of the Gentile, unsmote by the sword, Hath melted like snow in the glance of the Lord! Lord Byron 25 Extract from The Prelude One summer evening (led by her) I found As if with voluntary power instinct, A little boat tied to a willow tree Upreared its head. I struck and struck again, Within a rocky cove, its usual home. 25 And growing still in stature the grim shape Straight I unloosed her chain, and stepping in Towered up between me and the stars, and still, 5 Pushed from the shore. It was an act of stealth For so it seemed, with purpose of its own And troubled pleasure, nor without the voice And measured motion like a living thing, Of mountain-echoes did my boat move on; Strode after me. With trembling oars I turned, Leaving behind her still, on either side, 30 And through the silent water stole my way Small circles glittering idly in the moon, Back to the covert of the willow tree; 10 Until they melted all into one track There in her mooring-place I left my bark, – Of sparkling light. But now, like one who rows, And through the meadows homeward went, in grave Proud of his skill, to reach a chosen point And serious mood; but after I had seen With an unswerving line, I f xed my view 35 That spectacle, for many days, my brain Upon the summit of a craggy ridge, Worked with a dim and undetermined sense 15 The horizon’s utmost boundary; far above Of unknown modes of being; o’er my thoughts Was nothing but the stars and the grey sky. There hung a darkness, call it solitude She was an elf n pinnace; lustily Or blank desertion. No familiar shapes I dipped my oars into the silent lake, 40 Remained, no pleasant images of trees, And, as I rose upon the stroke, my boat Of sea or sky, no colours of green f elds; 20 Went heaving through the water like a swan; But huge and mighty forms, that do not live When, from behind that craggy steep till then Like living men, moved slowly through the mind The horizon’s bound, a huge peak, black and huge, By day, and were a trouble to my dreams. William Wordsworth 26 Collection B The Man He Killed ‘Had he and I but met By some old ancient inn, We should have sat us down to wet Right many a nipperkin! 5 ‘But ranged as infantry, And staring face to face, I shot at him as he at me, And killed him in his place. ‘I shot him dead because – 10 Because he was my foe, Just so: my foe of course he was; That’s clear enough; although ‘He thought he’d ’list, perhaps, Off-hand like – just as I – 15 Was out of work – had sold his traps – No other reason why. ‘Yes; quaint and curious war is! You shoot a fellow down You’d treat if met where any bar is, 20 Or help to half-a-crown.’ Thomas Hardy 27 Cousin Kate I was a cottage-maiden 25 Because you were so good and pure Hardened by sun and air, He bound you with his ring: Contented with my cottage-mates, The neighbours call you good and pure, Not mindful I was fair. Call me an outcast thing. 5 Why did a great lord f nd me out Even so I sit and howl in dust And praise my f axen hair? 30 You sit in gold and sing: Why did a great lord f nd me out Now which of us has tenderer heart? To f ll my heart with care? You had the stronger wing. He lured me to his palace-home – O Cousin Kate, my love was true, 10 Woe’s me for joy thereof – Your love was writ in sand: To lead a shameless shameful life, 35 If he had fooled not me but you, His plaything and his love. If you stood where I stand, He wore me like a golden knot, He had not won me with his love He changed me like a glove: Nor bought me with his land: 15 So now I moan an unclean thing I would have spit into his face Who might have been a dove. 40 And not have taken his hand. O Lady Kate, my Cousin Kate, Yet I’ve a gift you have not got You grow more fair than I: And seem not like to get: He saw you at your father’s gate, For all your clothes and wedding-ring 20 Chose you and cast me by. I’ve little doubt you fret. He watched your steps along the lane, 45 My fair-haired son, my shame, my pride, Your sport among the rye: Cling closer, closer yet: He lifted you from mean estate Your sire would give broad lands for one To sit with him on high. To wear his coronet. Christina Rossetti 28 Collection B Half-caste Excuse me Explain yuself standing on one leg wha yu mean I’m half-caste Ah listening to yu wid de keen half of mih ear Explain yuself 35 Ah lookin at yu wid de keen 5 wha yu mean half of mih eye when you say half-caste and when I’m introduced to yu yu mean when picasso I’m sure you’ll understand mix red an green why I offer yu half-a-hand is a half-caste canvas/ 40 an when I sleep at night 10 explain yuself I close half-a-eye wha yu mean consequently when I dream when yu say half-caste I dream half-a-dream yu mean when light an shadow an when moon begin to glow mix in de sky 45 I half-caste human being 15 is a half-caste weather/ cast half-a-shadow well in dat case but yu must come back tomorrow england weather wid de whole of yu eye nearly always half-caste an de whole of yu ear in fact some o dem cloud 50 an de whole of yu mind 20 half-caste till dem overcast so spiteful dem dont want de sun pass an I will tell yu ah rass/ de other half explain yuself of my story wha yu mean John Agard 25 when you say half-caste yu mean tchaikovsky sit down at dah piano an mix a black key wid a white key 30 is a half-caste symphony/ 29 Exposure Our brains ache, in the merciless iced east winds that knive us… Wearied we keep awake because the night is silent… Low, drooping f ares confuse our memories of the salient… Worried by silence, sentries whisper, curious, nervous, 5 But nothing happens.
Load more

Recommended publications
  • Edexcel GCSE English Literature
    GCSE ENGLISH LIT POETRY CLASHES AND COLLISIONS The Exam Structure You will answer two questions on poetry. The exam will last one hour and forty-five minutes and is worth 25% of your total GCSE. The exam is divided into two sections: Section A: Unseen Poetry Section B: Anthology Poems • You will answer 1 question in 2 parts. • You will be presented with a • Each part is worth 15 MARKS poem you have not studied. • This section is worth 30 MARKS • You read through the poem and answer the questions set. • In part (a) you will be asked a question about a named poem from the anthology This section is worth 20 MARKS collection you have studied. • In part (b) you will answer one question from a choice of two in which you will be expected to link/compare two poems. GCSE POETRY: Section B CLASHES AND COLLISIONS Foundation Tier Mark Scheme Section B: Anthology Poems: Part (a) questions Band Mark AO2: Explain how language, structure and form contribute to writer’s presentation of ideas, themes and settings • Little explanation of how the writer conveys his thoughts & feelings. 1 1-3 • Little relevant connection made between the presentation of thoughts & feelings and the language used. • Little relevant textual reference to support response. • Limited explanation of how the writer conveys his thoughts & feelings to create effect. • Limited relevant connection made between the presentation of thoughts & feelings and 2 4-6 the language used. • Limited relevant textual reference to support response. • Some explanation of how the writer conveys his thoughts & feelings to create effect.
    [Show full text]
  • GCSE English Literature Poetry Anthology
    IN THE THIRD-CLASS SEAT SAT THE JOURNEYING BOY, AND THE ROOF-LAMP’S OILY FLAME PLAYED DOWN ON HIS LISTLESS FORM AND FACE, BEWRAPT PAST KNOWING TO WHAT HE WAS GOING, INOR THE WHENCEBAND OF HIS HAT THE HE JOURNEYING CAME. BOY HAD A TICKET STUCK; AND A STRING AROUND HIS NECK BORE THE KEY OF HIS BOX, THAT TWINKLED GLEAMS OF THE LAMP’S SAD BEAMS WHATLIKE PAST A CAN LIVING BE YOURS, O JOURNEYING THING. BOY TOWARDS A WORLD UNKNOWN,UNKNOWN, WHO CALMLY, AS IF INCURIOUS QUITE ON ALL AT STAKE, CAN UNDERTAKE KNOWSTHIS YOUR PLUNGE SOUL A SPHERE, 0ALONE? JOURNEYING BOY, OUR RUDE REALMS FAR ABOVE, WHENCE WITH SPACIOUS VISION YOU MARK AND METE THIS REGION OF SIN THAT YOU FIND YOU IN, BUTUPDATED EDITION: ARE SEPTEMBER 2020 NOT OF? 1 OCR (Oxford, Cambridge and RSA Examinations) The Triangle Building, Shaftesbury Road, Cambridge, CB2 8EA © Oxford, Cambridge and RSA Examinations 2020 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organisation. This book must not be circulated in any other binding or cover and this same condition must be imposed on any acquirer. ISBN 978 019 834090 4 Designed and produced by Oxford University Press Printed by Rotolito SpA 10 9 8 7 6 5 4 3 ACKNOWLEDGEMENTS We are grateful for permission to reprint the following copyright material in this anthology.
    [Show full text]
  • English Literature - Poetry Anthology
    CCEA GCSE English Literature - Poetry Anthology Poetry Anthology GCSE ENGLISH LITERATURE For use with the Specification for first teaching from Autumn 2017 and first examination in Summer 2018 Issued: August 2017 Poetry Anthology For use with the Specification for first teaching from Autumn 2017 and first examination in Summer 2018 Issued: August 2017 English 1 Literature CCEA GCSE English Literature - Poetry Anthology 2 CCEA GCSE English Literature - Poetry Anthology Contents Page Anthology One: IDENTITY 5 Anthology Two: RELATIONSHIPS 23 Anthology Three: CONFLICT 37 3 CCEA GCSE English Literature - Poetry Anthology 4 CCEA GCSE English Literature - Poetry Anthology Anthology One: IDENTITY 5 CCEA GCSE English Literature - Poetry Anthology SONNET 29 When, in disgrace with fortune and men’s eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possessed, Desiring this man’s art and that man’s scope, With what I most enjoy contented least: Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven’s gate; For thy sweet love remembered such wealth brings That then I scorn to change my state with kings. William Shakespeare 6 CCEA GCSE English Literature - Poetry Anthology DOVER BEACH The sea is calm to-night, The tide is full, the moon lies fair Upon the Straits;―on the French coast, the light Gleams, and is gone; the cliffs of England stand, Glimmering and vast, out in the tranquil bay.
    [Show full text]
  • Poetry from Different Cultures Year 9, Spring Term
    English Literature- Poetry from Different Cultures Year 9, Spring Term. Key poems: Language Devices: Key Themes: ‘Not My Business’ by Niyi Osundare Sensory language is language that connects to the five Ignorance, choices, community, exploitation, discrimination, The narrator watches each night as people are mistreated senses (sight, sound, smell, taste, touch) to create an image prejudice, identity, heritage, responsibility but decides to do nothing to interfere as long as he is safe. or description (including onomatopoeia a word that sounds Contextual Information: similar to its sound “Imagine the drip of it, the small Apartheid – a political and social system in South Africa while ‘Nothing’s Changed’ by Tatamkhulu Afrika splash…”) it was under white minority rule from 1948 to the early An autobiographical poem about the apartheid system in IMAGERY: 1990s. The word apartheid means "apartness" in Afrikaans. South Africa. This explores racism and the irony that nothing Personification giving an inanimate object human attributes The civil rights movement in America was a decades-long has changed. “It took a hurricane to bring her closer” movement with the goal of securing legal rights for African Metaphor referring to person or object by referring to Americans that other Americans already held. ‘Search for my Tongue’ by Sujata Bhatt something with similar characteristics “Sometimes the Key words A poem about living in a foreign country and feeling sudden rush of fortune” Identity the perception you develop about yourself disconnected from your cultural background and your first Extended Metaphor a comparison between two unlike Culture ideas, customs, social behaviour or a particular group language.
    [Show full text]
  • Edexcel Poetry Anthology – ‘Conflict’
    Name: ……………………………………………………… Teacher: ………………………………………………………. EDEXCEL POETRY ANTHOLOGY – ‘CONFLICT’ Themes - the poems can be grouped or linked by theme and subject matter. Write the poems below which link together under these headings: The act of war Feelings of emotion, inner Conflict between man and The effects of war and conflict Conflict between people conflict, culture and identity nature on people and places Which poems connect? And how? A Poison Sennacherib The Prelude The Man He Cousin Kate Catrin War Belfast The Class Poppies No Problem What Were Tree Killed Photographe Confetti Game They Like r A Poison Tree Sennacherib The Prelude The Man He Killed Cousin Kate Half-caste Exposure The Charge of… Catrin War Photographe r Belfast Confetti The Class Game Poppies No Problem What Were They Like You are advised to go through the poems and complete this table. Some contextual information has been provided for you. Find key quotations from each poem and try to memorise them – you only need one for each poem. Decide what is the most unusual, interesting, useful or striking line from each poem. Poem Context Key quotation/s Key features of language Key features of structure and form A Poison Tree Blake was an 18th-century painter and printmaker Writer: William as well as a poet. He was part of the early Romantic Blake Movement, which included poets such as Lord Written in 1794 Byron and William Wordsworth (both also featured in the ‘Conflict’ collection). Blake’s work often protested against social injustices and the negative effects of the Industrial Revolution. His two best- known collections, Songs of Innocence (1789) and Songs of Experience (1794), deal with similar subject matter but with a very different tone.
    [Show full text]
  • Name Teacher
    Anthology Poetry Revision Booklet Name Teacher A Poison Tree by William Blake Quick questions 1. What is the poet’s overall message? 2. What do you think the poem is saying about the effects of anger? 3. Why has Blake used the extended metaphor of the tree? 4. What three relevant links to context can you make? 5. Challenge: why has Blake used the ballad form? Quick comparison task 1. Write five ‘Both…’ statements for A Poison Tree and other poems from the conflict anthology that you could compare it to. e.g. Both the poems A Poison Tree and Half-caste express the strong negative emotion of anger. Sample exam questions 1. Re-read A Poison Tree. Choose one other poem from the conflict anthology. Compare how strong emotions are presented in the two poems. In your answer, you should consider the: • poet’s use of language, form and structure • influence of the contexts in which the poems were written 2. Re-read A Poison Tree. Choose one other poem from the conflict anthology. Compare how the power of humans is presented in the two poems. In your answer, you should consider the: • poet’s use of language, form and structure • influence of the contexts in which the poems were written 3. Re-read A Poison Tree. Choose one other poem from the conflict anthology. Compare how the effect of conflict is presented in the two poems. In your answer, you should consider the: • poet’s use of language, form and structure • influence of the contexts in which the poems were written The Destruction of Sennacherib by Lord Byron Quick questions 1.
    [Show full text]
  • Poetry Anthology GCSE English and GCSE English Literature
    Edexcel GCSE Poetry Anthology GCSE English and GCSE English Literature The Edexcel GCSE Poetry Anthology should be used to prepare students for assessment in: English 2EH01 - Unit 3 English Literature 2ET01 - Unit 2 Published by Pearson Education Limited, a company incorporated in England and Wales, having its registered office at Edinburgh Gate, Harlow, Essex, CM20 2JE. Registered company number: 872828 Edexcel is a registered trade mark of Edexcel Limited © Pearson Education Limited 2009 First published 2009 12 11 10 09 10 9 8 7 6 5 4 3 2 1 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978 1 84690 641 1 Copyright notice All rights reserved. No part of this publication may be reproduced in any form or by any means (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner, except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London, EC1N 8TS (www.cla.co.uk). Applications for the copyright owner’s written permission should be addressed to the publisher. Picture research by Alison Prior Illustrated by Bob Doucet Printed and bound by Ashford Colour Press Ltd., Gosport See page 72 for acknowledgements. Contents Collection A: Relationships 1 Collection B: Clashes and collisions 19 Collection C: Somewhere, anywhere 37 Collection D: Taking a stand 55 Collection A Relationships Valentine 2 Carol Ann Duffy Rubbish at Adultery 3 Sophie Hannah Sonnet 116 4 William Shakespeare Our Love Now 5 Martyn Lowery Even Tho 6 Grace Nichols Kissing 7 Fleur Adcock One Flesh 8 Elizabeth Jennings Song for Last Year’s Wife 9 Brian Patten My Last Duchess 10 Robert Browning Pity me not because the light of day 12 Edna St.
    [Show full text]
  • GCSE English Literature (9-1)
    GCSE English Literature (9-1) Mocks Marking Scripts 1 – 7 This pack accompanies the Mocks Marking pre-recorded training. Please download this pack and familiarise yourself with the scripts before starting the recording. Paper 1: Shakespeare SECTION A–Shakespeare Answer the question on ONE text from this section. You should spend about 55 minutes on this section. You should divide your time equally between parts (a) and (b) of the question. Macbeth – from Act 1 Scene 3, lines 128 to 153 In this extract, Macbeth has just been told that he is to become Thane of Cawdor. MACBETH [Aside] Two truths are told As happy prologues to the swelling act Of the imperial theme. (To ROSS and ANGUS) I thank you, gentlemen. 130 (Aside) This supernatural soliciting Cannot be ill – cannot be good. If ill, Why hath it given me earnest of success, Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion 135 Whose horrid image doth unfix my hair, And make my seated heart knock at my ribs Against the use of nature? Present fears Are less than horrible imaginings. My thought, whose murder yet is but fantastical, 140 Shakes so my single state of man, that function Is smothered in surmise, and nothing is But what is not. BANQUO (To ROSS and ANGUS) Look how our partner’s rapt. MACBETH (Aside) If chance will have me king, why, chance may crown me, Without my stir. BANQUO New honours come upon him 145 Like our strange garments – cleave not to their mould But with the aid of use.
    [Show full text]
  • Pearson Edexcel International GCSE English Literature Paper 1: Poetry and Modern Prose
    Pearson Edexcel International GCSE English Literature Paper 1: Poetry and Modern Prose Tuesday 22 May 2018 – Morning Paper Reference Question Booklet 4ET1/01 Do not return this booklet with your Answer Booklet. Turn over P54701A ©2018 Pearson Education Ltd. *P54701A* 1/1/1/1/1 BLANK PAGE 2 P54701A Answer THREE questions: Answer the question in Section A, ONE question from Section B and ONE question from Section C. The poems for use with Section B are included with this paper. Page SECTION A: Unseen Poetry 4 SECTION B: Anthology Poetry 6 SECTION C: Modern Prose To Kill a Mockingbird, Harper Lee 7 Of Mice and Men, John Steinbeck 7 The Whale Rider, Witi Ihimaera 8 The Joy Luck Club, Amy Tan 8 Things Fall Apart, Chinua Achebe 9 3 P54701A Turn over SECTION A: Unseen Poetry Answer the question in this section. You should spend 35 minutes on this question. Read the following poem. Purple Shoes Mum and me had a row yesterday, A big, exploding howdareyouspeaktomelikethatI’mofftostayatGran’s kind of row. It was about shoes. 5 I’d seen a pair of purple ones at Carter’s, heels not too high, soft suede, silver buckles; ‘No,’ she said. ‘Not suitable for school. I can’t afford to buy rubbish.’ 10 That’s when we had our row. I went to bed longing for those shoes. They made footsteps in my mind, kicking up dance dust; I wore them in my dreams across a shiny floor, 15 under flashing coloured lights. It was ruining my life not to have them.
    [Show full text]
  • Talking Book Topics March-April 2016
    Talking Book Topics March–April 2016 Volume 82, Number 2 About Talking Book Topics Talking Book Topics is published bimonthly in audio, large-print, and online formats and distributed at no cost to participants in the Library of Congress reading program for people who are blind or have a physical disability. An abridged version is distributed in braille. This periodical lists digital talking books and magazines available through a network of cooperating libraries and carries news of developments and activities in services to people who are blind, visually impaired, or cannot read standard print material because of an organic physical disability. The annotated list in this issue is limited to titles recently added to the national collection, which contains thousands of fiction and nonfiction titles, including bestsellers, classics, biographies, romance novels, mysteries, and how-to guides. Some books in Spanish are also available. To explore the wide range of books in the national collection, visit the NLS Union Catalog online at www.loc.gov/nls or contact your local cooperating library. Talking Book Topics is also available in large print from your local cooperating library and in downloadable audio files on the NLS Braille and Audio Reading Download (BARD) site at https://nlsbard.loc.gov. An abridged version is available to subscribers of Braille Book Review. Library of Congress, Washington 2016 Catalog Card Number 60-46157 ISSN 0039-9183 About BARD Most books and magazines listed in Talking Book Topics are available to eligible readers for download. To use BARD, contact your cooperating library or visit https://nlsbard.loc.gov for more information.
    [Show full text]
  • GCSE 2009 Specification
    Version 1.0: 0407 General Certificate of Secondary Education English Literature 3712 Specification A 2009 Material accompanying this Specification • Specimen Assessment Materials • A Teachers’ Guide SPECIFICATION This specification will be published annually on the AQA Website (www.aqa.org.uk). If there are any changes to the specification centres will be notified in print as well as on the Website. The version on the Website is the definitive version of the specification. Further copies of this specification booklet are available from: AQA Logistics Centre, Unit 2, Wheel Forge Way, Ashburton Park, Trafford Park, Manchester, M17 1EH. Telephone: 0870 410 1036 Fax: 0161 953 1177 or can be downloaded from the AQA Website: www.aqa.org.uk Copyright © 2007 AQA and its licensors. All rights reserved. COPYRIGHT AQA retains the copyright on all its publications. However, registered centres for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to centres to photocopy any material that is acknowledged to a third party even for internal use within the centre. Set and published by the Assessment and Qualifications Alliance. The Assessment and Qualifications Alliance (AQA) is a company limited by guarantee registered in England and Wales 3644723 and a registered charity number 1073334. Registered address AQA, Devas Street, Manchester, M15 6EX. Dr Michael Cresswell Director General. General Certificate of Secondary Education, 2009 - English Literature A
    [Show full text]
  • English Literature GCSE: Papers Compared
    GCSE English Literature Papers (from 2015 onwards) compared by NATE Page 1 English Literature GCSE: Papers Compared AQA Component 1 / Paper 1 Component 2 / Paper 2 Shakespeare and the 19th century novel Modern texts and poetry 64 marks (40% of the qualification) 96 marks (60% of the qualification) 1 hour and 45 minutes written paper 2 hours and 15 minutes written paper Closed Book Closed Book Section A: Shakespeare Section A: Modern texts One text to be chosen from: Macbeth; Romeo and Juliet; The Tempest; One text to be chosen from: An Inspector Calls (J.B. Priestley); Blood The Merchant of Venice; Much Ado About Nothing; Julius Caesar. Brothers (Willy Russell); The History Boys (Alan Bennett); DNA (Dennis - Students will answer one question on their play of choice. Kelly); The Curious Incident of the Dog in the Night-Time (playscript) There is no choice of questions for individual plays. They will be (Simon Stephens); A Taste of Honey (Shelagh Delaney); Lord of the required to write in detail about an extract from the play and Flies (William Golding); Animal Farm (George Orwell); Never Let Me then to write about the play as a whole. Go (Kazuo Ishiguro); Anita and Me (Meera Syal); Pigeon English (Stephen Kelman); The AQA Anthology (Telling Tales): ‘Chemistry’ – Section B: The 19th Century Novel Graham Swift; ‘Odour of Chrysanthemums’ – D.H. Lawrence; ‘My One text to be chosen from: The Strange Case of Dr Jekyll and Mr Polish Teacher’s Tie’ – Helen Dunmore; ‘Korea’ – John McGahern; ‘A Hyde (Robert Louis Stevenson); A Christmas Carol (Charles Dickens); Family Supper’ – Kazuo Ishiguro; ‘The Invisible Mass of the Back Row’ Great Expectations (Charles Dickens); Jane Eyre (Charlotte Bronte); – Claudette Williams; ‘The Darkness out There’ – Penelope Lively Frankenstein (Mary Shelley); Pride and Prejudice (Jane Austen); The - Students will answer one essay question from a choice of two Sign of Four (Sir Arthur Conan Doyle).
    [Show full text]