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. 3 7-9 • Some relevant connection made between the presentation of thoughts & feelings and the presentation of ideas. • Occasional relevant textual reference to support response. • Generally sound explanation of how the writer conveys his thoughts & feelings to create effect. 4 10-12 • Generally sound relevant connection made between his thoughts & feelings and the presentation of ideas. Mostly clear relevant textual reference to support response.

• Sound explanation of how the writer conveys his thoughts & feelings to create effect. 5 13-15 • Sound ,relevant connection made between his thoughts & feelings and the presentation of ideas. • Clear relevant textual reference to support response. Foundation Tier Mark Scheme Section B: Anthology Poems: Part (b) questions

Band Mark AO3: Make comparisons and explain links between texts.

• Basic (or no) comparisons/links 1 1-3 • Basic (or no) evaluation of the different ways of expressing meaning. • Selection of examples is basic.

• Limited (or no) comparisons/links 2 4-6 • Limited (or no) evaluation of the different ways of expressing meaning. • Selection of examples is limited. • Some comparisons and links • Some evaluation of the different ways of expressing meaning and achieving 3 7-9 effects. • Selection of examples is valid but undeveloped.

• Generally sound comparisons and links 4 10-12 • Some clear evaluation of the different ways of expressing meaning and achieving effects. • Selection of examples is mostly appropriate; shows some support of the points being made.

• Sound comparisons and links 5 13-15 • Some clear evaluation of the different ways of expressing meaning and achieving effects. • Selection of examples is mostly appropriate; shows some support of the points being made. Higher Tier Mark Scheme Section B: Anthology Poems Part (a) questions AO2:

Band Mark AO2: Explain how language, structure and form contribute to writer’s presentation of ideas, themes and settings

• Generally sound explanation of how the writer conveys his attitudes. 1 1-3 • Generally sound relevant connection made between the presentation of attitudes and the language used. • Mostly clear, relevant textual reference to support response.

• Sound explanation of how the writer conveys his attitudes to create effect. 2 4-6 • Sound relevant connection made between the presentation of attitudes and the presentation of ideas. • Clear, relevant textual reference to support response. • Thorough explanation of how the writer conveys his attitudes to create effect. • Sustained relevant connection made between the presentation of attitudes and the 3 7-9 presentation of ideas. • Sustained, relevant textual reference to support response.

• Assured explanation of how the writer conveys his attitudes to create effect. 4 10-12 • Relevant connection made between attitudes and the presentation of ideas. • Pertinent textual reference to support response.

• Perceptive explanation of how the writer uses attitudes to create effect. • Discriminating, relevant connection made between attitudes and the presentation of 5 13-15 ideas. • Convincing, relevant textual reference to support response. Higher Tier Mark Scheme Section B: Anthology Poems Part (b) questions

Band Mark AO3: Make comparisons and explain links between texts.

• Generally sound comparisons and links. 1 1-3 • Some clear evaluation of the different ways of expressing meaning and achieving effects. • Selection of examples is mostly appropriate; shows some support of the points being made.

• Sound comparisons and links. 2 4-6 • Some clear evaluation of the different ways of expressing meaning and achieving effects. • Selection of examples is appropriate; shows some support of the points being made.

• Specific and detailed comparisons and links. 3 7-9 • Developed evaluation of the different ways of expressing meaning and achieving effects. • Selection of examples is detailed, appropriate and supports the points being made.

• Assured comparisons and links. 4 10-12 • Pertinent evaluation of the different ways of expressing meaning and achieving effects. • Selection of examples is assured, appropriate and supports the points being made.

• Discriminating comparisons and links showing insight. 5 13-15 • Perceptive evaluation of the different ways of expressing meaning and achieving effects. • Selection of examples is discriminating, fullysupports the points being made. Lesson Objectives WHAT YOU WILL HAVE TO DO.  To familiarise with the features of the unit.  To look at the mark scheme and discover how to gain the most marks.  To make a note of the assessment objectives.

Give a SOUND explanation of how the writer uses literary techniques to create effect. Use quotations and poetry terminology to support a CLEAR response. (11-15 marks – D/C) Give a THOROUGH explanation of how the writer uses literary techniques to create effect. Use quotations and poetry terminology to support a SUSTAINED response. (16-20 marks C/B)

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

What you will have to do...

You will study the following key features of poetry:  voice  imagery  language choice  rhyme and rhythm  tone and mood  form and structure.  You will understand how the writer uses these key features to present ideas, themes and settings.

 This unit represents 25% of the total assessment weighting of the GCSE.

What you will have to do...

 You will answer one two-part question in this section on the collection of poems they have studied from the Edexcel Poetry Anthology.  The whole exam time is 1 hour 45 minutes.  There are two sections in the examination paper – students answer one question on an unseen poem in section A and one question on their poetry collection studied in section B.  Clean copies of the Anthology may be used in the examination.  In Section B, Students must answer one two-part question. You must answer on two poems from the collection of poems they have studied and may choose to answer on two named poems or one named poem and a poem of their choice.  Students will consider the meaning of the poems, how the poems have been crafted, and comparison between the two poems.  Students should support their answers with examples from both poems. You will be assessed on your ability to...

AO2: Explain how language, structure and form contribute to writers’ presentation of ideas, themes and settings - 32.5% AO3: Make comparisons and explain links between texts, evaluating writers’ different ways of expressing meaning and achieving effects - 17.5% Invasion Choman Hardi

Parade’s End Daljit Nagra Exposure – Wilfred Owen August 6, 1945 – Alison Fell

O What is that Sound W.H. Auden

Conscientious Objector The Drum Belfast Confetti –

Edna St.Vincent Millay John Scott Ciaran Carson

Hitcher Caste Simon Armitage Half Your Dad Our Did What? Sharpeville Ingrid de Kok Sophie Hannah

John Agard

Cousin Kate Christina Rossetti Click to choose your The Class Game Mary Casey Catrin – Gillian Clarke poem! Exposure – Wilfred Owen Lesson Objectives Wilfred Owen ‘Exposure’  To use the background context of the poem to develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Write down all the words you associate with WAR in a bubble map

WAR Do you think it is unusual to write poetry about war? Explain your answer... WORLD WAR ONE 1914 - 1918

• World War 1 or the First World War, 1914 – 1918, was the first war that involved nations spanning more than half the globe. • The war was fought by the Allies on one side, and the Central Powers on the other. • The assassination of Archduke Franz Ferdinand in Sarajevo was the spark that caused war to be declared. He was the heir to the Austrian throne and was murdered by Serbian nationalist Gavrilo Princip. • The World War 1 was commonly called “The Great War” or sometimes “the war to end wars” until World War II started . • More than 70 million military personnel were mobilized in World War 1. • First known use of chemical weapons (mustard Gas) was in World War 1. • There were 70,000,000 men and women in uniform of that number one- half were either killed, wounded or became prisoners of war. • More than 9 million died on the battlefield, and nearly that many more on the home fronts because of food shortages, genocide, and ground combat.

WORLD WAR ONE 1914 - 1918

• Trench Warfare. • ‘Lions led by donkeys’. • The scale of human devastation during World War One has often been blamed on incompetent leadership.

Propaganda

• Propaganda was used in World War One as in any war - and the truth suffered. Propaganda ensured that the people only got to know what their governments wanted them to know. In World War One, the lengths to which governments would go to in an effort to blacken the enemy’s name reached a new level.

• To ensure that everybody thought in the way the government wanted, all forms of information were controlled. Newspapers were expected to print what the government wanted the reader to read. In fact, though this would appear to be a form of censorship, the newspapers of Britain, effectively controlled by the media barons of the time, were happy to play ball. They printed headlines that were designed to stir up emotions regardless of whether they were accurate or not. The most infamous headlines included:

o Look at the following propaganda posters and discuss how they persuaded young men to go to war...

The reality of war was far different British newspapers published casualty figures that were acceptable to the government but less than accurate. British success in battles was emphasised as opposed to the minimal gains actually made.

This is an extract from a real letter from World War One It was written by a man called Rex Gee to his brother, Rod. Rex was an ancestor of a teaching assistant who used to work with Miss Lloyd. You are being given this extract as an example of the real conditions of the war...

Whilst you listen, look at the slides of images from WWI and try to imagine what it was like there and how you would feel if you had to fight... http://www.youtube.com/watch?v=sP7I9Z3c -jI (play whilst watching and listening)

The reality of war...

Wilfred Owen • Wilfred Owen (18 March 1893 – 4 November 1918) is best known as one of the most powerful war poets, who depicted the reality and horrors of the First World War. • He was 21 when the war broke out. • Owen's first experience of the war was in hospitals treating the wounded soldiers - often without anaesthetic. • He enlisted in the Artists' Rifles and was commissioned into the Manchester Regiment, where he underwent further training before crossing to France on 29 December. In the second week of January, one of the worst in memory, he led his platoon into the Battle of the Somme. he wrote to his mother every week and described what he had been through: "Those fifty hours were the agony of my happy life... I nearly broke down and let myself drown in the water that was now rising slowly above my knees. In the Platoon on my left, the sentries over the dug-out were blown to nothing".

Wilfred Owen • In the middle of March, Owen fell through a shell- hole into a cellar and was trapped in the dark for three days, suffering from nausea and concussion. He spent a fortnight in hospital before rejoining his battalion and becoming involved in fierce fighting. At one stage he was blown out of the trench in which he was taking cover from an artillery bombardment which had already dismembered an officer in the neighbouring trench. He escaped uninjured, but these trials by fire had taken their toll on his mind, and on May 1st, he was seen by his Commanding Officer to be behaving strangely. He was ordered to report to the Battalion Medical Officer who found him to be shaky and with a confused memory. He was eventually diagnosed as having neurasthenia (shell shock) and was invalided back to England and then to Craiglockhart War hospital near Edinburgh. • Recuperating in an Edinburgh hospital, Wilfred Owen became close friends with poet Siegfried Sassoon. Sassoon played a key role in encouraging the young war poet.

Wilfred Owen • When Owen returned to the front in 1918, he hid the fact from his friend Siegfried Sassoon, who didn't want him to return. • Wilfred Owen was killed in the last month of the war. The telegram from the war office reached his mother on Armistice Day Nov 11, 1918. • Wilfred Owen is buried between two privates in the corner of a village cemetery at Ors. His grave is marked with a simple cross and gravestone. • In his preface to his collection of war poetry, Owen writes this fitting foreword: • 'My subject is War, and the pity of War. The Poetry is in the pity.'

Exposure – Wilfred Owen Pale flakes with fingering stealth come feeling for our Our brains ache, in the merciless iced east winds that knive us... faces - Wearied we keep awake because the night is silent... We cringe in holes, back on forgotten dreams, and Low, drooping flares confuse our memory of the salient... stare, snow-dazed, Worried by silence, sentries whisper, curious, nervous, Deep into grassier ditches. So we drowse, sun-dozed, But nothing happens. Littered with blossoms trickling where the blackbird fusses, Watching, we hear the mad gusts tugging on the wire, - Is it that we are dying? Like twitching agonies of men among its brambles. Northward, incessantly, the flickering gunnery rumbles, Slowly our ghosts drag home: glimpsing th sunk fires, Far off, like a dull rumour of some other war. glozed What are we doing here? With crusted dark-red jewels; crickets jingle there; For hours the innocent mice rejoice: the house is The poignant misery of dawn begins to grow... theirs; We only know war lasts, rain soaks, and clouds sag stormy. Shutters and doors, all closed: on us the doors are Dawn massing in the east her melancholy army closed, - Attacks once more in ranks on shivering ranks of gray, We turn back to our dying. But nothing happens. Since we believe not otherwise can kind fires burn; Sudden successive flights of bullets streak the silence. Nor ever suns smile true on child, or field, or fruit. Less deathly than the air that shudders black with snow, For God's invincible spring our love is made afraid; With sidelong flowing flakes that flock, pause, and renew; Therefore, not loath, we lie out here; therefore were We watch them wandering up and down the wind's nonchalance, born, But nothing happens. For love of God seems dying.

To-night, this frost will fasten on this mud and us, Shrivelling many hands, puckering foreheads crisp. The burying-party, picks and shovels in shaking grasp, Pause over half-known faces. All their eyes are ice, But nothing happens.

Being open to the threat of an enemy.

Being made vulnerable

Being harmed by extreme weather. Exposure – Wilfred Owen A reference to Keats (one of A salient is a military Owen’s favourite poets) ‘Ode position that projects to a Nightingale’ which into the position of the begins “my heart aches...” enemy – links to the What effect does this change title. have?

personification Alliteration Imagery of bayonets Our brains ache, in the merciless iced east winds that knife us…

Wearied we keep awake because the night is silent… Repetition Low drooping flares confuse our memory of the salient… creates a sense of Worried by silence, sentries whisper, curious, nervous, dread and But nothing happens. Limbo/futility anticipation

Personification: makes the wind unpredictable and Alliteration frightening

The simile links the natural world to the manmade horror of war. Watching, we hear the mad gusts tugging on the wire. Like twitching agonies of men among its brambles. Northward incessantly, the flickering gunnery rumbles, They are far away from the action Far off, like a dull rumour of some other war. What are we doing here? Double meaning – literal but also metaphorical – comment on the politics behind the war... Personification of nature again.

Nature is the real enemy

The poignant misery of dawn begins to grow… We only know war lasts, rain soaks, and clouds sag stormy. Dawn massing in the east her melancholy army Attacks once more in ranks on shivering ranks of gray, But nothing happens. Repetition throughout the stanzas suggests monotony.

Sibilance evokes the sound of Uncaring, unfeeling bullets – onomatopoeic language

Nature and the elements is the real enemy here.

Alliteration evokes the Sudden successive flights of bullets streak the silence. movement Less deadly than the air that shudders black with snow, of the With sidelong flowing flakes that flock, pause and renew, snowflakes We watch them wandering up and down the wind's nonchalance, But nothing happens. repetition

Alliteration evokes the movement of the flakes again...

Loss of hope/ a feeling of despair. These are broken men.

Repetition of the same sounds creates a gradual tone shift.

Pale flakes with lingering stealth come feeling for our faces— We cringe in holes, back on forgotten dreams, and stare, snow-dazed, Deep into grassier ditches. So we drowse, sun-dozed, Littered with blossoms trickling where the blackbird fusses. Is it that we are dying? Day has broken but there is no respite from the cold. Men begin to imagine warmth and peace.

Metaphor for their loss of hope. They are a shadow of themselves. ‘home’ is lost to them... The ‘innocent mice’ is a metaphor for the people at home who The coals of the fire believe in the propaganda and the‘heroism’ of Discussion point: ‘glozed’ means to war ingratiate or make excuses. What does the word use here suggest though? Repetition emphasises that they Slowly our ghosts drag home: glimpsing the sunk fires glozed can’t go home. They With crusted dark-red jewels; crickets jingle there; have changed For hours the innocent mice rejoice: the house is theirs; and don’t belong there Shutters and doors all closed: on us the doors are closed— anymore We turn back to our dying. because they Their fate is sealed. know the reality of war.

A sense of duty: they do not blame those at A sense of duty: Men home for not knowing must die to keep those the truth. at home innocent.

Double meaning – they lie on the ground and they ‘lie’ to those at home.

Since we believe not otherwise can kind fires burn; This is what they Now ever suns smile true on child, or field, or fruit. are fighting for For God's invincible spring our love is made afraid; Therefore, not loath, we lie out here; therefore were born, For love of God seems dying. Loss of faith

Up to this point nature is the one who is attacking them, the one to blame. Now the poet blames God.

Alliteration

Double meaning, frozen both physically and To-night, His frost will fasten on this mud and us, emotionally Shrivelling many hands and puckering foreheads crisp. The burying-party, picks and shovels in their shaking grasp, Pause over half-known faces. All their eyes are ice, But nothing happens. Bleak tone – it will go on forever like this

Activities:

1. Look carefully at stanza one and stanza two. How does Owen make the experience of the soldiers effective? P.E.E your response. 2. How does Owen’s description of the weather highlight the harshness of the situation for the men? 3. How do you think the narrator feels about God after his experiences? 4. The poem expresses a feeling of futility. What is your response to the poem? How does it make you feel? 5. What comments does the poem have to make about war? Invasion Choman Hardi Lesson Objectives Choman Hardi: ‘Invasion’  To use the background context of the poem to develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Produce a bubble map on all the things you associate with the word...

Invasion Discussion Point o You’re about to see a wordcloud of key words from the poem you are going to study. . What words stand out most to you? . Can you see any contrasts in the words on the wordcloud? . What does this make you think this poem will be about?

Choman Hardi Hardi was born in Iraqi Kurdistan in 1974, but her family fled to Iran while she was still a baby. Saddam Hussein needed to weaken the Kurds, who wanted more self-government, and he signed the Algiers Agreement with the Shah of Iran, agreeing to drop Iraq’s claims on territory on the northern border between Iran and Iraq if Iran stopped supporting the militant Kurds. Following this agreement, the Kurds in Iraq were forcibly relocated from their homes. All Kurdish villages along a 1,300-kilometre stretch of the border with Iran were destroyed.

Less than six years after signing the treaty, Iraq attacked Iran to invade the border lands. These border disputes once again started a war between Iran and Iraq that would last for eight years. Therefore, when she was five years old, with Saddam Hussein president of the Iraqi Republic, Hardi returned with her family to the country of her birth. At the age of 14, however, the Kurds in Iraq were attacked with chemical weapons. There were mass killings and disappearances and once again Hardi’s family was forced into exile.

Kurds have almost never had a country of their own. Kurdistan is a very mountainous area, where the borders of Iran, Iraq, Syria and Turkey meet. Since the Kurds are a minority people in these countries, they have not only been repressed, but have had to become refugees to survive.

Hardi settled in England when she was 20 and, although she first wrote her poems in Kurdish, she now writes in English. ‘At the border, 1979’ is one of the poems in her first collection in English, named Life for Us, published in 2004, which explores the terror, violence and persecution of war, alongside the pain of displacement. Invasion Soon they will come. First we will hear the sound of their boots approaching at dawn then they’ll appear through the mist.

In their death-bringing uniforms they will march towards our homes their guns and tanks pointing forward.

They will be confronted by young men with rusty guns and boiling blood. These are our young men who took their short-lived freedom for granted.

We will lose this war, and blood will cover our roads, mix with our drinking water, it will creep into our dreams.

Keep your head down and stay in doors – we’ve lost this war before it has begun. The word evokes a sense of powerlessness

Invasion Future tense – creates Unknown – this creates anticipation of conflict a sense of threat.

Caesura makes the statement chilling. Soon they will come. First we will hear the sound of their boots approaching at dawn then they’ll appear through the mist.

Mist is a metaphor for uncertainty and the unclear intentions of the invaders Uniforms and symbols of violence are juxtaposed with ‘homes – contrast of solider and civilian .

In their death-bringing uniforms they will march towards our homes their guns and tanks pointing forward.

Pointing is a threatening, aggressive “our” creates an us- action. and-them situation. Is this aggressive or defensive? Not soldiers. Anti propaganda “our” creates a sense of Alliteration pride. and They will be confronted by young men metaphor creates an They with rusty guns and boiling blood. angry tone. aren’t These are our young men used to who took their short-lived freedom for granted. fighting

Ironic tone – freedom is a basic human right - oxymoronic Blood Imagery. 1. Identity and family 2. Can symbolically suggest the blending of Harsh reality – bleak tone. life and death. 3. Their ‘blood’ will be watered down and washed away. 4. The destruction of their culture

We will lose this war, and blood will cover our roads, mix with our drinking water, it will creep into our dreams.

Metaphor for the psychological impact of war. Direct address – giving advice. Anti propaganda.

Keep your head down and stay in doors – we’ve lost this war before it has begun.

Political awareness. Bitter tone. Bleak ending. BANNED CHALLENGE connectives for Connectives for explaining explaining Suggests Implies

Shows Demonstrates Gives Creates

Challenge for the day – use these connectives in your next lesson when answering a question! BANNED CHALLENGE connectives for Connectives for linking points linking points Also Furthermore As well as Moreover And In addition

Challenge for the day – use these connectives in your next lesson when answering a question! Activities: Fill in the grid. The first has been done for you. EXTENSION TASK – TURN THIS GRID INTO P.E.E PARAGRAPHS WITH CHALLENGING CONNECTIVES! Point Evidence Explain

The opening of the poem “Soon they will come.” The use of caesura makes has a sinister and the statement short. The chilling effect upon the word “soon” creates a sense reader. of urgency, whereas the word “they” is mysterious and therefore threatening.

“then they’ll appear through the mist”

“death-bringing uniforms”

“their guns and tanks pointing forward”

“rusty guns and boiling blood” Parade’s End Daljit Nagra Lesson Objectives Parade’s End – Daljit Nagra  To use develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Daljit Nagra

Nagra’s parents came to Britain from India in the 1960s and he was born in London. Nagra’s poetry is evocative and full of observations of everyday life and the reality of being in two cultures. “I want to write about social realism. I don’t want to write about a fantasy world, I want to write about the real world and things that really happen.”

Growing up during the 1970s and 1980s Nagra witnessed first hand racism with the rise of the National Front, and the dawning of a new political era with the election of Margaret Thatcher. Nagra also moved from West London to Sheffield. This influenced his writing in many ways, he says, “I think I experienced different cultural landscapes. In West London we lived in a very white working class area, which was starting to become more affluent in the early 1980s. We moved to Sheffield during the period when Thatcher was shutting things down, moving from factories to the service sector; there were lots of cafes and sports centres opening up. We bought a shop in Sheffield in a really poor area and it meant it was the shock of these scenes of wealth and poverty between North and South and witnessing that and living through those two different worlds.”

Parade’s End Dad parked our Granada, champagne-gold Thundering down the graffiti of shutters by our superstore on Blackstock Road, against the valley of high-rise flats. my brother’s eyes scanning the men Ready for the getaway to our cul-de-sac’d who scraped the pavement frost to the dole, semi-detached, until we stood stock still: one ‘got on his bike’ over the hill watching the car-skin pucker, bubbling smarts or the few who warmed us a thumbs-up of acid. In the unstoppable pub-roar for the polished recovery of our re-sprayed car. from the John O’Gaunt across the forecourt,

Council mums at our meat display We returned up to the shop, lifted a shutter, nestled against a pane with white trays queued at the sink, walked down again. swilling kidneys, liver and a sandy block Three of us, each carrying pans of cold water. of corned beef, loud enough about the way Then we swept away the bonnet-leaves darkies from down south Come op ta from gold to the brown of our former colour. Yorksha, mekkin claaims on aut theh can befoh buggrin off in theh flash caahs!

At nine, we left the emptied till open, clicked the dials of the safe. Bolted two metal bars across the back door (with a new lock). Spread trolleys at ends of the darkened aisles. Then we pressed the code for the caged alarm and rushed the precinct to check it was throbbing red. A reference to Ford Maddox Ford’s books about WWI where individual experience is seen to transcend/ be bigger than the wider issues of the time. Does this happen in the poem? Parade’s End

A parade is:

1. a row of shops 2. A vain or ‘showy’ display 3. A formal or public procession This poem is about the various injustices a family experiences.

It is set in Sheffield, Yorkshire. Symbols of wealth and celebration.

Dad parked our Granada, champagne-gold by our superstore on Blackstock Road, A road in Sheffield Family business my brother’s eyes scanning the men who scraped the pavement frost to the dole, De-humanises one ‘got on his bike’ over the hill Reference to a them. Human or the few who warmed us a thumbs-up famous speech on beings don’t for the polished recovery of our re-sprayed car. unemployment by ‘scrape’ – does Norman Tebbit in the the persona 1980s pitythem? Suggests high status – Something bad has perfection. already happened to it. Ominous. Ownership Reification: representing a human being as Offal – the cheap cuts a physical thing Council mums at our meat display of meat. Emphasises deprived of nestled against a pane with white trays poverty personal qualities or swilling kidneys, liver and a sandy block individuality. of corned beef, loud enough about the way darkies from down south Come op ta Written phonetically Yorksha, mekkin claaims on aut theh can in the Yorkshire Racism. The befoh buggrin off in theh flash caahs! dialect. Why does poet moved the poet write the from London to rest of the poem in Sheffield. Standard English Conflict of and what does this North/South, Jealousy. say about what it is White/Asian to be authentically English/British? A symbol of security – protection. Their shop is not safe.

At nine, we left the emptied till open, Implies that clicked the dials of the safe. Bolted the shop has two metal bars across the back door been broken (with a new lock). Spread trolleys into before. What else has at ends of the darkened aisles. Then we pressed Conveys a sense happened the code for the caged alarm and rushed of urgency before in this the precinct to check it was throbbing red. poem?

Blood imagery – evokes the pain of their victimisation in the past and yet to come Graffiti used as a collective noun for the shutters – A portent of doom? merged symbols Trouble coming? of urban decay Oxymoron: A dead end – turned into a verb. Implies Thundering down the graffiti of shutters powerlessness ‘Getaway’ against the valley of high-rise flats. suggests urgency, fear Ready for the getaway to our cul-de-sac’d and escape. semi-detached, until we stood stock still: watching the car-skin pucker, bubbling smarts Sibilance evokes Personification shock. of the car – of acid. In the unstoppable pub-roar what is from the John O’Gaunt across the forecourt, happening to it?

Again evokes Historical figure – “this sceptred powerlessness – isle” (Richard III speech) – they cannot represents ‘Englishness’ escape the contrasting with the self- hostile consciously ‘foreign’ immigrants. atmosphere

Clash between cultures Caesura creates pace – punctuates the urgency. Suggests patience about what has happened

We returned up to the shop, lifted a shutter, queued at the sink, walked down again. Three of us, each carrying pans of cold water. Then we swept away the bonnet-leaves from gold to the brown of our former colour.

Discussion point: what A motif from the do you think the poet beginning of the means here? poem – gives the poem a cyclical nature. It’s repetitive and reflects their powerlessness to stop it happening again and again. Activities:

1. Some of the poem has been written in Yorkshire dialect. Who is it who speaks in this dialect and why do you think the poet has chosen to include this in the poem? 2. There is a threat of violence throughout the poem. Look closely at the following quotations and explain how they create a menacing atmosphere: a) “Bolted/two metal bars across the back door/ (with a new lock)’. b) “Ready for the getaway to our cul-de-sac’d/ semi- detached” c) “and rushed/ the precinct to check it throbbed red.” August 6, 1945 – Alison Fell Lesson Objectives August 6, 1945 – Alison Fell  To use the background context of the poem to develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

• http://www.youtube.com/watch?v=t19kvUiHv AE August 6, 1945 – Alison Fell Later she will walk the dust, a scarlet girl In the Enola Gay with her whole stripped skin five minutes before impact at her heel, stuck like an old he whistles a dry tune shoe sole or mermaid's tail

Later he will say Later she will lie down that the whole blooming sky in the flecked black ash went up like an apricot ice. where the people are become Later he will laugh and tremble as lizards or salamanders at such a surrender, for the eye and, blinded, she will complain of his belly saw Marilyn's skirts Mother you are late. So late fly over her head for ever Later in dreams he will look On the river bank, down shrieking and see bees drizzle over hot white rhododendrons ladybirds ladybirds

The date of the dropping of the atomic bomb

August 6, 1945 – Alison Fell The name painted on the plane which carried the bomb to Hiroshima. It was named after the pilot’s mother.

In the Enola Gay five minutes before impact he whistles a dry tune

“dry” implies a lack of feeling but also maybe indicates nerves – a dry mouth? Mushroom cloud: Ironic - “Later” is “bloom” suggests beauty repeated throughout- and fruitfulness whereas Truman stated this suggests explosion eight years later and destruction. A “Dropping the softened swear word? bomb ended the war, saved lives Later he will say and gave the free nations a chance that the whole blooming sky Simile evokes colour to face the facts went up like an apricot ice.

Discussion Later he will laugh and tremble point: why do we think he at such a surrender, for the eye responds this way? of his belly saw Marilyn's skirts fly over her head for ever Relating the release of the bomb to sexual release? Bombs were named An iconic American moment: Marilyn after women – Monroe in The Seven Year Itch. Her skirt is women are a blown up by a hot air vent. Link to the heat running theme of the bomb explosion. A moment frozen throughout this forever in history. poem Parallels the way that bees descend on flowers with the ways bombers descend on cities. On the river bank, Term: Synaesthesia bees drizzle over – mixing up the senses. Fire and hot white rhododendrons water imagery.

Appeals to the sense of sight. See lines 8, 23 and 25 Evokes the intensity of the blast. Link to line 27-28.

Later she will walk the dust, a scarlet girl with her whole stripped skin at her heel, stuck like an old shoe sole or mermaid's tail

Victim: Flayed by the blast.

Female imagery: Enola Gay: mother Marilyn: Lover Girl: child.

Mermaids are mythically known to lure men to their death.

Beginning to die.

Like a ladybird. Salamanders are Later she will lie down fire spirits that live in fire. in the flecked black ash

Eastern where the people are become perspective: reptiles are as lizards or salamanders Repetition of revered (dragons) imagery relating to Western and, blinded, she will complain sight. perspective: reptiles are feared Mother you are late. So late and demonised (George and the Dragon etc.) See the nursery rhyme comment – too late to protect her. He will be haunted by what he has done – Colonel Paul Tibbets Jnr

Later in dreams he will look Looking down from the plane at the down shrieking and see devastation he has caused. Nursery rhyme: ladybirds Ladybird ladybird fly away home, ladybirds Your house is on fire Your children are gone Activities: 1. The poem has very simple, nursery rhyme language. Why do you think this is? What does this say about responsibility for the dropping of the bomb? 2. What effect does the childlike imagery have on us? 3. The poem focuses on the effect the bomb has on two people. A) who are they? B) Why does Fell focus on two people when over 120,000 were killed? What effect does this have? 4. How do the pilot’s emotions change throughout the poem? 5. What effect does the end of the poem have?

Conscientious Objector Edna St.Vincent Millay Lesson Objectives

Conscientious Objector – Edna St.Vincent Millay  To use the background context of the poem to develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Edna St Vincent Millay

February 22, 1892 – October 19, 1950.

An American poet, playwright and feminist, she campaigned against America entering WWI. The poem was published in 1934 as the Nazi party assumed almost complete control in Germany and fascism was a growing force across Europe. The author then changed her views during WWII and abandoned her pacifist stance.

A conscientious objector (CO) is an "individual who has claimed the right to refuse to perform military service" on the grounds of freedom of thought, conscience, and/or religion.

When you read this poem think about the ways in which a person can conscientiously object. Is it just in times of war?

Conscientious Objector

What technique is this?

I shall die, but Historical references that is all that I shall do for Death. to regions of conflict. I hear him leading his horse out of the stall; Repetition I hear the clatter on the barn-floor. of ‘I’ shows this He is in haste; he has business in Cuba, is a very business in the Balkans, many calls to make this morning. Horseman personal metaphor – poem But I will not hold the bridle while he clinches the girth. the And he may mount by himself: I will not give him a leg up. persona won’t help death in any way Caesura creates a defiant tone

Onomatopoeia – what is Death trying to do?

Though he flick my shoulders with his whip, I will not tell him which way the fox ran. What technique is With his hoof on my breast, I will not tell him where this? What the black boy hides in the swamp. period of I shall die, but that is all that I shall do for Death; I am history not on his pay-roll. could this refer to?

Death and war as a business Strong belief – it is indiscriminate

I will not tell him the whereabouts of my friends nor of my enemies either. Though he promise me much, I will not map him the route to any man's door. Discussion point: What do you think this means? Activities: 1. Find two parts of the poem where the narrator makes his stand against Death very clearly and shows his determination not to become involved in any action. P.E.E your choices. 2. Find two parts of the poem where the narrator makes Death appear sinister and frightening. P.E.E your choices. 3. Explain how St.Vincent Millay uses the personification of Death within the poem to help convey the persona’s beliefs as a conscientious objector. P.E.E your answer. O What is that Sound W.H. Auden Lesson Objectives O What is that Sound – W.H. Auden  To explore and develop our understanding of the content and tone.  To understand how Auden uses dialogue and the narrative form to build tension and express emotions connected with war.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

WH Auden (21 February 1907 – 29 September 1973) an Anglo-American poet, born in England, later an American citizen, regarded by many as one of the greatest writers of the 20th century.

The central themes of his poetry are love, politics and citizenship, religion and morals, and the relationship between unique human beings and the anonymous, impersonal world of nature.

O What Is That Sound –W.H Auden O haven't they stopped for the doctor's care, Haven't they reined their horses, horses? O what is that sound which so thrills the ear Why, they are none of them wounded, dear, Down in the valley drumming, drumming? None of these forces. Only the scarlet soldiers, dear, The soldiers coming. O is it the parson they want, with white hair, Is it the parson, is it, is it? O what is that light I see flashing so clear No, they are passing his gateway, dear, Over the distance brightly, brightly? Without a visit. Only the sun on their weapons, dear, As they step lightly. O it must be the farmer that lives so near. It must be the farmer so cunning, so cunning? O what are they doing with all that gear, They have passed the farmyard already, dear, What are they doing this morning, morning? And now they are running. Only their usual manoeuvres, dear, Or perhaps a warning. O where are you going? Stay with me here! Were the vows you swore deceiving, deceiving? O why have they left the road down there, No, I promised to love you, dear, Why are they suddenly wheeling, wheeling? But I must be leaving. Perhaps a change in their orders, dear, Why are you kneeling? O it's broken the lock and splintered the door, O it's the gate where they're turning, turning; Their boots are heavy on the floor And their eyes are burning.

He wrote about the private elements of public issues

O What Is That Sound –W.H Auden

It is written in QUATRAINS and This poem takes the form of a has a meter and rhyme scheme DUALOGUE – two personas. which make it sound like a

nursery rhyme. Think about this It is a husband and wife asking when looking at the story of the and answering questions. poem. What is happening and how does the tone shift? The repetition of this suggests a Excitement – nursery rhyme or positive Suggests no a ballad connotations consequences, he is trying to lessen the importance of their appearance O what is that sound which so thrills the ear Down in the valley drumming, drumming? Only the scarlet soldiers, dear, The soldiers coming. A term of affection – but what does this word suggest? What are the connotations of this colour? Is the atmosphere becoming more tense or is the feeling still one of excitement?

O what is that light I see flashing so clear Over the distance brightly, brightly? Only the sun on their weapons, dear, As they step lightly.

Repetition Reassuring?

Threatening – Carefree? beginning to change tone. Weaponry. How is the tone changing?

The word suggests O what are they doing with all that gear, that it is boring/monotonous What are they doing this morning, morning? to be a soldier Only their usual manoeuvres, dear, Or perhaps a warning.

Sense of threat The husband continues to doesn’t know for build. sure. Makes the atmosphere considerably more sinister Soldiers at a distance so up until now they have been safe.

O why have they left the road down there, Why are they suddenly wheeling, wheeling? Perhaps a change in their orders, dear, Why are you kneeling? Turning around – but what does the word Prayer. How is ‘wheeling’ she feeling? suggest to you about the movement? She is struggling to find a reason why they are there.

Repetition of questioning O haven't they stopped for the doctor's care, makes her sound Haven't they reined their horses, horses? panicked Why, they are none of them wounded, dear, None of these forces.

Emphasises their strength A symbol of peace – a Too old to join pacifist. up? Anti war?

O is it the parson they want, with white hair, Is it the parson, is it, is it? No, they are passing his gateway, dear, Without a visit.

What effect does this repetition have? What does this word mean? What do you think is happening here?

O it must be the farmer that lives so near. It must be the farmer so cunning, so cunning? They have passed the farmyard already, dear, And now they are running.

Towards him. The pace picks up – what atmosphere is created now?

What is happening? Who O where are you going? Stay with me here! is speaking? Were the vows you swore deceiving, deceiving?

Who is No, I promised to love you, dear, speaking? But I must be leaving. What here shows his cowardice and uncaring attitude? The army as a machine? Dehumanised.

O it's broken the lock and splintered the door, O it's the gate where they're turning, turning; Their boots are heavy on the floor

Their gate And their eyes are burning.

Contrast to the “lightly” of earlier. What can this be a metaphor for? Activities: 1. This poem is a BALLAD. What do you notice about the structure? Write at least two paragraphs. 2. List the actions that the soldiers are undertaking. What do you notice about these actions as the poem progresses? 3. What do we find out about each of the local people? 4. How does Auden build tension in the poem through his use of language and repetition? 5. Chart the change in atmosphere – choose words to support your point and explain how they achieve their effect. Think about tone and pace. 6. Explain the relationship between the speakers.

The Drum John Scott Lesson Objectives The Drum – John Scott  To develop our understanding of how form and language can encourage the reader to see recruitment and the military in a negative light.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Watch the following clip and listen to the speech given...

• http://www.youtube.com/watch?v=dDZVxbrW7Ow

Discussion Point: is this motivational or demotivational? Produce a bubble map on the thoughts you have whilst this music is played.

Battle Drums • Scott was a Quaker, and thus a committed pacifist. He wrote the poem in 1782, shortly following the American Declaration of Independence which brought the rebel colony and Britain to war. Britain fought numerous wars in the 18th Century, and became a fighting machine using taxation to find money to fight foreign wars

• The poem would become popular during the French revolutionary/ Napoleonic wars.

The Drum by John Scott (1731 – 1783)

I hate that drum's discordant sound, Parading round, and round, and round: To thoughtless youth it pleasure yields, And lures from cities and from fields, To sell their liberty for charms Of tawdry lace and glitt'ring arms; And when Ambition's voice commands, To fight and fall in foreign lands.

I hate that drum's discordant sound, Parading round, and round, and round: To me it talks of ravaged plains, And burning towns and ruin'd swains, And mangled limbs, and dying groans, And widow's tears, and orphans moans, And all that Misery's hand bestows, To fill a catalogue of woes.

Written during the The Drum Napoleonic by John Scott (1731 – 1783) Wars

A call to War. A pre-battle symbol of war.

18th Century Quaker – opposed to war. Alliteration creates the feeling of Creating emotional the drum beat hitting the ears of tone the listener Assonance and Soldiers repetition I hate that drum's discordant sound, show the Naive to the aimlessness reality and Parading round, and round, and round: of war atrocities of To thoughtless youth it pleasure yields, war And lures from cities and from fields, Rhyming couplets To sell their liberty for charms evoke the drum Personification rhythm. of war. Of tawdry lace and glitt'ring arms; And when Ambition's voice commands, Propaganda “Sell” indicates they take their To march, and fight, and fall in foreign lands. freedom too lightly (links to Romanticising of Invasion). war Personification “Charms” as well as “tawdry” and The list makes death Not protecting “glitt’ring “ show sound inevitable – how cheaply home, unlike caesura creates a they hold Invasion. themselves stuttering effect – like a falling soldier. Repetition reinforces how weary the Perspective changes Imagery of persona is at the from folly of youth to violation Vocab: Youth sound. experience of age

I hate that drum's discordant sound, Parading round, and round, and round: Indicates vanity and To me it talks of ravaged plains, Negative, arrogance And burning towns and ruin'd swains, violent imagery. And mangled limbs, and dying groans, Appeals to Repetition: And widow's tears, and orphans moans, the sense of this is the And all that Misery's hand bestows, sound ‘catalogue’ of through the last line To fill a catalogue of woes. assonance

Personification

A huge list Activities: Put the following quotations into P.E.E paragraphs.  “I hate that drum’s discordant sound”  “To sell their liberty for charms”  “And when Ambition’s voice commands, To march, and fight, and fall, in foreign lands.”  “And mangled limbs, and dying groans”  “And all that Misery’s hand bestows, To fill the catalogue of human woes.”

Belfast Confetti – Ciaran Carson Tell the story – what is happening in this picture? Lesson Objectives Belfast Confetti – Ciaran Carson  To use the background context of the poem to develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Discussion Point o You’re about to see a wordcloud of key words from the poem you are going to study. . What words stand out most to you? . What does this make you think this poem will be about?

“The Troubles" ...refers to approximately three decades of violence between elements of Northern Ireland's ‘Irish’ Roman Catholic and its British and/or Protestant communities.

Use of the term "the Troubles" is because some people considered this period of conflict to have been a war.

The conflict was the result of discrimination against the Nationalist/Catholic minority by the Unionist/Protestant majority and the question of Northern Ireland's status within the United Kingdom.

The violence was between the Irish republican and Ulster loyalist paramilitary groups. The IRA (Irish Republican army) wanted to end British rule in Northern Ireland and to reunite Ireland politically and thus create a new "all-Ireland" Irish Republic; The Ulster Volunteer Force (UVF) fought against them.

The state security forces — the British Army and the Royal Ulster Constabulary (RUC) — were also involved in the violence, which mostly took place around the Protestant Shankill Road area and the Catholic Falls Road area.

Ciaran Carson was born in Belfast into an Irish-speaking family.

“I write in English but the ghost of Irish hovers behind it...”

http://www.poetryarchive.org/poetryarchive/singlePoem.do?poemId=339 Belfast Confetti (poet reading the poem)

Suddenly as the riot squad moved in it was raining exclamation marks, Nuts, bolts, nails, car-keys. A fount of broken type. And the explosion Itself - an asterisk on the map. This hyphenated line, a burst of rapid fire … I was trying to complete a sentence in my head, but it kept stuttering, All the alleyways and side streets blocked with stops and colons.

I know this labyrinth so well - Balaklava, Raglan, Inkerman, Odessa Street - Why can’t I escape? Every move is punctuated. Crimea Street. Dead end again. A Saracen, Kremlin-2 mesh. Makrolon face-shields. Walkie- talkies. What is My name? Where am I coming from? Where am I going? A fusillade of question-marks. CIARAN CARSON Discussion Point: The word ‘confetti Ciaran is a Catholic suggests celebration – name, Carson is a ironic. Antithesis of Protestant name. usual meaning What does this say about the poet’s sense of identity?

Belfast Confetti

Actually can refer to the (slang) screws, nuts, shrapnel from IRA bolts and metal-shop bombs. scrap used by rioters as missiles to throw at police. Visualise this ‘!!!’ The idea of Police presence – language being used to enforce. quelling an uprising Language being used to commit A dramatic, violence... tense opening

Visualise the Suddenly as the riot squad moved in it was raining explosion of a exclamation marks, bomb as a Nuts, bolts, nails, car-keys. A fount of broken type. And the piece of explosion punctuation: Itself - an asterisk on the map. This hyphenated line, a burst * showing where the of rapid fire … blast I was trying to complete a sentence in my head, but it kept happened. stuttering, All the alleyways and side streets blocked with stops and colons. Language is part of identity. - - - looks like bullets. Double If he’s losing his meaning: reflects the Finite language what persona’s fear but also the punctuation – does this mean gunfire what does this for his identity? suggest? Armoured Street names in Mythology: the idea of personnel Belfast. Carson being lost and unable carrier, actually grew up on to escape. A sense of anti-rocket Raglan Road danger is created. mesh, thermo- plastic face I know this labyrinth so well - Balaklava, Raglan, Inkerman, shields Odessa Street - Why can’t I escape? Every move is punctuated. Crimea Street. Punctuation Dead end again. enforces the A Saracen, Kremlin-2 mesh. Makrolon face-shields. Walkie- point talkies. What is My name? Where am I coming from? Where am I going? A fusillade of question-marks. Rhetorical: questioning He is overwhelmed his identity by his inability to Simultaneous fire: reconcile his identity with the violence that surround him Activities: 1. Carson uses punctuation erratically in this poem. Look at the end of the lines. Why do you think he does this? 2. What do you understand by the title of the poem? Is it ironic? 3. What different emotions are conveyed in the poem? 4. How does Carson build up a sense of panic and claustrophobia? 5. How does Carson use punctuation in the poem to create effect? 6. What kinds of conflict are present in the poem? Our Sharpeville: Ingrid de Kok Lesson Objectives Our Sharpeville – Ingrid de Kok  To use the background context of the poem to develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

‘For many who have not seen it, Sharpeville is a date, not a place’- Prakash Diar.

What do you think this means? Why would a town become a date?

Discuss on your tables

In March 1960 at Sharpeville in South Africa, 67 black Africans were killed and 186 were injured when police opened fire on a peaceful protest against the pass laws. • Since the 1920s, the movements of black South Africans were restricted by pass laws. • From the 1960s, the pass laws were the primary instrument used by the state to arrest and harass its political opponents. • The Sharpeville Massacre occurred on 21 March 1960, at the police station in the South African township of Sharpeville. • A group of between 5,000 and 7,000 people converged on the local police station in the township of Sharpeville, offering themselves up for arrest for not carrying their pass books • After a day of demonstrations, at which the crowd of black protesters far outnumbered the police, the South African police opened fire on the crowd, killing 69 people.

The Pass Laws

Under this law, all blacks had to carry an official Pass booklet with them at all times. The document gave details of exactly how much time they were allowed to spend in a white area. They were allowed to enter white areas in order to work, at slave labour rates, in white owned factories or businesses or as servants in white homes. If they were stopped and could not produce their Pass, they were thrown into prison.

It was a protest against the Pass Laws which resulted in the Sharpeville massacre in March 1960.Sixty seven black Africans were killed and one hundred and eighty six were injured when police opened fire on the peaceful protest. Many of the dead and injured were shot in the back as they tried to run from the scene. On the morning of 21 March PAC members walked around Sharpeville waking people up, urging them to take part in the demonstration. Other PAC members tried to stop bus drivers from going on duty; the result was that there was no transport taking Sharpeville residents to work in Vereeniging. Many people set out for work on bicycles or on foot, but some were intimidated by PAC members who threatened to burn their passes or 'lay hands on them' if they went to work (Reverend Ambrose Reeves, 1966). However, many people joined the procession quite willingly. A sizable crowd of people proceeded to the police station - chanting freedom songs and calling out the campaign slogans "Izwe lethu" (Our land) and "Awaphele amapasti" (Down with passes)... Journalists who rushed there from other areas, after receiving word that the campaign was a runaway success, ... confirm that for all their singing and shouting the crowd's mood was more festive than belligerent

By mid-day approximately 300 armed policemen faced a crowd of approximately 5000 people. At 13h15 a small scuffle began near the entrance of the police station, a policeman was accidently pushed over and the crowd began to move forward to see what was happening.

According to the police, protesters began to stone them and, without any warning, one of the policemen on the top of an armoured car panicked and opened fire. His colleagues followed suit and opened fire. The firing lasted for approximately two minutes, leaving 69 people dead and, according to the official inquest, 180 people seriously wounded.

Eyewitness accounts attest to the fact that the people were given no warning to disperse... a large number of people were shot in the back as they were fleeing the scene. “There were sudden shrill cries of 'Izwe Lethu' - women's voices it sounded - from near the police, and I could see a small section of the crowd swirl around the Saracens and hands went up in the Africanist salute. Then the shooting started. We heard the chatter of a machine gun, then another, then another. There were hundreds of women, some of them laughing. They must have thought the police were firing blanks. One woman was hit about ten yards from our car. Her companion, a young man, went back when she fell. He thought she had stumbled. Then he turned her over and saw that her chest had been shot away. He looked at the blood on his hand and said: 'My God, she's gone!' Hundreds of kids were running, too.

“People were running in all directions…some couldn't believe that people had been shot, they thought they had heard firecrackers. Only when they saw the blood and dead people, did they see that the police meant business."

“One little boy had on an old blanket coat, which he held up behind his head, thinking, perhaps, that it might save him from the bullets. Some of the children, hardly as tall as the grass, were leaping like rabbits. Some were shot, too. Still the shooting went on. One of the policemen was standing on top of a Saracen, and it looked as though he was firing his gun into the crowd. He was swinging it around in a wide arc from his hip as though he were panning a movie camera. Two other officers were with him, and it looked as if they were firing pistols. Most of the bodies were strewn on the road running through the field in which we were. One man, who had been lying still, dazedly got to his feet, staggered a few yards, then fell in a heap. A woman sat with her head cupped in her hands.”

“One by one the guns stopped.”

Before the shooting, I heard no warning to the crowd to disperse. There was no warning volley. When the shooting started it did not stop until there was no living thing in the huge compound in front of the police station. The police have claimed they were in desperate danger because the crowd was stoning them. Yet only three policemen were reported to have been hit by stones - and more than 200 Africans were shot down. The police also have said that the crowd was armed with 'ferocious weapons', which littered the compound after they fled.

I saw no weapons. “The cops were in no danger.

I can only assume that they came out with the intention of showing the crowd, and in the process black South Africa, a dreadful lesson.”

Discussion Point o You’re about to see a wordcloud of key words from the poem you are going to study. . What words stand out most to you? . Can you see any contrasts in the words on the wordcloud? . What does this make you think this poem will be about?

OUR SHARPEVILLE In March 1960 at Sharpeville in South Africa, 67 black Africans were killed and 186 were injured when police opened fire on a peaceful protest against the pass laws.

I was playing hopscotch on the slate Then my grandmother called from behind the when the miners roared past in lorries, front door, their arms raised, signals at a crossing her voice a stiff broom over the steps: their chanting foreign and familiar, "Come inside; they do things to little girls." like the call and answer of road gangs across the veld, building hot arteries For it was noon, and there was no jade pool. from the heart of the Transvaal mine. Instead, a pool of blood that already had a living name I ran to the gate to watch them pass. and grew like a shadow as the day lengthened. And it seemed like a great caravan The dead, buried in voices that reached my gate, moving across the desert to an oasis the chanting man on ambushed trucks, I remembered from my Sunday school these were not heroes in my town, book: but maulers of children, olive trees, a deep jade pool, doing things that had to remain nameless. men resting in clusters after a long journey, And our Sharpeville was this fearful thing the danger of the mission still around that might tempt us across the wellswept them, streets. and night falling, its silver stars just like the ones you got for remembering your Bible texts.

If I had turned I would have seen brocade curtains drawn tightly across sheer net ones, known there were eyes behind both, heard the dogs pacing in the locked yard next door. But, walking backwards, all I felt was shame, at being a girl, at having been found at the gate, at having heard my grandmother lie and at my fear her lie might be true. Walking backwards, called back, I returned to the closed rooms, home.

Ingrid de Kok

‘Our’ suggestions ownership and identity with a place

OUR SHARPEVILLE

In March 1960 at Sharpeville in South Africa, 67 black Africans were killed and 186 were injured when police opened fire on a peaceful protest against the pass laws. A child’s perspective – reflecting her innocence. Aggressive, threatening description First I was playing hopscotch on the slate person, past when the miners roared past in lorries, tense = a their arms raised, signals at a crossing memory their chanting foreign and familiar, A protest – in like the call and answer of road gangs the language of the land. across the veld, building hot arteries Not in English. from the heart of the Transvaal mine.

A region north of the River Vaal in South Africa

Veld = an area Imagery suggests a sense of of open passion and identity. grassland in South Africa Simile – evokes the image An Eden – a of a large group of promised displaced people land. Through hardship to I ran to the gate to watch them pass. peace – biblical And it seemed like a great caravan image of the moving across the desert to an oasis suffering of displaced I remembered from my Sunday school book: people. olive trees, a deep jade pool, men resting in clusters after a long journey, For the danger of the mission still around them, protection and night falling, its silver stars just like the ones Further ? you got for remembering your Bible texts. biblical imagery -

Discussion point: A political comment? Discuss Political journey? Hiding – demonstrates her fear (also prejudice?)

Then my grandmother called from behind the front door, her voice a stiff broom over the steps: "Come inside; they do things to little girls."

The metaphor shows her harshness and discrimination – sweeping Ambiguous threat – the dirt away... monster imagery to frighten her. Prejudicial. A racial slur. There is no promised land What can a – bleak tone. shadow represent? For it was noon, and there was no jade pool. Instead, a pool of blood that already had a living name and grew like a shadow as the day lengthened. The The dead, buried in voices that reached even my gate, protestors the chanting man on ambushed trucks, are these were not heroes in my town, The events of that day live demonised but maulers of children, on in history. doing things that had to remain nameless. And our Sharpeville was this fearful thing that might tempt us across the wellswept streets.

Discussion point:

Why are they What is the gate a nameless? symbol for?

Crossing a line from ignorance Izwe Lethu to knowledge. (“our land”) – the chant of the day. A symbol of affluence – eyes being shut against the truth. If I had turned I would have seen brocade curtains drawn tightly across sheer net ones, known there were eyes behind both, Restless. heard the dogs pacing in the locked yard next door. But, walking backwards, all I felt was shame, at being a girl, at having been found at the gate, Fear at having heard my grandmother lie and at my fear her lie might be true. Walking backwards, called back, I returned to the closed rooms, home.

Repetition – going back into memory, Closed minded Discussion point: reliving and re- – closed against Whose home? examining the change past. Activities: 1. How does the poet make the situation sound threatening to the little girl? P.E.E your answer. 2. How does theHitcher grandmother’s ambiguous Simon Armitage comment add to the tension? 3. What descriptions in the poem suggest fear and prejudice? 4. Pick out the violent imagery in the poem. What impact does this have?

Lesson Objectives Hitcher – Simon Armitage  To use develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Hitcher I'd been tired, under the weather, but the ansaphone kept screaming: One more sick-note, mister, and you're finished. Fired. I thumbed a lift to where the car was parked. A Vauxhall Astra. It was hired.

I picked him up in Leeds. He was following the sun to west from east with just a toothbrush and the good earth for a bed. The truth he said, was blowin' in the wind, or round the next bend.

I let him have it on the top road out of Harrogate - once with the head, then six times with the krooklok in the face - and didn't even swerve. I dropped it into third and leant across to let him out, and saw him in the mirror bouncing off the kerb, then disappearing down the verge. We were the same age, give or take a week. He'd said he liked the breeze to run its fingers through his hair. It was twelve noon. The outlook for the day was moderate to fair. Stitch that, I remember thinking, you can walk from there. Hitcher

Is there What technique is this? What does this phrase First person anything narrative. suggest about the actually wrong narrator’s state of mind? A confession? with him? What kind of picture are you I'd been tired, under building of the narrator? the weather, but the ansaphone kept screaming: One more sick-note, mister, and you're finished. Fired. I thumbed a lift to where the car was parked. A Vauxhall Astra. It was hired.

He is the first hitcher. Why do you think Do you think it he left his car? is odd for him What could be to include this wrong with detail? him? What does he sound like? Another What sort of hitcher a person?

I picked him up in Leeds. He was following the sun to west from east with just a toothbrush and the good earth for a bed. The truth he said, was blowin' in the wind, or round the next bend.

Reference to Bob Dylan song.

Can you see any differences between the two so far?

Steering-wheel Taking his clamp aggression Comment on out on the I let him have it the hitcher on the top road out of Harrogate - once narrator’s with the head, then six times with the krooklok matter-of- fact tone... in the face - and didn't even swerve. Is this I dropped it into third what he’s This is a actually frenzied and leant across doing? attack but to let him out, and saw him in the mirror the narrator Why is he bouncing off the kerb, then disappearing down the is controlled. so angry verge. What does at the We were the same age, give or take a week. hitcher? this tell you? He'd said he liked the breeze

What does the personification to run its fingers suggest about through his hair. It was twelve noon. What effect the hitcher? The outlook for the day was moderate to fair. does his distraction Stitch that, I remember thinking, with the you can walk from there. weather have?

Activities: 1. Create a list of the ways in which the narrator attacks the hitcher. Why do you think he is so matter-of-fact about this attack and what does it suggest about his state of mind? 2. Why does the reason for the attack remain ambiguous? 3. Do you find the poem funny? Explain your answer. 4. One interpretation of the poem is that the hitcher is actually an embodiment of the narrator’s free will that he fights on the way to work. Find evidence to support this idea.

Discussion and P.E.E

1. In reading the poem do you agree with the views of the hitcher or do you share the driver's annoyance at them? 2. How does the poem suggest the selfishness of the driver? What other qualities does it show him to have? 3. What do you think of the way Armitage uses contrast in this poem? 4. What is the effect in the poem of a) proper nouns - places (Leeds and Harrogate) and brand names (ansaphone, Vauxhall Astra, krooklok) and of b) quoting from the radio (the weather forecast)? 5. Is this is a serious poem or is the violence meant to be comical? Why do you think this? 6. What is the effect of the references to the sun and wind in the poem? What do the hitcher and the driver think of them? 7. What might be the sequel to this story (what happens next)? Why has the poet not told the reader this? Is the poem complete without it? Practice Exam Question

Explain how Armitage presents conflict and violence in the poem ‘Hitcher’. Use examples from the poem to support your answer.

Caste

Half

John Agard Lesson Objectives Half-caste – John Agard

http://www.youtube.com/watch?v=pTt4GAjPh58&feature=related

 To use develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

John Agard

• Was born in British Guiana in 1949 • He came to Britain in 1977. • His mother is Portuguese • His father is black • Half-Caste means of mixed race • Traditionally the term implies an insult • The term would not be acceptable today

Half-caste

• In the poem John Agard expresses his disgust and anger at people who treat others badly because of the colour of their skin.

• The poem is intended to be humorous but have a serious message. The poem

• It is written with a Caribbean Dialect – A form of creole. • It is intended to be read aloud, rhythmically and in an authentic voice. • John Agard illustrates the word in a humorous way. What is the difference between accent & dialect?

Accent is the way we say the words.

Dialect is when we use different words. (Not standard English.) Key Words

• Aggression • Humour • Dialect • Culture • Powerful Imagery • Repetition • Direct Address • Links to

Notes on the poem

The poet sees himself as a mixture of good things not bad. He talks about how mixtures can create magnificent things. He mocks people’s view of half-caste. He feels very strongly about being labelled as half-caste. Half-Caste by John Agard

explain yuself but yu must come back tomorrow Excuse me wha yu mean wid de whole of yu eye standing on one leg when yu say half-caste an de whole of yu ear I'm half-caste yu mean tchaikovsky an de whole of yu mind

sit down at dah piano Explain yuself an mix a black key an I will tell yu wha yu mean wid a white key de other half when yu say half-caste is a half-caste symphony/ of my story yu mean when picasso mix red an green Explain yuself is a half-caste canvas/ wha yu mean explain yuself Ah listening to yu wid de keen wha yu mean half of mih ear when yu say half-caste Ah lookin at yu wid de keen yu mean when light an shadow half of mih eye mix in de sky and when I'm introduced to yu is a half-caste weather/ I'm sure you'll understand well in dat case why I offer yu half-a-hand england weather an when I sleep at night nearly always half-caste I close half-a-eye in fact some o dem cloud consequently when I dream half-caste till dem overcast I dream half-a-dream so spiteful dem dont want de sun pass an when moon begin to glow ah rass/ I half-caste human being

cast half-a-shadow

Traditional ‘insult’ label for someone of mixed-race.

Half-Caste

Excuse me An apology standing on one leg A demanding I'm half-caste Humorous tone, aggressive tone. serious message Asking for Explain yuself justification wha yu mean Creole when yu say half-caste yu mean when picasso dialect. Imagery of art and mix red an green beauty. is a half-caste canvas/ explain yuself wha yu mean when yu say half-caste yu mean when light an shadow Imagery of Nature – a mix in de sky blend is natural. is a half-caste weather/ well in dat case england weather The lack of capital letter is a literary ‘dig’ and shows a lack nearly always half-caste of respect. in fact some o dem cloud half-caste till dem overcast Double meaning (pun) so spiteful dem dont want de sun pass ah rass/ The poet is taking a prejudicial Personification highlights inherent racism/ causing term and distorting the of discord meaning to criticise the user. Repetition emphasises explain yuself attack wha yu mean when yu say half-caste yu mean tchaikovsky Imagery of sit down at dah piano music and an mix a black key masterpiece – wid a white key a blend of is a half-caste symphony/ colour.

Discussion Point – why do you think Agard uses / throughout his poem?

Explain yuself Meaning astute and wha yu mean perceptive Ah listening to yu wid de keen half of mih ear Ah lookin at yu wid de keen half of mih eye and when I'm introduced to yu I'm sure you'll understand why I offer yu half-a-hand an when I sleep at night I close half-a-eye Making the point that it consequently when I dream is impossible to fully exist I dream half-a-dream as half a person. Play on words an when moon begin to glow I half-caste human being cast half-a-shadow

An imperative – a command. Attitudes have to change. but yu must come back tomorrow wid de whole of yu eye Contrasting the an de whole of yu ear word ‘whole’ an de whole of yu mind with ‘half’ – what effect does an I will tell yu this have? de other half of my story

Discussion point: What could he mean by ‘my story’? Activities:

1. How does the narrator use language and dialect to create a ‘half- caste’ structure? 2. Complete the table below... The poet uses many images in the poem. Copy and complete the chart with ideas on why Agard included such imagery. Add your own! Image (point) Evidence Explanation Further comment Overcast sky “yu mean when light an Humorous image used to Agard puns on the idea of shadow/ mix in de sky/ is ridicule Britain. ‘overcast’ weather a half-caste weather..” relating to the term ‘half caste’. Tchaikovsky creating music Extended Question

This poem shows a man’s protest against the way he is treated through humour. How successfully does he make his point?

Your Dad Did What?

Sophie Hannah Lesson Objectives Your Dad Did What? – Sophie Hannah  To use develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Your Dad Did What?

Where they have been, if they have been away, or what they've done at home, if they have not - you make them write about the holiday. One writes My Dad did. What? Your Dad did what?

That's not a sentence. Never mind the bell. We stay behind until the work is done. You count their words (you who can count and spell); all the assignments are complete bar one and though this boy seems bright, that one is his. He says he's finished, doesn't want to add anything, hands it in just as it is. No change. My Dad did. What? What did his Dad?

You find the 'E' you gave him as you sort through reams of what this girl did, what that lad did, and read the line again, just one 'e' short: This holiday was horrible. My Dad did Your Dad Did What? Who are ‘they?

Where they have been, if they have been away, An impatient or what they've done at home, if they have not - Who? tone Why do you make them write about the holiday. What emotion do the they One writes My Dad did. What? Your Dad did what? use the repeated questions word That's not a sentence. Never mind the bell. show? ‘you’? We stay behind until the work is done. This is one half of a dialogue Caesura You count their words (you who can count and spell); creates all the assignments are complete bar one an angry tone and though this boy seems bright, that one is his. A criticism He says he's finished, doesn't want to add anything, hands it in just as it is. What word suggests the teacher doesn’t know No change. My Dad did. What? What did his Dad? the student well? repetition Play on You find the 'E' you gave him as you sort words. What through reams of what this girl did, what that lad did, has and read the line again, just one 'e' short: Meaning? happened? This holiday was horrible. My Dad did Activities: 1. The poem is about a misunderstanding between a child and an adult. a) How do you feel about the teacher’s treatment of the pupil in the poem? b) Think about a time when you were misunderstood. What happened and how did it make you feel? 2. What do you think has really happened to the child? 3. Why do you think they did not explain to the teacher? Activities: Look at the adjectives below and choose TWO that seem to describe the teacher’s tone. Write a P.E.E paragraph to support your point.

SYMPATHETIC FRUSTRATED ANNOYED DETERMINED

THOUGHTLESS HARSH IMPATIENT RELAXED

CONFUSED STRESSED CALLOUS THOUGHTFUL

HAPPY SPITEFUL WORRIED CARING Catrin – Gillian Clarke

Lesson Objectives Catrin – Gillian Clarke  To use develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Gillian Clarke (b.1937) is a Welsh poet, playwright, editor, broadcaster, lecturer and translator Clarke says that this poem answers the question: "Why did my beautiful baby have to become a teenager?" The poem contrasts the baby's dependency on her mother with the independence and defiance of the teenager. In a sense, therefore, this poem is for all mothers and all daughters. Gillian Clarke writes that "It is an absolutely normal relationship of love, anxiety and exasperation."

Catrin

I can remember you, child, Neither won nor lost the struggle As I stood in a hot, white In the glass tank clouded with feelings Room at the window watching Which changed us both. Still I am fighting The people and cars taking You off, as you stand there Turn at the traffic lights. With your straight, strong, long I can remember you, our first Brown hair and your rosy, Fierce confrontation, the tight Defiant glare, bringing up Red rope of love which we both From the heart’s pool that old rope, Fought over. It was a square Tightening about my life, Environmental blank, disinfected Trailing love and conflict, Of paintings or toys. I wrote As you ask may you skate All over the walls with my In the dark, for one more hour. Words, coloured the clean squares With the wild tender circles Of our struggle to become Separate. We want, we shouted, To be two, to be ourselves. Defining Catrin as HER child. The poet’s Possessive? daughter Catrin Emphasises the First person – intensity of the the poet is I can remember you, child, experience – a talking directly As I stood in a hot, white hospital room. to her daughter Room at the window watching Normal life The people and cars taking Labour: before the Turn at the traffic lights. the idea of childbirth as birth I can remember you, our first a collision between mother and child. Repetition. Fierce confrontation, the tight Red rope of love which we both Imagery of a blank Fought over. It was a square canvas – a Metaphor Environmental blank, disinfected relationship yet to grow? for what? Of paintings or toys. I wrote The environment changes All over the walls with my Juxtaposition with the intensity of the Words, coloured the clean squares shows the primal labour. Why do you think the With the wild tender circles feelings of a poet uses this imagery? Of our struggle to become mother for her child. Striving for Separate. We want, we shouted, To be two, to be ourselves. individuality – Demanding what words language suggest conflict? Discussion point: Why does What do the struggle continue? you think

the ‘glass tank’ is? Neither won nor lost the struggle Why is it In the glass tank clouded with feelings Language of ‘clouded’? Which changed us both. Still I am fighting conflict You off, as you stand there Juxtaposition of With your straight, strong, long admiration for her Brown hair and your rosy, daughter’s beauty Defiant glare, bringing up What is this? and criticism of her From the heart’s pool that old rope, What earlier line attitude. Can you does this link to? identify the evidence Tightening about my life, of this? Trailing love and conflict, As you ask may you skate In the dark, for one more hour. Think about the role of a mother here What could ‘skate in the dark’ be a metaphor for? Activities: 1. Write down three phrases in the poem that suggest conflict or confrontation. 2. What do you think the poet means by “the tight red rope of love”? 3. Look at the last five lines of the poem: what point is the poet making about her relationship with her daughter, both now and in the future? 4. How does this poem compare to others that you have studied so far? Cousin Kate Christina Rossetti

Lesson Objectives Cousin Kate – Christina Rossetti  To use develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

 Ballads are poems which tell a story, often tragic and often about love that goes wrong.

 ‘Cousin Kate’ is a ballad.

 Read the poem and tell a partner the story... Cousin Kate The poem’s female speaker recalls her happiness in her humble cottage until the local ‘Lord of the Manor’ took her to be his lover. He discarded her when she became pregnant and his affections turned to another village girl, Kate, whom he then married. Although the speaker’s community condemned the speaker as a ‘fallen’ woman, she reflects that her love for the lord was more faithful than Kate’s. She is proud of the son she bore him and is sure that the man is unhappy that he and Kate remain childless.

Themes Rossetti’s initial title for the poem was Up and Down. This title reflects the ideas of social and class change that the poem explores.

Social position Throughout Cousin Kate, the cottage of the speaker is contrasted with the ‘palace home’ (line 9) of the lord of the manor. Social and class differences are highlighted by their living conditions. The speaker recognises that, before she was spotted by the lord, she was ‘contented’ with her fellow ‘cottage mates’ (line 3). After her position changes and she becomes his lover, she speaks of her former dwelling place as a ‘mean estate’ (line 23).

Moral position Since she was an unmarried mother, she would have been categorised by many in Victorian Britain as ‘fallen’ and as an outcast. Yet because of the sexual double standards that operated in the nineteenth century, the lord of the manor would not have been outcast, despite fathering a son outside of marriage

It was the women who received all the blame for falling short of the moral standards of the time; men were generally excused.

Cousin Kate I was a cottage maiden Because you were so good and pure Hardened by sun and air He bound you with his ring: Contented with my cottage mates, The neighbors call you good and pure, Not mindful I was fair. Call me an outcast thing. Why did a great lord find me out, Even so I sit and howl in dust, And praise my flaxen hair? You sit in gold and sing: Why did a great lord find me out, Now which of us has tenderer heart? To fill my heart with care? You had the stronger wing.

He lured me to his palace home - O cousin Kate, my love was true, Woe's me for joy thereof- Your love was writ in sand: To lead a shameless shameful life, If he had fooled not me but you, His plaything and his love. If you stood where I stand, He wore me like a silken knot, He'd not have won me with his love He changed me like a glove; Nor bought me with his land; So now I moan, an unclean thing, I would have spit into his face Who might have been a dove. And not have taken his hand.

O Lady kate, my cousin Kate, Yet I've a gift you have not got, You grew 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 Chose you, and cast me by. I've little doubt you fret. He watched your steps along the My fair-haired son, my shame, my pride, lane, Cling closer, closer yet: Your work among the rye; Your father would give his lands for one He lifted you from mean estate To wear his coronet. To sit with him on high.

First person narrative Connotations of innocence and purity. Cousin Kate What does this Beautiful suggest about her? I was a cottage maiden Hardened by sun and air Contrast this Contented with my cottage mates, with the use Not mindful I was fair. of ‘hardened’. Why did a great lord find me out, A lament. What What picture And praise my flaxen hair? Why did a great lord find me out, has happened to are we To fill my heart with care? her? building of her?

Repetition Foreshadowing suggests despair Contrasts with her humble cottage. Predatory

He lured me to his palace home - Woe's me for joy thereof- To lead a shameless shameful life, What does His plaything and his love. Sexualised imagery: He wore me like a silken knot, she What do these He changed me like a glove; become? similes suggest So now I moan, an unclean thing, about how he Who might have been a dove. treats her?

What do you think he has done to her? How has this damaged her? The narrator is Comparison addressing her suggests cousin, who has now jealousy? become a lady.

O Lady Kate, my cousin Kate, What has he You grow more fair than I: done to our He saw you at your father's gate, narrator? Can Chose you, and cast me by. you explain the He watched your steps along the lane, story so far? Your work among the rye; He lifted you from mean estate To sit with him on high.

Clash of classes – ‘mean’ = humble and poor. Victorian ideal of women as possessions to own.

Examine these contrasts. Because you were so good and pure He bound you with his ring: How were The neighbours call you good and pure, women Call me an outcast thing. treated in Even so I sit and howl in dust, these times You sit in gold and sing: for having Now which of us has tenderer heart? relationships You had the stronger wing. before

marriage?

Link to the bird imagery in lines 15-16 What does this Easily washed metaphor away and suggest inconstant. about the depth of Would our Kate’s love O cousin Kate, my love was true, narrator have for the Lord? Your love was writ in sand: betrayed Cousin If he had fooled not me but you, Kate or been If you stood where I stand, loyal? What does He'd not have won me with his love Nor bought me with his land; this show about I would have spit into his face the moral And not have taken his hand. character of both women? She is childless and Juxtaposition of doesn’t two extremes seem able to to show how have them society and she view her child. Yet I've a gift you have not got, And seem not like to get: For all your clothes and wedding-ring I've little doubt you fret. My fair-haired son, my shame, my pride, Is she afraid Cling closer, closer yet: they will take Your father would give his lands for one him away from To wear his coronet. her?

Justice?

He casts her aside and cannot have a child with Kate. He needs an heir to carry on his line... Activities: Investigating Cousin Kate 1. Think about the significance of the title What does it lead you to believe the poem is about? 2. Do you think that the poem is more about the speaker than about Cousin Kate? 3. Why do you think that the speaker does not name herself? Count how many times she names Kate How significant do you think that this is? 4. Which title do you think is the most appropriate-Cousin Kate or Up and Down? Why? 5. What associations do you have with the word ‘contented’? In what ways do you think that the speaker’s early life corresponded to these ideas of contentment? 6. What comments do you think the speaker is making about the society in which she lives? Whom do you think she blames?

The Class Game Mary Casey Lesson Objectives The Class Game – Mary Casey  To use the background context of the poem to develop our understanding of the content and tone.  To use the correct terminology in our discussion and annotations.  To use P.E.E to develop at least a sound and clear response.

Give a PERCEPTIVE explanation of how the writer uses literary techniques to create effect. Use quotations &poetry terminology to support a CONVINCING & DISCRIMINATING response. (B grade)

Mary Casey: The Class Game

The British Social Class System British society has often been considered to be divided into three main groups of classes:

 The Upper Class Often people with inherited wealth. Includes some of the oldest families, with many of them being titled aristocrats.  The Middle Class The majority of the population of Britain. They include industrialists, professionals, business people and shop owners.  Lower or Working Class People who are agricultural, mine and factory workers.

The British Class System today

• Although some people in the UK still refer to themselves as "working-class", "lower- middle" or "upper-middle" (and of course there are those who think of themselves as the "elite" class), to the majority of the British the meanings don't seem to matter much these days.

Mary Casey: The Class Game

The poem focuses on the concept of identity. It explores the differences between the different “classes” of people in British society. The layout for The Class Game is a monologue. A monologue is when a person speaks their thoughts aloud. This makes it easier for the reader to understand the point of the poem and it makes it more effective. It makes it seem as if they are talking straight at the reader. It has no rhyme scheme. Why does Casey use the word THE CLASS GAME This poem is ‘game’ in the title? written in the form of a How can you tell what class I'm from? monologue: I can talk posh like some, With an 'oIly in me mouth, Down me nose, wear an 'at not a scarf, With me second hand clothes. So why do you always wince when you hear Me say "Tara to me Ma" instead of "Bye Mummy dear"? How can you tell what class I'm from? 'Cos we live in a corpy, not like some, In a pretty little semi, out Wirral way, And commute into Liverpool by train each day.

Identify examples from the poem which indicate the poet is talking to the reader. What stereoyypes of Or did I drop my unemployment card, working class Sitting on your patio (we have a yard)? people does How can you tell what class I'm from? Casey challenge? Have I a label on me head, and another on me bum? Or is it because my hands are stained with toil, Instead of soft lily-white with perfume and oil? What is she Don't I crook me little finger when I drink me tea, implying Say toilet instead of bog when I want to pee? with the Why do you care what class I'm from? description Does it stick in your gullet, like a sour plum? of hands? Well mate! A cleaner is me mother, Look at the A docker is me brother, words in red. Bread pudding is wet nelly, What do you notice about And me stomach is me belly them? And I'm proud of the class that I come from. How does she use repetition to reinforce her message? Activities:TASKS. Compare “The Class Game” with “Half Caste” how do both poets present the theme of identity and challenge traditional stereotypes of people? Identify the language techniques that Casey uses in her poem. How does she use her words to appeal directly to the reader? Think about the aspects of your life that help to make up your identity. Share your ideas with someone else. Activities:  Mary Casey makes it clear throughout the poem that she is proud of her identity and does not wish to hide it.  She does this through the words that she uses and the descriptions of her lifestyle and her family and their jobs.  She is defiant in protecting her way of life and challenging the opinions of those who think they are superior?  Casey shows how words that are said that mean the same thing can sound different and can change someone’s view point and show their ‘Class’. For example; ‘Me say ‘Tara’ to me ‘Ma’ instead of ‘Bye Mummy Dear’?’

 Discussion Point: What things can demonstrate our ‘class’?

Lesson Objectives PREPARING FOR THE EXAM • To explore links between the poems. • To understand how to plan and structure a comparative essay. • To use connectives in our P.E.E paragraphs.

Use connectives Your teacher will give you a piece of A3 paper. Draw 15 boxes as below and write the names of each poem in the boxes.

BELFAST OUR HALF-CASTE PARADE’S END EXPOSURE CONFETTI SHARPEVILLE

YOUR DAD THE CLASS CATRIN COUSIN KATE HITCHER DID WHAT? GAME

O WHAT IS THAT CONSCIENTIOUS THE DRUM AUGUST 6, 1945 INVASION SOUND OBJECTOR

• Discuss on your tables the different types of conflict these poems have and write these below each poem. • Then examine if any of the poems share similarities. • Colour code these similarities to provide yourself with a comparison grid. The experience of examiners and teachers tells us that essays written with plans are better than those which are unplanned. • PLANNING IS NOT A WASTE OF TIME! • THINKING IS NOT A WASTE OF TIME! Possible Planning Formats

• Columns 1st Poem 2nd Poem

REMEMBER • Venn Diagram TO NUMBER YOUR POINTS TO • Spider diagram GIVE AN ORDER TO YOUR ESSAY Part B question Structuring your essay Do not write about one poem, then write about the other and compare in the conclusion. This does not impress a marker and shows a lack of ability in English. You must analyse the similarities and differences between the poems. Your response must also be focused on the key words in the question rather than everything you know about the poems. No! No! No!

• Intro: Write what I am going to say • Para 1: Write about what happens in poem 1 • Para 2: Write about what happens in poem 2 • Conclusion: Write about the similarities and differences. Yes! Yes! Yes!

• Intro: Answer the question and highlight key similarities and differences. Avoid “In this essay I am going to write about...” • Para 1: Discuss how the poems handle the theme of... • Para 2: Consider how the structure affects our interpretation of the poems. • Para 3: Focus on language and key imagery in each poem. • Conclusion: Sum up arguments and link back to the question. 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For Comparing: For Contrasting: • Equally • Whereas • Similarly • On the other hand • In a similar way • Nevertheless • Likewise • Alternatively • As with • Otherwise • Like • Unlike • Just as • Despite this • Both • However • Even though

Can you think of any more? Writing an outstanding introduction How to impress the examiner straight away. A good introduction: • Addresses key words in the question • Shows an understanding of the poems and the topic that has been selected • Introduces some key arguments that will be developed later on. • Tip: Try to start on the word “Both” as this forces you to compare from the outset. Don’t:

• Repeat the question • Say what you are going to do

Which is better?

• In this essay I am going to • Both The Drum and write about the ways in Invasion use structure which The Drum and and language to explore Invasion explore the the theme of war. The theme of war. Drum uses repetition and assonance to evoke the hypnotic beat of the drum calling men to war, whereas Invasion uses caesura to create a sinister atmosphere as civilians are threatened by approaching soldiers. Use what you have learnt today to plan a response and write an introduction for the following essay title:

Part B: Compare the different ways the writers explore the theme of war in ‘The Drum’ and ‘August 6, 1945’. Use evidence from the poem to support your answer. How to construct a great paragraph!

• Start your paragraph with a POINT about one poem... • > The poem ‘Cousin Kate’ uses first person narrative to convey the heartbreak of the speaker.

Remember: the best way to gain marks is to show you can compare the poems, even if they are very different! • Include EVIDENCE and try to embed your evidence within your sentence...

• The persona describes how she has been pursued by a “great lord” who fills her “heart with care.”

Can you see how to use terminology, embed quotes and paraphrase in your sentences? • Your EXPLANATION should take key elements of the quotes you have used and discuss what they tell the reader... Can you see how to start an explanatory sentence? • The phrase “fill my heart with care” uses foreshadowing to suggest something bad has happened to her. This is further demonstrated in the remainder of the poem as we discover the cause of the conflict between the speak and her “cousin Kate”.

Can you see explanatory connectives and how they are used?

THEN you need to use a comparative or contrasting connective to move on to your next poem...

• Similarly ‘Catrin’ also uses first person narrative. Whereas ‘Cousin Kate’ uses foreshadowing to demonstrate trouble to come, ‘Catrin’ uses the word “remember” to demonstrate the importance of her memory as she faces new conflict with her daughter. Showing awareness of themes Useful Connectives Linking connectives: For Emphasising: (for • After explaining) • Firstly • Importantly • Lastly • Significantly • Finally • In particular • Meanwhile • Especially • In conclusion • Indeed • To summarise • Notably • To sum up

Useful Connectives

• For Comparing: • For Contrasting: • Equally • Whereas • Similarly • On the other hand • In a similar way • Nevertheless • Likewise • Alternatively • As with • Otherwise • Like • Unlike • Just as • Despite this • Both • However • Even though

Useful Connectives

• For Explaining: • For Examples: • Demonstrates • For instance • Suggests • Namely • Illustrates • Such as • Shows • Furthermore • Implies • In other words • Connotes • Conveys the idea that • Propounds

BANNED CHALLENGE connectives for Connectives for explaining explaining Suggests Implies Shows Demonstrates Gives Creates

Challenge for the day – use these connectives in your next lesson when answering a question! Practice Questions

A) Describe the writer’s attitudes to twentieth century war in ‘Invasion’.

Either: B (i) Explain how the writer of ‘Exposure’ presents different ideas about war from those in ‘Invasion’. Use evidence from the poem to support your answer. You may include material you used to answer part (a). OR

(ii) Explain how the writer of one poem of your choice from the ‘Clashes and Collisions’ collection presents different ideas about conflict from those in ‘Invasion’. Use evidence from the poem to support your answer. You may include material you used to answer part (a).

Total (30 marks) Practice Questions

A) Explore how the writer presents her ideas about twentieth century war in ‘August 6, 1945’. Use evidence from the poem to support your answer.

Either: B (i) Compare the different ways the writers explore the theme of war in ‘The Drum’ and ‘August 6, 1945’. Use evidence from the poem to support your answer. You may include material you used to answer part (a). OR

(ii) Compare how the writers of ‘August 6, 1945’ and one poem of your choice from the ‘Clashes and Collisions’ collection reflect on attitudes to war. Use evidence from the poem to support your answer. You may include material you used to answer part (a).

Total (30 marks) Practice Questions

A) Explore how the writer presents his ideas about conflict in ‘Belfast Confetti’. Use evidence from the poem to support your answer.

Either: B (i) Compare the different ways the writers explore the theme of conflict in ‘Belfast Confetti’ and ‘Catrin’. Use evidence from the poem to support your answer. You may include material you used to answer part (a). OR

(ii) Compare how the writers of ‘Belfast Confetti’ and one poem of your choice from the ‘Clashes and Collisions’ collection reflect on attitudes to conflict. Use evidence from the poem to support your answer. You may include material you used to answer part (a).

Total (30 marks)