2017 ©Pearson part. in or whole in Shaun Gamble, Peter Inson,Robert Taylor O’Brien, Pam Shaun Gamble,Peter JamesChristie, David Farnell, FleurFrederick, Samantha Brunner, Greg Bevan, Student Book ENGLISH LITERATURE GCSE(9 INTERNATIONAL EDEXCEL included eBook distribution or circulation resale, for Not discretion. publisher at change to subject content all –1) proof, Uncorrected 2017 ©Pearson part. in or whole EDEXCEL INTERNATIONAL GCSE (9–1) in distribution or ENGLISH LITERATURE Student Book circulation resale, Greg Bevan for Not Samantha Brunner James Christie discretion. David Farnell Fleur Frederick publisher Shaun Gamble at Peter Inson change Robert O'Brien to Pam Taylor subject content all proof, Uncorrected A01_ENGL_SB_2588_FM_CS5.indd 1 30/09/2016 10:24 iv COURSE STruCTURE 2017 2 READING 32 WRITING 60 PAPER 1 SKILLS SKILLS ©Pearson 4 TEXT ANALYSIS 34 VOCABULARY 62 READING POETRY part. 4 ◼ SKIMMING AND SCANNING 34 ◼ CHOOSING THE RIGHT 62 ◼ INTRODUCTION TO POETRY in VOCABULARY or 6 ◼ EXPLICIT AND IMPLICIT 64 ◼ MAKING SENSE OF POETRY IDEAS 36 ◼ VOCABULARY FOR EFFECT 66 ◼ FIGURATIVE LANGUAGE whole 8 ◼ POINT-EVIDENCE-EXPLAIN 38 ◼ LANGUAGE FOR DIFFERENT in (P-E-E) EFFECTS 68 ◼ CREATING MOOD, ATMOSPHERE AND EMOTION 10 ◼ EVALUATING A TEXT 70 ◼ FORM, RHYTHM AND METRE 40 SENTENCES distribution 72 ◼ UNSEEN POEMS or 12 USE OF LANGUAGE 40 ◼ SENTENCE TYPES 80 ◼ COMPARING AND LINKING 12 ◼ WORD CLASSES 42 ◼ OPENING SENTENCES POEMS 14 ◼ CONNOTATIONS 44 ◼ SENTENCES FOR EFFECTS circulation 16 ◼ DIFFERENT SENTENCE 84 POETRY ANTHOLOGY TYPES resale, 46 STruCTURE 84 ◼ ‘If–’, RUDYARD KIPLING for 20 ◼ SENTENCES FOR EFFECTS 46 ◼ PRINCIPLES OF 87 ◼ ‘PRAYER BEFORE BIRTH’, Not STRUCTURE LOUIS MACNEICE 22 FICTION TEXTS 48 ◼ PARAGRAPHING FOR 90 ◼ ‘BLESSING’, EFFECT IMITIAZ DHARKER 22 ◼ FIGURATIVE LANGUAGE discretion. 50 ◼ LINKING IDEAS 93 ◼ ‘SEARCH FOR MY TONGUE’, 24 ◼ CHARACT ER, ATMOSPHERE SUJATA BHATT AND EMOTION 97 ◼ ‘HALF-PAST TWO’, publisher 28 ◼ NARRATIVE VOICE 52 PUNCTUATION AND U.A. FANTHORPE at 30 ◼ STRUCTURE SPELLING 100 ◼ ‘PIANO’, D.H. LAWRENCE 52 ◼ ENDING A SENTENCE 103 ◼ ‘HIDE AND SEEK’, change VERNON SCANNELL to 53 ◼ COMMAS 54 ◼ APOSTROPHES 106 ◼ ‘SONNET 116’, WILLIAM SHAKESPEARE subject 55 ◼ COLONS, SEMI-COLONS, DASHES, BRACKETS, 109 ◼ ‘LA BELLE DAME SANS ELLIPSES MERCI’, JOHN KEATS content 113 ◼ ‘POEM AT THIRTY-NINE’, all 56 ◼ PROOF-READING, CHECKING AND EDITING ALICE WALKER 116 ‘WAR PHOTOGRAPHER’, proof, 58 ◼ COMMON SPELLING ◼ ERRORS CAROL ANN DUFFY 119 ◼ ‘THE TYGER’, WILLIAM BLAKE Uncorrected 122 ◼ ‘MY LAST DUCHESS’, ROBERT BROWNING A01_ENGL_SB_2588_FM_CS5.indd 4 30/09/2016 10:24 COURSE STCONTENTSruCTURE v 2017 192 PAPER 2 312 PAPER 3 126 ◼ ‘HALF-CASTE’, JOHN AGARD ©Pearson 130 ◼ ‘DO NOT GO GENTLE INTO THAT GOOD NIGHT’, 192 MODERN DRAMA 314 ◼ COURSEWORK OVERVIEW part. DYLAN THOMAS 194 ◼ INTRODUCTION TO 316 ◼ ASSIGNMENT A – in MODERN DRAMA 133 ◼ ‘REMEMBER’, MODERN DRAMA or CHRISTINA ROSSETTI 196 ◼ A VIEW FROM THE BRIDGE, 322 ◼ ASSIGNMENT B – ARTHUR MILLER LITERARY HERITAGE TEXTS whole in 136 MODERN PROSE 205 ◼ AN INSPECTOR CALLS, J.B. PRIESTLEY 136 ◼ INTRODUCTION TO MODERN PROSE 217 ◼ THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT- 328 EXAM distribution 138 TO KILL A MOCKINGBIRD, TIME, SIMON STEPHENS or ◼ HARPER LEE PREPARATION 227 ◼ KINDERTRANSPORT, 149 ◼ OF MICE AND MEN, DIANE SAMUELS JOHN STEINBECK circulation 237 ◼ DEATH AND THE KING'S 160 ◼ THE WHALE RIDER, HORSEMAN, 332 GLOSSARY WITI IHIMAERA WOLE SOYINKA resale, 171 ◼ THE JOY LUCK CLUB, for AMY TAN Not 248 L ITERARY HERITAGE 181 ◼ THINGS FALL APART, 334 INDEX CHINUA ACHEBE TEXTS 248 ◼ INTRODUCTION TO discretion. LITERARY HERITAGE TEXTS 250 ◼ ROMEO AND JULIET, WILLIAM SHAKESPEARE publisher 261 ◼ MACBETH, at WILLIAM SHAKESPEARE 271 ◼ THE MERCHANT OF VENICE, change WILLIAM SHAKESPEARE to 282 ◼ PRIDE AND PREJUDICE, JANE AUSTEN subject 292 ◼ GREAT EXPECTATIONS, CHARLES DICKENS content 302 ◼ THE SCARLET LETTER, all NATHANIEL HAWTHORNE proof, Uncorrected A01_ENGL_SB_2588_FM_CS5.indd 5 30/09/2016 10:24 viii ITANTBORUOTDU THICSI ONBOOK 2017 ABOUT THIS BOOK ©Pearson This book is written for students following the Pearson Edexcel International GCSE (9–1) English Literature specification. part. This Student Book covers both years of the course. in The course has been structured so that teaching and learning can take place in any order, both in the classroom and for or independent learning. The book contains five chapters: Reading Skills, Writing Skills, Paper 1, Paper 2 and Paper 3. The Reading Skills and Writing Skills chapters cover fundamental areas of these two key areas of English Literature. whole They build on and reinforce what students already know and develop essential skills that will allow them to succeed at in this course. They can be taught as blocks at the start of the course or integrated into relevant sections of the texts being studied. Learning objectives Skills Stretch your thinking Chapters and Units are Each activity and set of questions Exercises to push able students distribution carefully tailored to address has been assigned with the key beyond content covered in the or key assessment objectives skills gained from undertaking course and stimulate further central to the course. them, allowing for a strong focus thought and discussion. on particular academic qualities. circulation 64 paper 1 reading poetry paper 1 reading poetry 65 resale, learning objectives making sense of poetry ▼ meaning/feeling ▼ techniQUe This lesson will help you to: Feeling of melancholy Lots of long vowel sounds: lots of ‘a’s and ‘o’s and ‘e’s. for and sadness ◼ analyse individual poems The first thing to think about is what meaning you can take from ‘O what can ail thee, knight-at-arms, / Alone and palely loitering?’ ◼ provide a general introduction the poem. What is the poem saying, if you had to summarise it? to the process of reading and Sometimes the answer is fairly clear. Rudyard Kipling’s ‘If –’, for This creates an effect of slowness and helps to produce the Not understanding poetry. example, is clearly talking about what it takes to be a good and sense of a melancholy wasting and fading away. successful man. Many poems, however, might express more than Feeling that things have The use of words that suggest sickness and the decay of one meaning or contain hidden meanings. Other poems are based gone wrong; the natural nature, such as ‘withered’, ‘ail’ and ‘palely’. key point order has been disturbed on the communication of feelings and sensations rather than The final line is much shorter than the others and There are two essential questions that therefore disturbs the rhythm that has been established in you should ask when approaching any an identifiable meaning. William Blake’s ‘The Tyger’ is a good the first three lines. This creates a feeling of strangeness poem. Firstly, what does the poem example of this. Your own personal response is important. How does and disturbance in the usual order of things. mean and/or what feelings does it the poem make you feel? What does it mean to you? Questioning generate? Secondly, what techniques Setting feels medieval/ The choice of archaic words that are not widely used your own thoughts and reactions is at the heart of analysing very old today, such as ‘thee’, ‘knight-at-arms’ and ‘sedge’. discretion. are used to communicate those poetry and can make it an exciting and meaningful process. meanings and feelings? hidden meanings and feelings Another thing which will improve your answer in the exam is to look for critical thinking, interpretation, activity 1 AO2 skills collaboration meanings and feelings that are implicit and below the surface, as well as those which are more obvious. ▼ different meanings ‘War Photographer’ by Carol Ann Duffy is literally about a photographer developing photographs. However, you need to work harder to think about Read ‘Half-Caste’ by John Agard. Discuss the poem in a small group. what Duffy might be trying to say through her descriptions of the photographer. publisher Make a list of all the meanings that you take from it, and another list of all Is the poem talking about the horrors of war, the psychological damage the feelings and sensations that are part of your individual reactions to it. done to the photographer or the coldness of Western societies which only at access war through newspapers? You need to argue in support of one of these interpretations by using evidence from the poem. If you can access implicit as well finding evidence When analysing poetry, your personal response will never be enough on its own. ▲ Photos can have implicit and explicit meanings as explicit meaning in this way, it will help to improve the quality of your response. To succeed in the exam, you need to take the next step and ask how the poet communicates meaning and feelings. In other words, your personal response critical thinking, interpretation, skills co-operation needs to be supported by evidence that you have noticed within the poem. activity 3 AO2 There are several different dimensions that you should look at when finding change this evidence. Many of these points are addressed in greater detail in the other ▼ explicit and implicit meaning sections in this unit. They include things like poetic imagery, rhythm and rhyme, poetic structure and form, and the poet’s choice of language. general vocabUlary Working with a partner, pick one of the poems in the Anthology. One to implicit suggested or understood without person writes down what they consider the explicit or literal meaning of skills analysis, interpretation being told directly the poem to be. The other person writes down any implicit meanings activity 2 AO2 or ideas they can find. Compare what you have written. Do both pieces together produce a comprehensive description of the poem’s meaning? ▼ emotions and feelings Look at the first stanza of John Keats’s ‘La Belle Dame sans Merci’. subject exam-style QUestion Discuss the representation of nature in John Keats’s ‘La Belle Dame O WHAT can ail thee, knight-at-arms, sans Merci’.