YEAR 11

ENGLISH

REVISION

BOOKLET

2008
 Year 11 English Revision Booklet
2008
You will take 3 examinations:-

English Literature on Tuesday 20 May am (1 ¾ hours)

English Paper I on Tuesday 3 June am (1 ¾ hours)
English Paper 2 on Thursday 5 June am (1 ½ hours)

The following is a check list of reminders and revision details that if you follow should provide good
support and guidance.

FOR EACH PAPER CHECK THAT YOU HAVE THE CORRECT TIER - FOUNDATION OR
HIGHER.

ENGLISH LITERATURE 1 3/4 hours

NOTE THIS IS JUST BEFORE HALF-TERM

YOU ONLY ANSWER 2 QUESTIONS

ONE ON SECTION ‘A’ AND ONE ON SECTION ‘B’

SECTION A 20th Century Prose

YOUR PROSE TEXT IS ........................................................................................................................

You will be given a choice of two questions.

You must ONLY DO ONE.

Revision

You should have:-

• No notes or markings on any pages of the novel.
• You should have notes to revise the night before such as:-
1. Any teacher’s notes
2. Test exam questions
3. Summaries of story
4. Character notes.
5. Worksheets
6. The Revision Programme Notes that you have been working through.
7. CPG Booklets if purchased.

IT IS VITAL THAT YOU ANSWER THE QUESTION BEING ASKED

SPEND ABOUT 50 MINUTES ON EACH QUESTION

SECTION B Pre and Post 1914 British Poetry from the Anthology

You must refer to at least one poem from Heaney, one from Clarke and two from the 1914 list.

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These are the poems you should prepare:-

Foundation Tier List

Foundation

Heaney Clarke Pre-1914

Mid-Term Break Baby Sitting The Eagle
Follower On the Train Song of the Old Mother
Digging Catrin On My First Sonne
Death of a Naturalist The Field Mouse I love to see the Summer
Storm on the Island Cold Knapp Lake Patrolling Barnegat
A Difficult Birth

Higher

At a Potato Digging Cold Knap Lake Patrolling Barnegat

Storm on the Island A Difficult Birth The Affliction of Margaret
Digging Catrin On My First Sonne
Death of a Naturalist The Field Mouse I love to see the Summer
Mid-Term Break On the Train The Eagle
Follower Baby Sitting

You will need to know the notes below, about each of the above poems. This is a comparison
question so you should be using words to compare:

Glossary of terms for similarities and differences:

terms for similarities:

the same as similar to this compares with also both poems

similarly like in the same way just as corresponding

terms for differences:

whereas but on the other hand however in comparison with

more/fewer differently in contrast nevertheless in contrast with

Seamus Heaney (1939 - )

Born Country Derry, Ireland. Eldest of 9 children. Grew up on father’s farm in Mossbawn.
Traditional farming methods were still used. After local school he boarded in Derry, then on to
university in Belfast. Teacher, then lecturer. 1995 Nobel Prize for Literature.

Tiers F = Foundation H = Higher

Storm on the Island (F + H)

This describes the effects of a fierce storm on a house on an island. It examines our fear of nature and
its power that we can feel.

Poem’s/Poet’s Attitude/Feelings
• Sense of security at start line 1. Prepared line 4/5.
• Senses power of storm line 6/7.
• Fear as they sit and wait, line 16, line 19.
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• Respect for nature.

Structure
Line 1-5 describes community prepared/built to survive.
Line 6-16 describes power/sounds of storm
Line 16 –19 describes their fear as the wind attacks them.

Poetic Devices
• Line 1-2 strong words/sounds suggest prepared. Strong building.
• This is a barren place ‘wizened’ line3 – no crops to lose.
• Half-rhymes 1-2, 3-4 – join, so make things solid.
• No sound, because no trees Line 6-8 – but also no electricity?
• Line 10 ‘pummels’ – strength of wind. Onomatopoeia.
• Poet talks to reader ‘You’, includes us in fear.
• Factual description up to line 7 – now uses imagination, line 8 – 10 – metaphor of chorus
• ‘Fear’ line 9 – last word so emphasised – as on line 19
• No safety here line 11.
• False comfort of sea as simile line 15 explains
• Vocabulary of warfare – dives, strafes, salvo, bombarded
• Wind described as ‘invisibly’, ‘empty air’ and finally ‘ a huge nothing’. More frightening
because of this
• Contrast of line 1 to line 19. From resilience to fear

Look at the title. The first eight letters spell STORMONT. Why?

Links :-

Clarke:- The Field Mouse (F + H) A Difficult Birth (H)

Pre-1914:- The Eagle (F + H)

Patrolling Barnegat (H)

Death of a Naturalist (F + H)
Heaney describes a time in childhood where he goes through a dramatic change towards frogs and
frogspawn. As first he enjoys it, is fascinated by it, encouraged by his infant teacher. But then he is
revolted by seeing the slimy frogs invade the flax-dam and is scared.

Poem’s/Poet’s Attitude/Feelings
• This memory shows his feelings as a young boy
• He is at first excited by the frogspawn line 8-10
• The teacher excites the class by making it fairy story like line 16/17.
• Then the boy is frightened by the frogs taking over the flax-dam line 31-33.
• The poet, Heaney now looks back on this moment in his life as a significant impact on his
personality.

Structure
• Line 1-10 describes the flax-dam
• Line 11-15 describes his excitement and enthusiasm
• Line 15-21 describes the infant teacher’s fairy story approach
• Line 21 – ‘in rain’ signifies the change. Also end of stanza and word ‘then’.

• Line 31-33 describes the boys revulsion and fear.

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Poetic Devices
• Line 1-10 sight, sound, touch and smell senses capture the flax-dam.
• Significant words set the unpleasant tone line 1 ‘festered’, line 3 ‘rotted’.
• Strong atmosphere created by alliteration line 2, line 5 and assonance line 4, line 5, line 8/9.
• Sense of ‘heaviness’ in atmosphere line 4, line 3, line 9. These words suggest heat and thickness
line 4, line 8/9.
• Line 11 – ‘I’ is first time we get personal note.
• Line 10-15 words are lighter to show his excitement ‘nimble’ line 14.
• Infant teacher treats them as babies and makes it sound delightful ‘daddy’ ‘mammy’.
• Language from line 22 is of adult looking back vocabulary is more mature than line 13 – 14.
• Sounds in line 22-33 return to alliteration and assonance of first part, line 25, line 27/28.
• We return to the four senses too, line 29.
• Words suggest foulness – line 27, line 28.
• Frogs become ‘angry’ line 24 ‘threats’ line 29.
• Military words ‘invaded’, ‘cocked’, ‘grenades’.
• Images of frogs – simile line 30, metaphor line 31, revolt us.
• Fear of boy shown in line 31 and line 33.

Why is it called ‘Death of a Naturalist’?

Links :-

Clarke:- The Field Mouse (F+H) A Difficult Birth (H)

Cold Knapp Lake (H)

Pre-1914:- Patrolling Barnegat (H) I love to see the Summer (F+H) The Eagle (F &
H)

Digging (F+H)
As Heaney works on his poetry he sees his father digging in the garden. The sight takes him back to
memories ‘twenty years away!’ He recalls his father digging potatoes and his grandfather digging
peat. These ‘roots’ of his he could not follow- he digs out ideas with his poems.

Poem’s/Poet’s Attitude/Feelings
• Respect for father and grandfather line 15/16.
• Slight sense of guilt, he hasn’t followed this skill line 28
• Fond memories of his past are ‘dug up’ by this, line 14, 19/20, 25/26
• Ignored by grandfather line 20/21.

Structure
• Lines in each stanza increase to line 15, then decrease (visual layout). Line 15/16 stands
separately.
• Structure comes from contents:

1. Line 1-6 sits writing

2. Line 7 – 24 memories of father and grandfather
3. Line 25-28 awakes tactile memories of digging
4. Line 28 – 31 back as writer – digging for ideas.

• Line 1 and line 29 starts and end with ‘Between’ – symmetry.

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Poetic Devices
• Line 2 ‘gun’ image suggests his writing can be dangerous. A different ‘tool’ to a spade.
• Assonance (repetition of vowels) of ‘u’ sound line 2, 3 – 4.
• Line 10-14 verbs describe digging – clean and sharp action.
• Line 22 verbs about digging.
• Line 24 – ‘Digging’ stands alone to give emphasis.
• Alliteration line 25/26 – can hear the digging. (onomatopoeia)
• Line 27 his own roots – family memories.
• Line 28 ‘men’ shows respect. He hasn’t matched them.
• Line 31 he digs with his pen ‘nicking and slicing’ to find the correct word, sound or idea
• A change from gun to show he realises how he ‘digs’.

Links with:-

Clarke:- Catrin (F + H) A Difficult Birth (H), The Field Mouse (F + H)

Pre-1914:- The Affliction of Margaret (H) On My First Sonne (F + H)

Mid – Term Break (F + H )

Heaney’s memory of his young brother’s death after being hit by a car. He is taken home from
boarding school and faces the embarrassment of the emotions of his father, mother and the reactions
of his neighbours. He goes to see the corpse

Poem’s/Poet’s Attitude/Feelings
• Reflecting on moment of grief in past
• As boy he is embarrassed by the event line 8/9
• Sense of being shocked/stunned line 20/21
• As poet sees the importance of the ritual, line 16/17.

Structure
• Time gives structure:-
a) at school – driven home
b) at home – amongst family and friends
c) arrival of corpse
d) goes to see corpse laid out.

Poetic Devices
• School bell like death knell line 2
• Simple sentences – reflect boy’s view line 7, line 14. Very factual.
• Emotion of boy line 4 – 6. Embarassed by displays of emotion
• Contrast of line 7, baby in pram, with dead boy in coffin, line 20. Time will not pass for this
dead boy.
• “Snowdrops – soothed” line 16-17. Images of life/innocence.
• “Poppy bruise” line 19 – associated with death.
• Finality of final line – only rhyme line 21/22 for effect
• Ritual of funeral helps family, line 16/17.
Why is it called ‘Mid-Term Break?’

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Links with: -

Clarke - On the Train (F + H)

Cold Knap Lake (H)

Pre-1914 - On My First Sonne (F + H) The Affliction of Margaret (H)

The Follower (F + H)
A childhood memory of following his father while ploughing. He admires his father’s skills but feels
he got in his way. He has a sense of failure as a son line 19-22. But as an adult his father is the
nuisance because he’s old or is a haunting memory that disturbs him, line 22-24.

Poem’s/Poet’s Attitude/Feelings
• Respect for father’s skill:-
1. His strength line 2
2. His control line 4
3. His expertise line 10-12.
• His feelings of being a nuisance line 13-14.
• Delight in being carried by father line 15-16.
• Sense of failure line 19 – 22.
• Now he feels his father is the nuisance or haunts him, line 23-24.

Structure
• Line 1-12 describe father’s expert ploughing
• Line 13-16 describe his actions and his father’s rare inclusion of him
• Line 17-22 describes his sense of failure.
• Line 22-24 describes the reversal in their relationship.
• First 3 stanzas about father, second 3 stanzas about the poet.

Poetic Devices
• Images of sailing – shirt billowing out over broad shoulders, like sail over boat, line 2-3 and also
‘wake’ line 13.
• ‘An expert’ line 5 stands alone for emphasis
• Verbs in line 5-6 show control
• Contrast of ‘sweating team’ line 9 and father line 12 (intelligent)
• Contrast of boy stumbling line 13-14 and father’s control, line 16.
• Line 19 “All I ever did ….” Shows his failure.

Technical terms
• Wing – part of the frame of the plough
• Sock – pointed and painted end of a plough that cuts the soil. Painted so know depth of cut.
• Sod – grass covered earth.
• Headrig – the end of the field where the horse turns.

There are two followers in this poem. How are they followers?

Links:-

Clarke:- Catrin (F + H) Cold Knapp Lake (H)

Baby Sitting (F)

Pre-1914:- On My First Sonne (F + H)

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 The Affliction of Margaret (H)
The Song of the Old Mother (F)

At a Potato Digging (H)

In 1845 Ireland was hit by the great Potato Famine. This poem moves between a present day
collecting of potatoes and the past when the famine was upon the land. It describes not only the task
of potato digging but the suffering of the poor in 1845.

Poem’s/Poet’s Attitude/Feelings
• Sees strong links between the potato and the Irish – past and present. Part of their culture line
11/12.
• An appreciation of the potato and how it has sustained the Irish, line 23-25.
• Horror, anger and revulsion at effects of famine line 42–44.
• Appreciation of Irish resilience. They continue to rely on the potato and graft away. Line 52-54.

Structure
Section I A description of present day digging and collecting of potatoes.
Section II A description of potatoes themselves.
Section III Describes the potato famine, its effects on the people and how the potatoes rotted.
Section IV Describes the thankful workers of today having a break. A more positive picture of
the workers.

I
Poetic Devices
Line 1-4 contains reminders of past ‘dark shower of roots’
• Line 5-10 contains words to link present to past ‘like crows’ (line 39-41)
• Alliteration line 6 – working together, line 7, line 11
• Assonance ‘stumble/crumble’ line 9/10. Repeating these sounds, suggests this working together.
• Line 8-9. Break in line, makes us pause for the moment of standing.
• Line 11-16 images of going to church and taking communion. Mother Earth.
• Rhyme – alternative lines, compare to III.

II
• Colour line I7 shows health of potatoes. Also hard – ‘like pebbles’ and ‘white as cream’ line 23
so tasty.
• Line 24-26 birth image of healthy food.
• Line 29 provides link with the past. The skulls of the dead.

III
• Images of dead line 30-31. ‘live skulls’ shows little flesh on them.
• Higgledy line 31 connects to present, line 6.
• Link with line 34 and line 18.
• Horrific image of birds pecking at dead bodies, line 41.
• People compared to plants, line 43 – depend on the earth for food.
• Vocabulary of line 46-49 stresses revulsion – touch sight and smell.
• Links III to IV (and I) by phrase ‘potato diggers’ line 48.
• ½ rhyme here on following lines. So contrast to show difference between past and present.

IV
• Change of tone, line 50 ‘flotilla’ – celebration.
• Colours brighter, line 52.
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• Plenty of food, line 52, line 54.
• But is a reminder of the past – ‘stretched on the faithless ground’, ‘Dead-beat’.
• ‘fasts’ refers to famine of past.
Think of the title what different meanings are there here.
Links :-

Clarke:- The Field Mouse (F+H)

A Difficult Birth (H) On the Train (F + H)

Pre-1914:- Patrolling Barnegat (H) The Eagle (F + H)

Gillian Clarke (1937 - )

Born and raised in Cardiff. A welsh poet, her poetry reflects her sense of cultural identity and her
family relationships.

Catrin (F + H)
The poet is remembering the birth of her daughter. The difficulties of the birth are described in terms
of them both fighting over the umbilical cord (‘red rope of love’). In the second stanza she describes
a ‘conflict’ later when as a child, her daughter wants to skate longer in the dark.

Poem’s/Poet’s Attitude/Feelings
• She identifies her strong feelings about
1. The birth line 11-13
2. The need to be separated line 16-17
3. The mixture of emotions line 14-15.
• She accepts that moment changed them both line 19-20.
• She accepts the ongoing combination of love and conflict in having a child, lines 26-27.

Structure
Line 1-17 describes the birth in hospital.
- absently looking out the window }
- the violent birth in the cleaned room } Past time
- her violent and tender words shouted out }
Line 18-20 reflects on how neither won or lost the struggle at birth.
Line 20-29 describes an up to date conflict where her daughter wants to skate longer in the
dark. } present time

Poetic Devices
• ‘I’ and ‘you’ identifies the two people. Line 1
• ‘child’ shows the relationship. Line 1
• Words of conflict line 7, line 9, line 15, line 16, line 20, line 24. Words
of a bond, line 7-8, line 14.
• The hospital room contrasts with the emotion of the event. Line 10-11. Very cleansed and
impersonal, line 19
• Both need to be apart, line 15-17. ‘Ourselves’ separated and important.
• Second stanza is in future time – line 20 ‘still …’ nothing has changed.
• Poet admires daughter’s looks, line 22-25.
• Line 25 ‘old rope’ umbilical cord – tug of love.
• Line 26 ‘tightening’ suggests effects on poet/mother. The pain she feels.
• Line 29 Two meanings. Also the idea that the mother is thrown into a dark uncertainty, a mix of
love but wanting her child safe.
Why mention traffic lights at the beginning?

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Links
Heaney:- Follower (F + H)
Digging (F + H)

Pre-1914:- The Affliction of Margaret (H)

On My First Sonne (F + H)
The Song of the Old Mother (F)

Baby Sitting (F + H)
The poet describes the responses of a female baby sitter to the baby. The baby sitter’s thoughts dwell
on
- this is not her baby
- the baby is different to her’s
- her worries if it wakes
- how the baby will react to her.

Poem’s/Poet’s Attitude/Feelings
• lack of love for baby, line 2-3
• her fear if baby wakes line 6-7
• She tries to imagine the baby’s response to her, line 11-12, line 18-20.

Structure
• Two stanzas
• First stanza:-
Line 1-5 simple description of situation
Line 6-10 worry if wakes, imagines baby’s reactions
• Second stanza:-
Line 11-16 gives other examples of sense of abandonment – the deserted lover, the death bed wife.
Line 17-20 describes her failure to provide milk or love.

Poetic Devices
• Impersonal tone line 1-5 – no real emotion
• Line 2-3 ‘I don’t love/this baby’ – But loves her own
• Line 6-10 her feelings line 9-10, and the baby’s line 7-8
• Emphasis of ‘absolute/abandonment’ line 11-12 so stands out, notice the line break
• Emotional language is now used to describe other abandoned people line 13-14 and line 14-16.
• The baby’s monstrous land’ is that of sleep and nightmares – a metaphor.
• Repetition in line 20 – love won’t come for either of them.

Links
Heaney:- Follower, Digging, Mid-Term Break (F + H)

Pre-1914:- The Affliction of Margaret (H)

On my first Sonne (F + H)
The Song of my old Mother (F)

A Difficult Birth, Easter 1998 (F + H)

The poet describes an old ewe giving birth. It is difficult and the poet helps her, eventually to a happy
conclusion; two lambs born. During this there are links made to the Crucifixion of Christ and the
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Good Friday Agreement made in Ireland in 1998 to set up a framework for peace.

Poem’s/Poet’s Attitudes/Feelings
• A bond between poet and ewe line 11-12, line 19. Pleasure at success.
• Thoughts of the Irish peace process, hoping for a break through line 3, line 9 –10.

Structure
Stanza 1 Explains the ewe’s condition and history. Mentions Good Friday and the Irish peace
deal.
Stanza 2 The birth starts but then the lamb becomes stuck. Reference is made to the Irish
problem.
Stanza 3 Her husband (?) calls the vet. But she decides to help the ewe herself.
Stanza 4 She and the ewe work together and the birth is successful. Her husband returns and a
second lamb is born.

The structure follows the events of the evening as they unfold and her accompanying thoughts. Each
stanza moves the time on, line 7.

Poetic Devices
• Christ is often referred to as a ‘Lamb’ – bringer of peace.
• On Good Friday Christ was crucified. On Easter Sunday the rock covering the tomb was rolled
away, Christ had risen from the dead. Peace resurrected, lambs born – hope.
• The poem likens the lamb’s birth to the hope of the Good Friday Agreement and the rising of
Christ.
• Ewe has been barren for years, like the Irish problem line 1-2.
• Ewe is like the participants in the peace talks line 4.
• Line 5 – refers to the Last Supper – like the peace conference.
• Line 10 – applies to both the ewe and the Irish problem/talks.
• Line 12 ‘Two hooves and a muzzle’ – The lamb is stuck, just like the talks.
• Line 13 ‘But the lamb won’t come’ – no progress for ewe or talks.
• Line 19 Both ewe and talks but is hope – working ‘together’ and ‘strain’ ‘hard’.
• Line 22 ‘peaceful’.
• Line 22 ‘cradling’ is hope of new life, for ewe and talks. Cradle also applies to Christ’s birth.
• Line 23 ‘second lamb’ represents coming of peace
• Line 23 the open door refers to the ewe’s vagina, the cave of Christ and the agreement in Ireland.
• Line 24 ‘the stone rolled’ away is the miracle. Literally in Christ story, but metaphorically in case
of ewe and peace talks.

Links:-

Heaney:- At a Potato Digging (H)

Mid-Term Break (F + H)

Pre-1914:- On My First Sonne (F+H) The Affliction of Margaret (H)

The Field Mouse (F + H)

The poem was written at the time of the Bosnia-Herzegovina conflict in Europe. It is set at harvest
time but is about the war.
Hay cutting takes place in one field as a neighbour spreads lime (fertilizer). A child finds a mouse
that is full of fear. The poet’s concerns about the harvest (the mice) the news of the war, her children
and her dreams are expressed.
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Poem’s/Poet’s Attitude/Feelings
• Sense of guilt as away from conflict line 3-4.
• Guilt at having to kill mouse and hurt children line 14-15.
• Fear for her own children line 24-25.
• Sense of powerlessness line 26-27.

Structure
Stanza 1 Has positive tone of haymaking in Wales. Friendship with neighbour. Sets scene.
Stanza 2 The pain caused by the death of the mouse to the children. Linked to death of
children in Bosnia. Action in this stanza.
Stanza 3 Feelings of anger line 21, guilt line 23, distrust line 26 caused by war.

Poetic Devices
• ‘snare drum’ line 1 is a military drum – link to war.
• ‘jets’ – warfare, line 2
• line 4 ‘terrible news’ Bosnia War.
• They escape war news to make hay but the ‘tractor blade’ causes destruction.
• This neighbour is friendly line 9.
• Line 10 reminder of destruction – ‘killed’.
• Mouse’s eyes like ‘sparks’, ‘star’ – goes out as dies – as the Bosman children.
• Line 14 pain, takes over all its body.
• Line 16, the field of war here.
• Line 17 ‘children’ the poet thinks of more than her child.
• Line 18 the ‘we’ suggest all have responsibility.
• Line 19 ‘field lies bleeding’ – damaged, killed, bleeding animals …. and people – during the
war.
• Line 21 ‘the wrong’ is tied to the Bosnian war – the ethnic cleansing.
• Line 24-25 children are vulnerable
• Line 26 ‘stammering’ – onomatopoeia. Sounds like gunfire.
• Line 26/27 neighbour has changed as in Bosnia.

What have the field, the mouse and the child come to represent?

Links:-

Heaney:- Death of a Naturalist (F + H) Storm on the Island (H)

At a Potato Digging (H)

Pre-1914:- Patrolling Barnegat (H) I love to see the Summer (F + H)

The Eagle (F + H)

On the Train (F + H)
The Paddington train crash occurred in October 1999. Thirty-one people were killed and 500 injured.
The poet is travelling by train, homeward. She reflects on the people who were on the phone and
their loved ones and how desperate they must have been to know if they were safe.

Poem’s/Poet’s Attitude/Feelings
• Line 5-6 feelings of love towards her partner?
• Line 16-18 she feels great sorrow for those whose family/friends were killed or injured
• Line 21-22 sense of desperation to get in touch with loved one.
• Line 24 A need to communicate.
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Structure
• Stanza 1 and 4 – the poet on a train travelling home.
• Stanza 1 factual, observant, then personal line 5/6.
• Stanza 2 and 3 – about the Paddington crash.
• Stanza 2 – commuters getting on the train, leaving domestic situations. Factual account.
• Stanza 3 – Use of mobile phones resulting in horror for some if no response. Emotive.
• Stanza 4 – Personal feelings of a need to communicate with loved ones.

Poetic Devices
• Line 1, train cradles by protecting from outside, rocks, and shape is similar.
• Line 2 rocking repeated as suggest rhythm of train and connects with line 1
• Modern age of communication – personal stereo, radios, mobile phones. But train crashes as
failure in communication.
• Line 5 + 6 Two people thinking of each other. This sets the scene for later.
• Line 7-10 All different types of people involved.
• Line 12 ‘dreaming’ unaware of disaster to come. Like cradled line 1.
• Line 12 ‘ blazing bone-ship’ – shock, contrast with rest of stanza. Reference to Vikings ritual
burial, out to sea in blazing ship. Skeleton of train remained.
• Line 13 Familiar phrases, but cuts off at end of line, creates sense of panic/fear.
• Line 15-16 repetition of rubble. Rubble of crash, rubble of their lives.
• Line 18 – scream of fear/distress as no answers
• Desperation of traveller in last stanza is shown by rhetorical question line 19, and line 21 ‘talk to
me, please’ and other short phrases.
• ‘Let them say it’ – all travellers.

Look at the title what does it mean?

Links:-
Heaney:- Mid Term Break (F + H) At a Potato Digging (H)
Storm on the Island (H)

Pre-1914:- The Affliction of Margaret (H) On My First Sonne (F + H)

Cold Knap Lake (F + H)

The poet describes her mother rescuing an almost drowned child by giving her mouth to mouth
resuscitation. But the last two stanzas seem to question whether the memory, all our memories, are
real or not.

Poem’s/Poet’s Attitude/Feelings
• Admiration for mother line 6 and line 8.
• Admiration for father but tinged with shock of reality line 13-14.
• Confused feelings about what forms our memories, how sure we are of their truth.

Structure
First 3 stanzas describe the rescue of the drowning child:-
1. the child is rescued, apparently dead
2. the mother gives her mouth to mouth, the crowd watch
3. the child revives and is taken home.

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The second 2 stanzas question our memory.
4. She asks whether we have clear memories/recollections – using an image of swan
mudded waters as they take flight, to suggest this.
5. Our memories lose touch with things and perhaps invent things.

Poetic Devices
• Line 2 – we think the child is dead, ‘drowned’
• But line 4 ‘she lay for dead’ suggests not
• Colours – ‘blue-lipped’ of drowned body but ‘green silk’ of weeds of lake. ‘Silk’ contrasts with
child’s poverty.
• Line 5 ‘kneeling’ suggests prayer, ‘her head bowed’ also
• Line 6 ‘a heroine’ also line 8 ‘crowd stood silent’ in awe/respect/fear
• Line 9/10 alliteration connects ideas, the ‘s’ and the ‘d’. Crowd drawn together.
• Line 12 ‘rosy’ child back to life
• Line 13 ‘poor house’ poverty but also lack of love – the thrashing
• Line 15 question changes our view – did this happen? Short line reinforces this.
• Uncertainty about poem’s incident also raised by vocabulary – ‘troubled’, ‘shadowy’,
‘cloudiness’
• Line 16-20 we have links between the lake incident and the speaker’s memory:-
1. ‘troubled surface’ line 16 – suggest rough waves and a state of mind
2. ‘dipped fingers’ line 17 – of willow but also of child
3. ‘satiny’ – like child in the water covered with reeds?

The poet is comparing the way events become ‘clouded’ in the memory with the passage of time.
• ‘blooms in cloudiness’ the swans blooming whiteness as they take off
• the last lines bring the two strands together
• the lost things are lost memories/events?
• ‘closing’ suggests we lose touch with our memories
• ‘poor man’ – is the man poor in mind and soul as well to connect the child to the lake/water
• rhyme at end to finalise poem – the only rhyme used in poem.

Think about the connections between the lake and the memory.

Links:-

Heaney:- Mid-Term Break (F + H)

Follower (F + H)
Death of a Naturalist (F + H)
Pre-1914:- On My First Sonne (F + H)
The Affliction of Margaret (H)
Patrolling Barnegat (H)

PRE – 1914 POETRY BANK

On My First Sonne by Ben Jonson (F+H)

Ben Jonson (1522 – 1637). Major writer of his time in all forms. Friend of Shakespeare.

This is a simple poem above love and grief. The father describes the death of his son at 7 years old
and the feelings he has about his loss.

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Poem’s/Poet’s Attitudes/Feelings
• grief at loss of son, line 5
• love and delight in his son, line 1-2
• he tries to believe his son is in a better place line 6 – 8
• pride in his son, line 10
• to be wary of loving so much again line 11 – 12

Structure
• rhyming couplets to bring ideas together, to form links line 1 – 2, line 7 – 8, line 3 – 4
• it is a speech to his dead child – a farewell, his feelings of loss, questions about earth and heaven,
pride and caution for future feelings.

Poetic Devices
• Line 2 his ‘sinne’ was hoping for too much of his son.
• Idea of lending money and paying back line 3 – 4. The ‘just day’ is the day of his death ‘thy fate’
or ‘debt’
• Line 5 ‘loose all father’ – kill himself, to follow son? Great grief here with ‘O’ and ‘For why’.
• Line 6 – 8 Two questions that suggest man should ‘envie’ the son’s death. In heaven and avoids
pain (line 7) and old age (line 8). But father knows the death will not be envied but lamented.
• Line 9 R.I.P but ‘soft’ adds the love of father.
• Line 9 ‘here does lye’ also on gravestones. He tells his son to tell his name (father and son)?
Does he lie with his son emotionally?
• Line 10 his best creation/work of art.

How has the death affected the father?

Links:-
Heaney - Mid-Term Break (F + H) The Follower (F + H) Digging (F + H)

Clarke - Cold Knap Lake (H)

On the Train (F)
Catrin (F + H)

The Song of the Old Mother (F + H) by William Butler Yeats

W B Yeats (1865 – 1939) One of Ireland’s leading poets.

In the poem an old mother describes the daily chores she has to do and seems to resent the idle
concerns of the young.

Poem’s/Poet’s Attitude and Feelings

• Sympathy with old mother
• But sees inevitability of her life, line 10
• Old mother’s feelings are of complaint and resentment, line 5 – 6

Structure
• Line 1 – 4 describes old mother chores
• Line 5 – 8 describes her attitudes to the young
• Line 9 – 10 summaries her attitude to life
• Rhyming couplets give regular pattern – like the regular, repetition of her work
• Rhythm also regular like her chores
• Line 2 and line 10 almost identifical so gives the sense of symmetry to the poem (starts and ends
similarly just like her chores)
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Poetic Devices
• Line 1 and 5 contrast of lives
• Contrast of concerns line 3 and line 8
• Line 7 ‘idleness’ shows mother’s attitude
• Line 8 shows mother’s despising of young’s worries
• Line 9 ‘must’ – she has no alternative
• Line 10 suggests the end of the day as the fire dies
• Line 10 also suggests her own ageing, ‘feeble’, and coming death ‘cold’ (see rhyme line 9 – 10)
• Line 2 – 10 use ‘seed’ – the idea of growing and dying

How do you feel about the old mother at the end?

Links
Heaney : Digging (F + H) Follower (F + H) Mid-Term Break (F
+ H)

Clarke: Catrin (F + H) Cold Knapp Lake (H)

Baby – sitting (F)

The Affliction of Margaret (H) by William Wordsworth

William Wordsworth (1770 – 1850) was one of England’s greatest poets. Poet Laureate in 1843.

The poem is about the worries and thoughts of a mother whose son has been missing for seven years.

Poem’s/Poet’s Attitudes/Feelings
• Sympathy for mother and her never ending anxieties
• Mother’s feeling are a range of despairing worries line 36 – 38, line 50, line 54.

Structure
• Random order of worries reveals the frantic state of mind of mother, line 64
• Repetition line 1 and line 2 ‘where art thou’ – shows a desperate plea
• 2nd stanza – her different feelings
• 3rd stanza – her feelings about him as a person, praise but a problem line 19 – 21.
• 4th stanza – generalised comments on how ‘the young’ can cause pain to their mothers,
‘unawares’.
• 5th stanza – has her son neglected her? But she feels she’s behaved well line 32 – 33.
• 6th stanza – tells us of the problem that might have existed between them. Line 30 – 41. She
valued wordly success too much.
• Stanza 7, she thinks how far away he might be
• 8th stanza, her fears of imprisonment, lost in a desert or drowned
• 9th stanza, line 56 to 57 – dead sailors become ghosts.
• Stanza 10, describes her distraught state of mind – she can’t rest.
• Stanza 11, she has no friends, only her son.

Poetic Devices
• Uses questions line 5 – 7. If she were dead (like son?) she would be at peace. Also line 14. The
‘darkness’ is her despairing, unknowing state, constantly imaging what has happened, sometimes
with hope, line 12 – 13.
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• Imagery. Line 43 – 46. Birds can fly off and easily return – not her son line 47 ‘chains’.
• Line 50 – 51, vocabulary sounds, alliteration reinforce her worries
• Repetition of ‘thou’ line 55 – emphasises her concern is for him not the others
• Line 56 ‘incommunicable’ – she wants to talk to him
• Line 57 – she would like to make a spiritual contact with her son, either through his ghost/spirit or
dying herself to meet him.

How do you feel about Margaret at the end?

Links

Heaney: Mid-Term Break (F) The Follower (F + H) Digging (F + H)

Clarke: Catrin (F + H)

Patrolling Barnegat (F + H) by Walt Whitman

Walt Whitman (1819 – 92). An American poet born in New York.

A description of a fierce stormy sea breaking onto Barnegat Bay, New Jersey. Full of sound and
movement like the ocean. People patrol (line 13 – 14) the beach as a precaution.

Poem’s/Poet’s Attitudes/Feelings
• Towards the patrol he feels admiration at their strength and persistence line 7, line 11
• Towards the storm he feels awe and dread line 3 – 4.

Structure
• Line endings ‘ing’
• Description of storm interwoven with references to the patrol doing their job
Line 7 ‘breasting’ the wind
Line 8 ‘watchful and firm advancing’
Line 9 ‘timeless …. Wending’
Line 11 whole line
Line 13 – 14 all lines

• Repetition of lines in line 5 and 12 – connects and gives structure. The sea continues, never gives
in, like the patrol ‘never remitting’.

Poetic Devices
• Free verse with no set rhythm
• But there is rhythm within the lines, line 2
• Rhythm is also created by the comma/pause at the end of each line and all the words ending in
‘ing’. These verbs create sense of action
• Repetition of ‘wild’ line 1, creates first impression on reader
• Line 2 ‘incessant undertone muttering’, onomatopoeia. Creates this sound of the sea
• Line 3 metaphor – roar of storm/waves crashing, also uses alliteration
• Line 4 ‘savagest trinity’. Three threats together = waves, air, midnight.
• Line 5 alliteration. ‘combs careering’
• Line 6 alliteration of ‘s’ but also different vowel sounds create sounds of ocean/storm
• Line 7 ‘death-wind’ makes task difficult/dangerous
• Line 8 alliteration of ‘s’ and ‘f’
• Line 9 Very different – voices of patrol, reacting to what they see. Sense their fear
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• Line 10 – 12 progress of patrol related to
Touch, line 10
Sound, line 11
Sight, line 12 - 13
Where are these senses found in the rest of the poem?
• Line 10 – 12 more alliteration
• Line 13 ‘dim’ poor visibility
• Line 13 – 14 emphasis on difficulties of task – ‘struggling’, ‘confronting’, watching’
Why has the poet chosen ‘watching’ as the final word?

Links:
Heaney: Storm on the Island (H)
Death of a Naturalist (F+ H)

Clarke: Cold Knapp Lake (H) A Difficult Birth (H) On the Train (F + H)

The Eagle (F + H) by Alfred, Lord Tennyson

Tennyson (1809 – 02) was one of the great poets of the Victorian era. Poet Laureate from 1850 –
1902.
The poet describes the environment of the Eagle and ‘his’ power.

Poem’s/Poets Attitude/Feelings
• Respect for authority / power of eagle line 5 + 6.

Structure
• Two stanzas of 3 lines
• 1 – 3 describes environment and eagle from below
• 4 – 6 describes his environment and his power to kill from above – his point of view.

Poetic Devices
• rhyming triplets suggest eagle is close to nature
• rhythm also creates harmony – 4 beats in each line
• Beat falls on 2nd, 4th, 6th, 8th syllabus in lines, 1, 4, 5 and 6, but line 2 and 3 start with beat so
emphasis is on these words. Puts the eagle at the centre of the environment.
• Alliteration of ‘c’ in line 1 and 2. Harsh sound reflects environment and eagle’s nature.
• Metaphor of ‘crooked hands’ line 1 = hooked feet. See him holding onto rock.
• Line 2 shows his isolation / uniqueness
• Line 2/3 suggest poet is looking upward. Eagle with sun behind him/in blue sky.
• Line 3 shows his importance – he’s at the centre of the sky, like the sun
• Line 4 marks change – now see from Eagle’s view point. Almost contemptuous of land and sea,
‘crawls’. From his height waves seem tiny ‘wrinkled’.
• Line 5 – ‘his mountain walls’ suggest his security, belongs to him
• Line 6 simile shows his power, speed, suddenness and ability to kill.

Links
Heaney: Death of a Naturalist (F + H) Storm on the Island (H)

Clarke: A Difficult Birth (H)

The Field Mouse (F + H)

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Sonnet by John Clare (F + H)

John Clare (1793 – 1864)

A son of Northampton labourer. A poet of rural life.

A simple poem that expresses a simple thought in a straightforward way. Clare is appreciating all the
sights of summer.

Poem’s/Poet’s Attitudes and Feelings

• Appreciation and joy in a variety of summer sights – from early (line 3) to late (line 11).
• Line 13 – 14 ‘sport’ and ‘play’ suggests poet’s attitude.

Structure
• Sonnet form. 14 lines with a regular rhyme scheme of simple rhyming couplets to suit the poem.
• Repetition of ‘I love/like’ keeps up simple form
• No punctuation – see below
• Line 1 and line 13 ‘beaming’/’bright’ forms a link.

Poetic Devices
• Line 1, sets the tone (appreciation) and the content (seeing Summer)
• Line 1 ‘I love’, uses this simple type of expression 4 times line 3, 9, 11.
• Metaphor line 1 ‘beaming’ and line 2 for clouds. ‘Wool sack’ keeps light touch and connects to
nature.
• Line 4/5 ‘mare blobs’ are yellow water buttercups. This and the ‘lilies whiten’ shows its early
summer.
• Line 7 ‘pushes’, verb at end of line emphasis the action
• Line 8 ‘rest’ reinforces season of Summer. ‘Flag’ means ‘reed grass’
• Line 9/10 detailed, as can picture the willow. Assonance here to reflect the sense of water –
‘clear’, ‘deep’, ‘learning’
• Line 13 ‘bright’ links with ‘beaming’ line 1- structure
• Line 14 ‘clear’ and ‘lake’ repetitions from line 10 we see the reflections on the surface and the
lake beneath
• Line 13 ‘sport’, line 14 ‘ play’ suggest poet’s attitude to the Summer.
• No punctuation in the poem, reflecting a simple, uncontrolled structure.

Links :

Heaney: Storm on the Island (H)

Death of a Naturalist (F + H)

Clarke: A Difficult Birth (F + H)

The Field Mouse (F + H)

ENGLISH PAPER I 1 ¾ hours

YOU ONLY ANSWER 2 QUESTIONS.

QUESTION ONE FROM SECTION A and ONE question only from SECTION B.

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Section A is a test of your READING. You will be given two or three written extracts (eg news
articles, leaflets etc) and asked questions on them. You must read them carefully all the way
through before looking at the questions. Think about what the purpose of the writing is, where
it comes from and for what audience it is intended. DON’T SPEND LONGER THAN 60
MINUTES ON SECTION ‘A’.

• Remember that 2 x marks = minutes. Don=t spend too much longer than the twice the marks
time in minutes.
• You may be asked to show the differences between facts and opinions. You must quote
examples. You must explain WHY they have been used by the writer and the effect on the
reader.
FACTS - information that cannot be questioned eg the car is red, Mr Blair is the prime minister.
OPINIONS - ideas that people believe in eg that car is reliable, Mr Blair is handsome.
• You may be asked to explain the main Ideas of the articles.
Ideas - are the main points that are being made by people. DO NOT just give EXAMPLES of the idea.
You must explain your reasons fully, with details, if asked.
• You may be asked about HOW a writer has used persuasion or argued a case. See your revision
sheets on Guidance for Types of Writing. DO NOT JUST PARAPHRASE.
• You will be asked to COMPARE the two articles. Make sure you follow the bullet points if you
are given some as these are what your marks will be based on.
• In the comparison section use comparing words, eg better, more complex, more interesting.
Look at your comparing word chart.
If there are no bullet points you explain where the extracts are from (eg a broadsheet
newspaper) and then you should remember the following ideas to comment on and
COMPARE. Don’t write on each article separately, deal with each bullet point (eg how facts
and opinions are used) and COMPARE EACH ARTICLE AS YOU GO. If it asks you to
compare language, do the language in one then the other, making sure you COMPARE the
way language is used and GIVE EXAMPLES.

• What type of language is used?

- formal/informal - persuasive
- humorous/serious - argumentative
- entertaining/warning - descriptive
- colloquial(slang-like) or educated - narrative
- conversational or lecturing
- informative
- instructive

You must quote examples of the types of language used. eg There is quite an informal slang-
like language used here, such as ‘kids’ and ‘mate’ . However, the language in the article is more
formal ........ Often, one article may have two or three types of language.

• Style of Presentation. You must comment on these if present:

- headlines
- colour
- pictures
- boxes
- sub-headings
- font
- slogans
- captions
- columns
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 - logos

You will be given a clear media question where you will be expected to comment on the presentation
and its effects. You may well be asked to link a photograph or picture to an article.

You must explain WHY the presentation is like this. What effect it has on the reader. How does it
connect with the writing.
BUT Do not spend too much time on comparing presentation. Language, Fact and Opinion, Purpose
and Audience are more important. Ask yourself these questions when you first read it:-

• What is the attitude to the reader?

• What is the ‘voice’ of the writer like?
• What is the purpose of the piece?
• Who are the audience meant to be?
• What is your own response?

MAKE SURE YOU READ THE QUESTION TO SEE WHAT IS REQUIRED

In tier ‘F’ you may be given some sentences to comment on. You may be asked how the words
make you feel or if they are effective. Try and do this and give quotes to support your views.

SECTION B

Answer ONE Question ONLY.

Spend at least 40 minutes on this section.

You are being tested on your ability to WRITE:- to ARGUE, to PERSUADE or ADVISE.
Make it clear to the examiner which of these three you are doing. In your first paragraph use
one of these words and mention who you are writing to.

You will be asked to write a letter, a memo, an article, etc. You can use the information in
Section A - BUT DO NOT COPY LINES OUT.

Before writing you must read through all the questions before deciding on the one to answer and then
plan according to the following checklist:-
• Who are you meant to be writing as? - make this voice very clear.
• Who are you writing for? - the audience (teenagers/OAPS?)
• What is the purpose of your writing? - to advise, to argue, to persuade?
• What sort of layout will you have? (Look at the list under,,Style of Presentation, above)
• What type of Language would be best? - formal/informal, friendly/forceful, make it
appropriate for the audience.
NB:
• DO NOT OVERUSE NOTES FROM SECTION A . IN FACT YOU DON’T HAVE TO USE
THESE ARTICLES AT ALL.
• USE A WIDE VOCABULARY, ESPECIALLY IN THE FIRST THREE PARAGRAPHS.
• INCLUDE A RANGE OF PUNCTUATION:- COMMAS, FULL STOPS, APOSTROPHE,
SEMI-COLON, QUESTION MARKS etc - where appropriate
• WRITE A REASONABLE AMOUNT, AT LEAST TWO SIDES OR YOU WILL LOSE
MANY MARKS.
• LOOK AT THE NOTES: ‘GUIDANCE FOR TYPES OF WRITING’ FOR ENGLISH PAPER
I
CHECK YOUR WRITING FOR PARAGRAPHING, SENTENCE PUNCTUATION AND
21
SPELLING

ENGLISH PAPER 2

You will answer TWO questions on this paper:-

1. Section A Reading; Poetry from Different Cultures and Traditions

One question on Cluster Two in the Anthology, pages 12 – 18 plus a few selected poems from clusters
one. Spend about 50 minutes on this question.

You may also need to refer to these poems from Cluster One:- Blessing, Nothing’s Changed, Two
Scavengers in a Truck and Island Man.

SPEND UP TO 50 MINUTES ON THIS QUESTION

Different Cultures – Cluster 2

12 Sujata Bhatt from Search for my Tongue

Tom Leonard from Unrelated Incidents

13 John Agard Half-Caste

14 Derek Walcott Love After Love

Imtiaz Dharker This Room

15 Niyi Osundare Not My Business

16 Moniza Alvi Presents from my Aunts in Pakistan

18 Grace Nichols Hurricane Hits England

Cluster 1

6 Tatamkhula Africa Nothing’s Changed

7 Grace Nichols Island Man

8 Imtiaz Dharker Blessing

9 Lawrence Ferlinhetti Two Scavengers in a Truck

SUJATA BHATT was born in India, 1956, lived in USA now married to German husband and lives
in Germany. Writes in both English and Gujerati, her mother tongue.

Search for my Tongue

The poet is exploring the conflict of speaking well in two languages and when the second language
dominates, the sense of loss of the mother tongue. But she suggests that during her dreams it regains
strength and power.

Poem’s/Poet’s Attitude/Feelings:-
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 • The concern about the loss of her mother tongue.
• The concern about the loss of her original/native identity.
• The delight in finding that her mother tongue will always be part of her.

Structure
• Three sections of poem line 1-16, line 17-30, line 31-39 (but line 31-39 is a translation of
lines 17-30). Line 16 flows into line 31. Structure is important here.
• Line 1-16 she explains the difficulties of being fluent in two languages line 8-9.
• Line 17-30 (line 31-39) are describing how the mother tongue re-asserts itself during dreams.
• Line 17-30 is included to visually/literally show the problem she faces. We can try this
language through the phonetic spelling.
• Gujarati script placed in middle of poem as at heart of problem, and at the heart of her being
• Line 4 introduces idea of using physical tongues as a metaphor, that she takes up later
through the poem, line 31.

Poetic Devices
• Use of Gujarati script and the phonetic spelling makes us realise the problem, visually and by
sound.
• Line 1 – 14 use ‘I’ and ‘you’ – poet is explaining to someone her problem. Conversation style
is suitable as it involves speaking both ‘tongues’.
• Line 6 – 7 you would never be as competent and comfortable with the ‘foreign tongue’ as
your own.
• Line 8 – can’t use both as would become ‘tongue tied’ in both senses. Can’t use two ways of
speaking at once.
• Line 10 – 14 unpleasant image of ‘rotting’ tongue (rot repeated) to stress the idea.
• Line 31 – 38. Image of tongue being like a plant – growing back. Strength suggested by
‘grows’, ‘strong’
• Line 34 ‘buds’, line 38 ‘blossoms’ suggests healthy growth. This metaphor suggests how
welcome it is through repetition. ‘Blossoms’ suggests beauty.
• Line 36 – 38 sense of delight at return of language she felt she’s lost.
• Plant image chosen as it is a natural idea, like our native language.
• The extended metaphor in line 31-39. Her mother tongue is like a plant, it shoots, buds and
blossoms.
• We see the competition between the languages line 34+36.
• Contrast of conversational every day language of line 1-6 and poetic metaphorical language
of line 31-39.
• ‘The mother tongue’ rather than ‘my’ because it seems to have a life of its own.

Culture
• The poem highlights the difficulties of being part of two cultures as language is an essential
part L 10-12.

Links:-
Presents/Hurricane - (identity)
Half-Caste - (people)
Presents/Half-Caste (first person)
Unrelated (unusual presentation/language)
Hurricane (cultural influences)
Presents/Hurricane (two cultures)

TOM LEONARD Born in Scotland (Glasgow) in 1944. Often writes in dialect. Concerned
23
 very much with ‘voice’ in his work.

‘Unrelated Incidents’
This poem is about language and power. The speaker in the poem is putting into his own words the
political attitude of a BBC newsreader. The point being made, ironically, is that if we hear the news
read with a “BBC accent” then we believe what is being said is the truth (‘trooth’). If spoken like
one of you scruffs (“wanna you scruff”) we don’t. This is written in a Glaswegian dialect.

Poem’s/Poet’s Feelings/Attitude
• He is angry that accents are seen as inferior, not to be trusted.
• He questions the idea that the truth comes from ‘posh’, BBC accents only.
• We shouldn’t judge according to accent.

Structure
• Like autocue for newsreaders – so few words make it easy to read and look at audience.
• Ideas on accents, line 5 – 15, ideas on non-standard English line 15-21, the TV audience, line
20 – 21, the news line 30 – 38.
• Short lines – seems funny, making fun of normal language. Also make it abrupt and
aggressive.
• Visual impact as layout is unusual.

Poetic Devices
• Lack of capitals/punctuation – makes it less correct use of language. Mocking ‘BBC’
speakers.
• No speech marks – adds to informality
• “yoo scruff” – anyone with a strong regional accent.
• Line 22 – 23 prejudice about regional accents. Working class too?
• Line 24 – 27 – he doesn’t really believe this
• Line 31 “ma troth”, suggests different classes have different truths
• Line 30 – 36. The news reader suggests that language, truth, class and power are connected.
The educated have the power.
• Line 18 – ‘belt up’ – the scruffs are being denied a voice
• Phonetic spelling – reflects Glaswegian accent.

Links:-
Search for My Tongue (identity and presentation)
Half-Caste and Presents from My Aunts (2 cultures)

JOHN AGARD
Born in Guyana 1949. Came to Britain in 1977. 1988 Poet in residence at the BBC. Likes to
perform
his poetry. He sees humour as a powerful weapon to breakdown boundaries and self-importance and
because it engages and entertains, it also enlightens.

Half-Caste

A half-caste is a term used to describe people born of parents of different colour. It is now insulting.
John Agard in a humorous way is explaining that such people are not inferior but are equal and
enriched because of this background.

24
Poem’s/Poet’s Feelings/Attitude
• John Agard ridicules racists who see half-castes as inferior.
• He gets angry that they will not be open minded line 47 – 53.
• Tone goes through humour/ridicule line 1 – 30, to reprimand line 31 – 46 to final demand and
lecture line 47 – 53.
Structure
• 4 stanzas, gaps at L 37/38, and 50 and 51 changes from ‘you’ to ‘I ‘ back to ‘you’.
• use of repetition to reinforce ideas ‘explain yurself’, ‘wha yu mean’, ‘when yu say half-caste’.
These are his main questions.
• Uses rhythm/rhyme L 5-8 mean/green, L 15-20 caste, L 21-22 pass/rass. (Find the others) to
reinforce his message.

Poetic Devices
• The conversational tone - as if talking with someone ‘yu’, ‘I’.
• Dialect nature of language ‘de’, ‘ah rasi’ Caribbean Creole, mixed with standard English.
Like being half-caste, a mix of cultures, a mix of language.
• tone of poem - exasperated, contemptuous but humorous.
• Is this poem against white people who use the term ‘half-caste’?
• Picasso, famous Spanish artist of 20th Century, Tchaikovsky famous 19th Century Russian
composer used to show ridiculousness of term.
• Use of lower case for tchaikovsky, england and picasso shows wants us all to be equal, no
superiority
• Reference to Picasso makes us think of colour of people
• Reference to English weather makes us think of shades of colour
• Reference to Tchaikovsky, black and white keys. All the above 3 references - show how
ridiculous this term ‘half-caste’ is
• Line 4-30 about mixed things. L 33-46 ridicules the idea that we can be ‘half’ anything We
are whole human beings. L 47-50 emphasises how we need to change our attitudes, become
tolerant and whole, to understand
• Note the few uses of capital letters – why?
• No full stops. Forward slash instead, to effect performance.

Links:-
Presents from My Aunts and Hurricane Hits England (people)
Search for My Tongue (first person/identity)
Unrelated Incidents (non-standard English)
Hurricane Hits England (universal idea)
Presents from My Aunt/Unrelated Incidents (2 cultures)

Love After Love by Derek Walcott

Derek Walcott, born in St Lucia in 1930. 1992 Nobel Prize for Literature.

This poem is about becoming content with yourself after a love affair has changed you, made you
someone you are not. You learn to love yourself, become yourself again.

Poem’s/Poet’s Feelings/Attitude
• In the title and poem there’s a sense of relief, of appreciating oneself after a difficult love
affair.
• The poet reassures the listener.

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Structure
• 4 stanzas
• narrative structure of arriving home, making a meal
• links with repeated words or ideas:-
line 8 + 11 – heart
line 6 + 15 – eating.

Poetic Devices
• Ceremonies are important here, line 3 – 4 ‘ greet ….. door’ line 6 – 8 Enjoying a meal, line
religious communion.
• Line 1 – 5 ‘your’ and ‘will’ repeated 3x like a definite promise to the reader of recovery,
better times.
• Line 2 ‘elation’ suggests it will be a happy time.
• Line 4 – 5 idea of recognizing your real self again, happily. This use of the mirror makes it
very real – you see yourself returning.
• Line 7. This line is the key to the whole poem. You have become a ‘stranger’ because you
changed during the affair. The separation of ‘your self’ shows which is the true self. You
will like yourself ‘again’.
• Line 8 – 9 the communion reference/enjoying a meal reference – suggests a true contact is
made with the spirit of yourself.
• Line 9 – 10 run on line puts emphasis on ‘has loved you’. The idea that you have always
subconsciously loved yourself but the affair has caused you to lack self-esteem.
• Line 10 – 11 the ‘another’ could be the changed person you became as well as the person you
loved.
• Line 11 – word ‘heart’ used here and in line 8. Emphasise the emotion involved.
• Line 12 – 13 suggest the love affair.
• Line 14 – metaphor here suggests you can peel away the false person you have become to
find your true self.
• Line 15 ‘Feast’ links with eat line 6. But ‘feast’ is more a celebration of the person’s return.
This line suggests a hopeful future.

Links:-
This Room (identity) (domestic life and metaphor).
Search for My Tongue (identity)
Hurricane Hits England (affirmation of life)

This Room by Imtiaz Dharker

Born in 1954 in Pakistan, a Moslem. Grew up in Glasgow. Married Hindu, works in Bombay. Feels
religions have made women’s life and role difficult. The poem is about moments in life that are
special. The excitement of moments when things change when the improbable happens, and our
surroundings seem to share our excitement (or it appears they do).

Poem’s/Poets’ Attitude/Feelings
• Excitement at a special moment in her life when things change line 10 – 11.
• Imaginative burst of joy at the improbable happening.

Structure
• Poem balances around line 10 – 11 – main point of poem, optimistic tone.
• First 3 stanzas are about strange things happening to every day objects.
• Last stanza and single line are about the poet’s feelings and thoughts.

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Poetic Devices

• Line 11, colon (: )suggest something is to be said/explained,

• Many references to the ‘daily furniture of our lives’, line 6, line 8, line 17, line 18 etc. These
create a sense of the ordinary.
• The poet shows us the idea of the improbable, line 1 – 3, line 8 – 9, line 14 – 15 and many
more.
• Personification of room searching for ‘space, light’ line 1 – 5. ‘Breaking out’ suggest wants
freedom.
• Stanza 2 line 6 – 9. Movement is upwards. Another personification is ‘nightmares’ which
rooms don’t have.
• As well as movement upwards there is a move from dark to light line 4, line 8 – 9. These
ideas reflect on the human condition, the need to break free to enlightenment.
• Line 14 – 15 more personification in ‘pots’ celebrating. Kitchen items become a ‘crowd’ line
16.
• Line 17 – movement upward again.
• Line 18 – does this mean no one wants to get out in a normal way?
• Line 20 ‘I’ appears for the first time, so the excitement is the person’s, not the objects.
• Line 20 – 21 if she’s unsure of where her feet are this suggests she’s floating ----- upwards
movement
• Line 22 ‘outside’ suggests looking on. The ‘clapping’ suggests she is applauding what’s
happening. We clap to show appreciation and to keep warm.

Link to:
- Look After Love/Search For My Tongue (identity)
- Search for My Tongue/ Half-Caste (metaphor)
- Lover After Love/Hurricane Hits England (universal idea)

Not My Business by Niyi Osundare

Niyi Osundare is a contemporary Nigerian poet.

The poet (in the voice of an African Villager) tells an account of how members of a house/village, are
cruelly treated by ‘They’ (the secret police/army). Two are beaten and taken to prison one loses her
job. Look up or discuss “No man is an Island” John Donne.

Poem’s/Poet’s Feelings/Attitude
• Poet is angry at this mistreatment of his people/friends
• The voice shows fear line 24, apparent lack of concern line 5 – 7 but in reality is avoiding his
own trouble.

Structure
• 4 stanzas. 3 stanzas have a repeated refrain in last 3 lines. This is like a chorus. 4th stanza no
refrain as carries the message.
• Narrative style – telling the story of what happens to his villagers.
• Each stanza mentions a time of day in its first line – provides a pattern.

Poetic Devices
• Violence in first 2 stanzas line 2 – 3, line 9 –10, but last has no violence, more threatening.
Violence is to come.
• Standard English except for line 2 of refrain, ‘yam’ and word order/phrasing.
• Simile line 2, suggests how they ‘changed the shape’ of his body.
• Metaphor line 3 – 4. Akanni becomes like food that is chewed and reformed.

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 • Violent words come at start of lines line 2 /3 and line 9/10 for maximum impact.
• No violence but injustice in 3rd stanza, line 17 – 18 ‘stainless’, she has done no wrong.
• 4th stanza. Yam is in the hand, it hasn’t reached the mouth yet, and probably won’t.
• The refrain has suggested that the speaker is safe but in the 4th stanza we realise he is not.
• Personification in line 25, ‘bewildered’. The speaker and community are bewildered, can’t
understand what’s happening.
• Sense of threat in last line, repetition of ‘waiting’ and ‘usual silence’ suggest he’s seen this
before (first 2 stanzas).

Think about the title now. How is it ironic after you have read the last verse?

Links:-
Half-Caste - repetition/injustice
Unrelated Incidents - repetition/injustice

Moniza Alvi
Born in Pakistan in 1954. Moved to Britain when a child. Revisited Pakistan for the first time in
1993.

Presents from my Aunts in Pakistan

Here an Asian girl, a teenager (?), living in England describes the presents (clothes and jewellery) sent
to her by her Aunts in Pakistan. She is attracted by them, as she is by her Asian origins, but she feels
uncomfortable as she is use to English customs and clothes (denim and corduroy line 21).

• Glossary Salwar Kameez - flowing tunic/trousers worn in Pakistan

Filigree - lacy, fine gold wire work
Shalimar Gardens - green, peaceful, walled garden in Lahore.

Poem’s/Poet’s Attitudes/Feelings
• The poet shows the confusion of herself (?) as an Asian girl growing up in England.
• We get both the attraction and the embarrassment for her Asian roots.

Structure
• Free verse, lines different lengths and no rhyme – shows confusion, nothing regular.
• 7 stanzas - each on different topics.
• The layout is haphazard, showing the girl’s mixed-up feelings or disorientation.
• 7 sections in the poem. In each, both cultures are mentioned to reflect her confusion about
her identity, eg line 1 – 2 but line 9 ‘school’.
• Line 60 – 64 return to the idea of aunts and presents. Links with start of poem.

Poetic Devices
• Pakistan culture created through words which are exotic (line 1 salwar kameez and other
words), colourful (line 2 + line 4) and mysterious (line 61 - 64).
• Contrast of images line 35-39 provides humour. Ironic that aunts want English clothes.
• Line 58 ‘fractured’ like her contact with Pakistan. Pakistan divided land after independence.
East became Bangladesh.
• The contrast of the two cultures line 16 – 19, line 20 – 21, Line 22 – 25.
• the memories of her journey to England line 50-54.
• her impressions of Pakistan from photographs line 55-56, from new reports line 58-59 and
her visits back line 60-69.
• Image of snapped bangles line 7 – 8 suggests breaking free of restricted Indian culture, but
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 involves pain.
• Line 17 ‘alien’, clothes out of place in a typical English ‘sitting room’.
• Line 23 – 25. The phoenix rises up as a new bird after burning. Here, she can’t re-create
herself.
• Line 30 – 31. Again she wants to be changed, transformed into another person – an English
person or a Pakistani?
• Line 34 – 36. Both cultures mentioned, the gold, then theft from car.
• Line 44 – 46 – trying to see who her ‘real’ self is. We get other ‘pictures’ of herself from her
memory here, line 51, line 54.
• Line 49 and line 54 – the real boat has taken her to another culture. She is ‘alone’ because
she is in between cultures.
• Line 65 – 69. An early memory. The line 67 is separated to show her isolation. She looks
through ‘fretwork’, looking on, not part of.

Links:-
Search for My Tongue/Hurricane Hits England (identity and cultural difference)
Search for My Tongue (change)
Half-Caste (first person)

GRACE NICHOLS Born in Guyana in 1950. Journalist in the Caribbean until she moved
to Britain in 1977. Now writers and lives in Sussex.

Hurricane Hits England

The poet experiences a storm in England which reminds and connects her to the storms of the
Caribbean. She thinks of the old African god, Yoroba, god of wind, Oya line 8 and this helps her see
the earth is one place. She enjoys the connection that this hurricaine brings, line 26, and she is
reminded of the Caribbean, her other home, line 27 - 28.

Glossary
• Hurricane storm hit South of England in October 1987. 15 million trees felled.
• Shango – Lord of War and fertility, god of thunder of Africa.
• Oya – wife of Shango – the strong wind before the thunder.
• Hattie – name of hurricane that devasted the Caribbean in October 1961.

Poem’s/Poet’s Attitude/Feelings:
• The poet is afraid line 15 – 17, line 5 – 7.
• She is confused, questioning of the storm. Line 10 – 12, line 15 – 17, line 19 – 22, line 23 –
26, line 27.
• She is enthralled and liberated line 30 – 31, line 33 – 34.

Structure
• Poet’s voice is in all stanzas, except first one. First stanza is an observer explaining the
hurricane’s effect on her.
• Three sections to the poem
a) Line 1-6 observer speaks and raises connection with land and her ancestors/gods.
b) Line 7-26 poet’s questions to the storm
c) Line 28-35 positive response of poet to message of the hurricane, ie connecting her
with the Caribbean and her roots and seeing the earth and nature as one, wherever
you live.
• Line 27 separate, as this is the point of realisation. She is no-longer restricted by where she
lives.

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 • Stanzas are a mixture of statements (stanzas 1, 7 + 8), commands (stanzas 2) and questions
(3, 4, 5, 6). The statements at the end provide answers to the questions.
• Repetition is used to provide emphasis and structure line 8, 9, 10 and line 29 – 31 and
finally line 36 as a conclusion to the poem and her thoughts.
• Link to sea line 24 and line 4. Repeated through poem.

Poetic Devices
• Line 1 – 2 suggestion that she has felt alienated in England. Not in touch with the ‘earth’
here --- until the storm comes.
• Line 4 image of her own journey to England.
• Line 5 – 7 vocabulary conveys threat and strength of hurricane, ‘rage’ and simile line 6.
But ‘ancestral’ links with her roots and ‘reassuring’ suggests wind reminds her of her
Caribbean home.
• Line 8 change from statement to command and now poet talking, not observer. Move from
3rd to 1st person is move from being distanced to being involved.
• Names of gods and hurricane Hattie link her to her roots, as does the word ‘cousin’, which
suggests a close relationship.
• Five questions from L12-26 to the hurricane:-
i) Why in England?
ii) Why has the Caribbean wind God come to destroy English places?
iii) Why throw lightening down to illuminate us when the electricity has failed?
v) Why knock down trees? (up-rooted trees, like poet, uprooted from Caribbean)
vi) Why do I feel free?
• Images eg similes - L6, L24, metaphor L33, L24 Trees, long, heavy, dark full of wisdom and
power like whales, L33 the storm breaks her out of her English existence, reawakens her
Caribbean soul.
• Line 13, part command, part question. This marks the change to her questioning of the
storm.
• Line 16 – 18 metaphor suggests sound of thunder, ‘old tongues’ visiting her English home.
• Line 19 – 21. Lightening both gives light, but takes away our electricity. ‘Illumination’
also suggests her growing insight, sees the truth by the end of the poem.
• Line 27, a single line. The last question before the answers, so is a turning point.
‘Unchained’ has several meanings – freedom to let thoughts/feelings’ go, freed from view
of England, others?
• Line 29 – 31 – sense of change, following natural elements and their messages.
• Line 32 – the ‘mystery’ is the truth that has dawned on her.
• Line 33 – 34 compares herself to nature. Metaphor suggest her ‘frozen’ unfeeling state in
England and how her roots (beliefs) have been shaken. Tropical wind is warm – melts her
‘lake’.
• Line 36 is the message – the earth is one place, essentially, there are no differences.
Emphasised through repetition.

Links:-
Love After Love/Presents (identity)
Half-Caste (people)
Presents (first person)
Search (cultural references)
Presents (places)
Presents (two cultures)

TATAMKHULU AFRIKA Born in Egypt in 1920. He has lived in South Africa most of his life. He
was a member of the of ANC and was a political prisoner because of his
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 fight against apartheid. He lived in District Six.

Nothings Changed

The poet returns to District Six (once a successful mixed racial area but cleared for white development in 1966).
Under Mandela’s democracy the old sign is down, there is no apparent aparthied but the hotel represents the
reality. The voice in the poem knows from his senses, line 10-16, that this is where he lived. He can’t enter the
hotel, because he is black and poor; he must go to the cheap café down the road. But the hotel stands for the old
apartheid system and he wants to destroy it, lines 45-47.

Poem’s attitude/feelings
• Recognition of district, lines 10 – 13
• Anger at how it has been left, lines 15 – 16
• Anger at dominant whites’ hotel, lines 17 – 18
• Resentment at inequality, lines 25 – 26
• Sarcasm in description of inferior café
• Anger and desire for violent act towards symbol of white superiority, lines 45 – 47
• Poem of anger, bitterness as there is no hope of reconciliation

Structure
• 6 stanzas of 8 lines in each. Each stanza represents a different part of the experience. But
stanza 4 is split into 2 and 6 lines. This is the message, in line 25 – 26, nothing has
changed in this society despite votes for all and a democratically elected government
Narrative structure
1. walking in the run-down area
2. recognising District Six
3. reaction to the whites only hotel
4. looking in through the hotel’s window
5. the café where he can go
6. the act of violence he wants to commit against the hotel because of the continuing
injustice

Poetic Devices
• use of many single syllable words (cuffs, cans, store, bomb) to make the tone curt and hard
hitting to match the voice of bitterness
• the alliteration, lines 5-6 and ononatopoeia line 1 “click”, line 6 “crunch” add to the harsh
bitter mood
• metaphors are used to describe the hotel, line 17 “brash with glass”, its showy splendour
and 19 “squat” to suggest it is hidden, show his resentment of it. The simile, line 18,
“flaring like a flag” shows the hotel’s insulting dominance
• “glass” is an important word. It is a barrier keeping him out, lines 17, 27 + 28. In line 30,
represents the white class drinking. Line 41 – 42, it reflects himself as a “boy again”,
“boy” being the South African term for a black of whatever age, but inferior. And in line
47 wants to break the glass and all it represents ie white superiority/apartheid still existing.
• Contrast is provided with the image of divided society. On one side a bulldozed township,
bunny chows and plastic tables, on the other, a new hotel, haute cuisine and table linen.

Glossary
1. Trousers cuffs are turn-ups
2. Incipient: developing, just starting (the hotel and trees are both unwelcome in this sense,
unlike the “aimiable weeds”)
3. Port Jackson trees: large pine trees
4. Haute cuisine: French, meaning sophisticated/expensive cookery

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 5. Bunny chows: cheap food for the poor.

Links
Limbo/Search . . . identity
This Room/What Were They Like? . . . . change
Two scavengers/Vultures/Not my business ….. politics
Night of scorpion/Not my business . . . . cultural references
Two scavengers/Limbo . . . . . cultural references
Two scavengers/Hurricane . . . . . places
Vulture/Love after love . . . universal idea

Imtiaz Dharker was born in Pakistan, a Moslem. She grew up in Glasgow and met and married a
Hindu. Bombay is now her home. She feels religions have made women’s life and role difficult.

Blessing is based on the community, which lives in the largest slum in Asia, Dharavi, on the outskirts
of Bombay. The poem describes the reactions of the people to a burst pipe and how precious water is
to these slum-dwellers. The burst pipe seems to be a cause for celebration and the poem delights in
their joyous response but isn’t water a right?

Poem’s attitude/feelings
• The concern of the poet for the plight of this community, line 1 – 2
• She appeals to the reader to understand the importance of water here, line 3 – 6
• The desperation to collect the water
• The delight of the children at this unexpected water supply

Structure
• The four stanzas each describe a different aspect of this event. 1. Drought effects 2. The
need and appreciation of a drop of water 3. The pipe burst and the frantic collecting of the
water. 4. The children’s response.
• Varied sentence length and structure make the reader consider the ideas more carefully.
There are short simple statements, “there is never enough water” but also long sentences
that are broken up by commas, line 11-23. And unusual structures like lines 7-8 which is
incomplete. This variation reflects the different actions and thoughts.
• The first and last line if read together create an awful, painful image but gives a symmetry
to the poem
• Line 17 has no full stop at the end of the stanza but the pace is necessary to reflect the
frantic rush and delight in the water

Poetic Devices
• Simile in line 1 to emphasise the dryness, especially when read with the last line.
• The image of the preciousness of water in stanza 2 is powerful. Even the sound of a
“small splash” suggests the emptiness of their lot and the value of one drop. Water is an
answer to their prayers, “the voice of a kindly god”, line 6
• Sense of bustle is created in stanza 3, “a roar of tongues” as they shout and scream with
delight and the use of short phrases and lists, line 14-17 emphasises this
• Metaphors are used to stress the value of water to this community. It is “fortune”,
“silver”, “liquid sun” (thus life giving).
• Religious references also show how they connect this event to a “kindly god”. We have a
“congregation” coming to worship the water and the touch of it is like a “blessing “ line
22
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 • The rhyme and half rhyme of “ground/found/around” stresses the importance of the find.

Links
• Nothing’s Changed . . . . description
• This Room . . . metaphor
• Night of the scorpion/What were they like? . . . cultures

Lawrence Ferlinghetti was born in New York in 1919. He settled in San Francisco and is interested
in the cultural mix of people and races. He is concerned about the growing gap between rich and poor
and how the former seem to be making it impossible for the underprivileged to survive in this city
environment.

Two Scavengers in a Truck, Two Beautiful People in a Mercedes

This describes a frozen moment in time at a San Francisco traffic light. Two pairs of people from
contrasting social backgrounds “meet”. The poem describes their different appearance, wealth and
positions in society. There is strong political comment about the gap that exists between such rich
and poor people in this so-called equal society.

Poem’s attitude/feelings
• There is a fascination of the extremes in society. Here the poor show their interest in the
rich, a habit in our celebrity conscious world
• There is a clear admiration for the rich and a sense of hopelessness for themselves
• The rich are oblivious of the poor
• The poet is critical of society allowing such extremes and of providing a false hope

Structure
• There are 5 sections of unequal length. 1. The scene is described line 1-3. 2. The
garbagemen are described line 4 – 7. 3. The elegant couple in the car are described line 8-
15. 4. The moment in time when there is almost a closeness line 16-32. 5. The comment
from the poet on the situation and its meaning line 33-37. This structure provides us with
different views of the situation so that we experience the incident from the different
viewpoints of observer, truck driver, the elegant couple and the poet.
• There are no full stops, the images are laid one on the other. This is to be continuously
read, like the moment in time that it is, like the flash of a camera
• Repetition of “elegant” line 8-9 suggests a tone of sarcasm. Is there true elegance here?

Poetic Devices
• Contrasts in description of people, their clothes line 4 and 11
• Two young men have similar hair line 22-25, same age but not the same opportunity in
life?
• The woman is “casually coifed” line 13, the older man is “grungy” line 17. But coifed
suggests time and effort, “casually” doesn’t, so some criticism here
• Line 21-22, the simile emphasises the distance between them socially and as regards
wealth
• Line 29-30 is effective because the existence of the rich is beyond their reach like a
fantasy they may see on television. It is “odourless” suggesting that it won’t effect or
touch them in any way
• The word “instant” line 31, emphasises that this won’t last or lead anywhere
• The phrase “as if” line 33 also reinforces the impossibility of connection between them
• The metaphor online 35-36 reinforces the idea on line 21-22 of the chasm that exists
between their different lifestyles. The “high seas” line 36, suggests the dangers and the
impossibility of crossing the social gap
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 • Layout of lines 35, 36 to 37 leads to a stress on “democracy”, the only abstract term,
where anything should be possible, but not for the scavengers.
• The vocabulary of the title reinforces the distinction between them. “scavengers” are
unworthy creatures, “beautiful people” are admired in our society but the tone from the
poet is one of sarcasm towards them and the society they have created

Glossary
• Stoop: rear footplate of truck
• Hip: fashionable
• Coifed: stylish arranged
• Gargoyle Quasimodo: stone carvings of people or devils on churches which are usually
ugly. Quasimodo was the fictional hunchbacked bell ringer of Notre Dame church in
Paris.

Links
• Island Man/Half-caste . . . people
• Nothing’s Changed/Unrelated Incidents . . . politics
• Nothing’s Changed/Night of the Scorpion . . . cultural references
• Nothing’s Changed . . . place
• Nothing’s Changed / vultures . . . universal idea

Section B

WRITING TO INFORM, EXPLAIN or DESCRIBE. ANSWER ONE QUESTION

ONLY AND SPEND 40 MINUTES ON THIS.

You will be asked to write a letter or article or to write descriptively. Make it clear to the
examiner which of the three types of writing you are doing, informing, explaining or
describing. Make sure you read through all the questions first and choose the one you feel
most confident about. Read through the ‘Guidance on Types of Writing’ sheet for English
Paper 2.

SEE THE NOTES ENGLISH PAPER 1 SECTION ‘B’ FOR HELP WITH LETTER OR
ARTICLE WRITING. YOU MUST SET OUT YOUR WORK WITH AN APPROPRIATE
LAYOUT.

DESCRIPTIVE WRITING!
USE:-
• Paragraphs and sentence punctuation.
• Try and use interesting words.
• Write using detail NOT general comments eg Childhood memories – don’t just say it
was a happy time give two or three examples.
• Try and use some effective imagery - simile and metaphor eg ‘My childhood memories
are like the warm smell of bread fresh from the oven’.
OR
• Childhood for me was like the relationship of Baldrick to Blackadder, one of constant
physical pain and humilation’.
• Try and create the atmosphere of the place or time. Think of your five senses - sight,
touch, taste, smell and hearing, make notes based on these as a basis for your writing.

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NB
See the sheet on guidance for Types of Writing for English Paper 2.

You must check your work for paragraphing, sentence punctuation and spelling.

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