Year 11 English

Literature Papers
1 and 2
Name:
Mentor Group:
English Teacher:
Assessment objective outline:
AO1 Make relevant Identify and interpret implicit and explicit information from texts
points and use Select relevant quotations from texts
relevant
quotations
AO2 Analyse the Explain, comment on and analyse how writers use language and structure to
impact of achieve effects and influence readers, using relevant subject terminology to
1
 language and support their views
structure
AO3 Link to context, Show understanding of the relationships between texts and the contexts in
themes and which they were written.
intention
AO4 Spell and Spell and punctuate with consistent accuracy, and consistently use
punctuate with vocabulary and sentence structures to achieve effective control of meaning.
accuracy and
precision

English Literature Course Outline

Paper 1: Shakespeare and the 19th Century Novel
A [12 marks] AO1 Starting with this extract, explain how far you think Shakespeare
[12 marks] AO2 presents (character, theme, etc.) as (adjective).
[6 marks] AO3
[4 marks] AO4
B [12 marks] A01 Starting with this extract, explain how far you think Dickens presents
[12 marks] AO2 (character, theme, etc.) as (adjective).
[6 marks] AO3

Paper 2: Modern Drama, Studied Poetry, Unseen Poetry

A [12 marks] AO1 Either
[12 marks] AO2 How does Priestley explore (theme/attitude) in An Inspector Calls?
[6 marks] AO3 Or
[4 marks] AO4 How does Priestley explore (character) in An Inspector Calls
B [12 marks] AO1 Compare the ways poets present ideas about (power / conflict) in this
[12 marks] AO2 poem and other poem from ‘Power and Conflict’.
[6 marks] AO3
C [12 marks] AO1 1. In (unseen poem 1), how does the poet present (feeling, character,
[20 marks] AO2 attitude)?
2. What are the similarities and / or differences between the ways the
poets present (attitude, feeling, character) in (unseen poem 1) and
(unseen poem 2)?

• Chiefly concerned with [theme], [author]

explores….. through…..
• In a play / novella that deals primarily with [theme],
[author] espouses the notion that…
• At its heart, [title] is a play / novella that
2
highlights….
• Through the discussion of [theme] throughout the
play / novella, [author] promotes…..
More specifically….
In particular…..
Reading more closely, we see…
Through the use of…
It is as though…
It is almost as if….
The reader / audience is invited to…
The reader / audience is encouraged to…
Literally / metaphorically / symbolically

Paper 1 Section A: Macbeth

Ambition Loyalty and betrayal

3
Kingship Good and evil

Supernatural Gender

Paper 1 Section A: Macbeth

Lady Macbeth Macbeth

4
Duncan Witches

5
 Topic Detailed Contextual Information Relate to a Specific Quotation/Scene

1) First Performance Macbeth was first performed in 1606, likely with King James I in the audience. Which quotations relate to the plotting and aftermath of Macbeth’s assassination of
Shakespeare may have wanted to please the King through his play’s Duncan?
representation of the dangers of challenging monarchy.

2) Historical The play’s characters were inspired by historical sources. The real Macbeth
Inspiration ruled Scotland in the 11th century after killing King Duncan but many other
facts were changed considerably. James I also claimed to believe that he was a
descendant of Banquo and Fleance.

3) Divine Right of James I promoted the concept of the divine right of kings throughout his reign:
Kings the monarch is appointed by God and, therefore, any opposition to him is
sacrilegious. In a speech before parliament James I argued ‘Kings are justly
called gods.’ (1609)

4) Gowrie King James was nearly assassinated in 1600 by the Earl of Gowrie and his
Conspiracy brother. The event captivated the public: many pamphlets were published and
sermons given on the blasphemy of regicide. How might the divine right of kings concept inform your interpretation of the
intensity with which characters react to Duncan’s death?
5) Gunpowder Plot The Gunpowder Plot in 1605 involved Catholics attempting to blow up
Parliament and the royal family. Robert Catesby’s involvement shocked King
James, who had considered Catesby to be one of his most loyal noblemen.
Scholars have speculated that the play’s characterisation of Macbeth may have
been partly modelled on him.

6) Equivocation Henry Garnet, also tried and executed for involvement in the Gunpowder Plot, Which minor character mentions the word ‘equivocate’ in Act 2?
famously promoted equivocation (intentionally unclear communication). During
this period of religious persecution, it offered Jesuits a way of giving untruthful
responses while under interrogation.

Which other characters repeatedly equivocate through paradoxical half-truths?

7) Supernatural Belief in the supernatural was far more prevalent than it is today. King James I List the supernatural beings and events that occur in the play.
6
 wrote a book on the subject - ‘Daemonologie’ (1596) - in which he called
witches ‘detestable slaves of the Devill’ and confidently asserted that ‘such
assaultes of Sathan are most certainly practized’.

8) Gender Roles Jacobean society was highly patriarchal. Women were typically regarded as At what points does the play challenge traditional notions of femininity and
emotionally and intellectually weaker than men, needing a husband to look after masculinity?
them. The man was considered to be the head of a marriage and his family.

9) Religious Belief In the previous century the state religion had changed between Mary, Queen of Which quotations would have been viewed in a more serious manner by a generally
Scots and Elizabeth I. Under James I as both King and Head of the Church, the Protestant audience?
country remained strictly Protestant. The Jacobean public was generally god-
fearing, interpreting religious concepts such as heaven and hell literally. James I
also commissioned a new English translation of the Bible in 1604 which is still
read to this day.

10) The Tragic Hero The classical philosopher Aristotle argued that tragic heroes should follow How does Macbeth’s characterisation fit Aristotle’s tragic conventions?
certain conventions. They must be ‘highly renowned’ but have a flaw (hamartia)
that leads to a reversal of fortune (peripeteia). Often the flaw is linked to
excessive pride (hubris). Watching the hero’s tragic fall causes the audience to
feel pity and fear (catharsis).

7
 “Fair is ………………………, and ………………………is fair.”
“………………………, hide your ………………………. Let not light
see my deep and ………………………desires.”
“Look like the ………………………flower but be the
………………………under it.”
“Yet I do fear thy nature; It is too full o’ the ………………………of
human …………………………”
“………………………me here, fill me from the crown to the toe top full
of ………………………cruelty.”
“I dare do all that may become a ………………………; Who dares do
more is none.”
“Or art thou but a ………………………of the ………………………, a
false creation…”
“Macbeth doth ………………………sleep.”
“A ………………………water clears us of this deed.”
“There’s ………………………in men’s smiles.”
“I fear thou play’dst most ……………………… for it.”
“O full of ………………………is my mind, dear wife.”
“I am in ………………………stepped in so far that… returning were as
tedious as go o'er.”
“It will have ………………………, they say; ………………………will
have ……………………….”
“………………………, damn spot! ………………………I say!”
“Yet who would have thought the old man to have so much
………………………in him?”
“………………………, ………………………, brief candle!”
“………………………, and ………………………, and
………………………, creeps in this petty pace…”
“It is a tale, told by an ………………………, full of sound and fury,
signifying ……………………….”
8 “Despair thy charm…Macduff was from his mother's womb
………………………ripp'd.”
“This dead ………………………and his fiend-like
……………………….”
 Read the following extract from Act 1, scene 7 of Macbeth and then answer the question that follows.
At this point in the play, Macbeth is thinking about the reasons why he should not murder the king, Duncan.
MACBETH
He’s here in double trust:
First, as I am his kinsman and his subject,
05
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
10 Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued, against

9
 15 The deep damnation of his taking-off;
And pity, like a naked newborn babe,
Striding the blast, or heaven’s cherubim, horsed
Upon the sightless couriers of the air,
20
Shall blow the horrid deed in every eye,
That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o'erleaps itself
And falls on th' other.

Starting with this moment in the play, how do you think that
Shakespeare presents the idea of ambition in Macbeth
Write about:
 What Macbeth says at this point in the play
 How Shakespeare presents the idea of ambition in the play as a
whole.

[30 marks]
AO4 [4 marks]

Read the following extract from Act 5 Scene 3 of Macbeth and then answer the question that follows.
At this point in the play Macbeth is under siege from the English army.

10
MACBETH
Bring me no more reports; let them fly all:
Till Birnam wood remove to Dunsinane,
I cannot taint with fear. What's the boy Malcolm?
Was he not born of woman? The spirits that know
All mortal consequences have pronounced me thus:
'Fear not, Macbeth; no man that's born of woman
Shall e'er have power upon thee.' Then fly, false thanes,
And mingle with the English epicures:
The mind I sway by and the heart I bear
Shall never sag with doubt nor shake with fear.

Enter a Servant
The devil damn thee black, thou cream-faced loon!
Where got'st thou that goose look?

Starting with this speech, explain how far you think Shakespeare presents Macbeth as a hero.
Write about:
 How Shakespeare presents Macbeth is this speech.
 How Shakespeare presents Macbeth in the play as a whole.

[30 marks]
AO4 [4 marks]

11
Read the following extract from Act 1 Scene 5 of Macbeth and then answer the question that follows.
At this point in the play Lady Macbeth is awaiting the arrival of King Duncan at her home.

LADY MACBETH
The raven himself is hoarse 
That croaks the fatal entrance of Duncan 
Under my battlements. Come, you spirits 
That tend on mortal thoughts, unsex me here, 
And fill me from the crown to the toe top-full 
Of direst cruelty. Make thick my blood, 
Stop up th’access and passage to remorse, 
That no compunctious visitings of nature 
Shake my fell purpose, nor keep peace between 
Th’ effect and it. Come to my woman’s breasts, 
And take my milk for gall, you murd’ring ministers, 
Wherever in your sightless substances 
You wait on nature’s mischief. Come, thick night, 
And pall thee in the dunnest smoke of hell, 
That my keen knife see not the wound it makes, 
Nor heaven peep through the blanket of the dark, 
12
To cry ‘Hold, hold!’ 

Starting with this speech, explain how far you think Shakespeare presents Lady Macbeth as the driving force for the murder of King
Duncan.
Write about:
 How Shakespeare presents Lady Macbeth is this speech.
 How Shakespeare presents Lady Macbeth in the play as a whole.

[30 marks]
AO4 [4 marks]

Read the following extract from Act 1 Scene 7 of Macbeth and then answer the question that follows.
At this point in the play Macbeth is debating if he should kill King Duncan.

MACBETH
If it were done when ’tis done, then ’twere well 
It were done quickly. If th’assassination 
Could trammel up the consequence, and catch 
With his surcease success: that but this blow 
Might be the be-all and the end-all, here, 
But here upon this bank and shoal of time, 

13
We’d jump the life to come. But in these cases 
We still have judgement here, that we but teach 
Bloody instructions which, being taught, return 
To plague th’inventor. This even-handed justice 
Commends th’ingredience of our poisoned chalice 
To our own lips. He’s here in double trust: 
First, as I am his kinsman and his subject, 
Strong both against the deed; then, as his host, 
Who should against his murderer shut the door, 
Not bear the knife myself.

Starting with this speech, explain how far you think Macbeth is presented as a character who abandons his sense of right and wrong.
Write about:
 How Shakespeare presents Macbeth is this speech.
 How Shakespeare presents Macbeth in the play as a whole.

[30 marks]
AO4 [4 marks]

Read the following extract frin Act 1, Scene 3 Macbeth and then answer the question that follows.

14
BANQUO
You should be women,
and yet your beards forbid me to interpret
That you are so.
MACBETH
Speak, if you can: what are you?
1st WITCH
All hail Macbeth! Hail to thee, Thane of Glamis.
2nd WITCH
All hail Macbeth! Hail to thee, Thane of Cawdor.
3rd WITCH
All hail Macbeth that shalt be King hereafter!
BANQUO
Good sir, why do you start, and seem to fear
Things that do sound so fair? I’th’name of truth
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
OF noble having and of royal hope
That he seems rapt withal. To me you speak not.
If you can look into the seeds of time
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate

15
Starting with this extract, explain how Shakespeare explores the supernatural.
Write about:
 This extract
 The play as a whole.

[30 marks]
AO4 [4 marks]
Read the following extract from Act 1 Scene 7 of Macbeth and then answer the question that follows.

LADY MACBETH
When you durst do it, then you were a man.
And to be more than what you were, you would be so much more the man. Nor time,
nor place
Did then adhere, and yet you would make both.
They have made themselves and that their fitness now
Does unmake you. I have given suck and know
How tender ‘tis to love the babe that milks me:
I would, while it was smiling in my face,
Have plucked my nipple from his boneless gums
And dashed the brains out, had I so sworn
As you have done on this.

Starting with this speech, explain how Shakespeare presents the idea of masculinity in this extract and elsewhere in the play.

16
Write about:
 This extract
 The play as a whole.

[30 marks]
AO4 [4 marks]

Read the following extract from Act 5 Scene 5 of Macbeth and then answer the question that follows.

17
MACBETH
She should have died hereafter.
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

Starting with this speech, explain how far Shakespeare presents Macbeth as a powerful character.
Write about:
 This extract
 The play as a whole.

[30 marks]
AO4 [4 marks]

18
19
Paper 1 Section B: A Christmas Carol
Stave 1: Marley’s Ghost
Quotation Technique/Key Possible Analysis Themes Links to other scenes and
Word/Symbol/Imagery context
‘Old Marley was as dead
as a door-nail.’ Simile

‘Oh! But he was a tight-

fisted hand at the List of verbs
grindstone. Scrooge! a
squeezing, wrenching, Semantic field of greed
grasping, scraping,
clutching, covetous old
sinner!’
‘No warmth could Comparison to weather
warm, no wintry
weather chill him. No
wind that blew was
bitterer than he’
‘Are there no prisons?’ Language of business and
asked Scrooge. economics
‘If they would rather
die,’ said Scrooge, ‘they
had better do it, and
decrease the surplus
population.’
“I wear the chain I Symbol of chain
forged in life," replied
the Ghost. "I made it Repetition of ‘free will’
link by link, and yard by
yard; I girded it on of
20
 my own free will, and of
my own free will I wore
it. Is its pattern strange
to you?”
‘Hard and sharp as flint’
‘solitary as an oyster.’ Simile

‘A merry Christmas, Juxtaposition

uncle! God save you!’
cried a cheerful voice.
'Bah!' said Scrooge,
'Humbug!'
“every idiot who goes Language of Christmas
about with ‘Merry
Christmas’ on his lips,
should be boiled with
his own pudding, and
buried with a stake of
holly through his heart.”
‘Darkness is cheap, and Language of money
Scrooge liked it.’

“Mankind was my Repetition of ‘business’

business. The common
welfare was my
business”
“Mark me! In life my Description of business as
spirit never roved adjective ‘narrow’ and
beyond the narrow metaphor ‘hole’
limits of our money-
changing hole!”

Stave 2: The First of the Three Spirits

21
 Quotation Technique/Key Possible Analysis Themes Links to other scenes and
Word/Symbol/Imagery context
‘It was a strange figure- Juxtaposition or paradox
like a child: yet not so
like a child as like an old
man’
‘from the crown of its Symbol of light
head there sprung a
bright clear jet of light’

“A solitary child, Short sentences

neglected by his friends,
is left there still.” Adjective ‘solitary’
Scrooge said he knew it.
And he sobbed.’
“Our contract is an old Language of business and
one. It was made when love
we were both poor and
content to be so…You
are changed.”
‘Scrooge had acted like Repetition of ‘everything’
a man out of his wits.
His heart and soul were Simile
in the scene, and with
his former self. He
corroborated everything,
remembered everything,
enjoyed everything, and
underwent the strangest
agitation.’
“A small matter,” said
the Ghost, “to make Repetition of ‘small’
these silly folks so full
of gratitude.”
“Small!” echoed
22
 Scrooge.

“What Idol has

displaced you?” he Reference to ‘golden’
rejoined. ‘idol’
“A golden one.”

“No more!” cried

Scrooge. “No more. I Repetition of ‘no more’
don’t wish to see it.
Show me no more!”
“I have seen your nobler Capitalisation of ‘Gain’
aspirations fall off one
by one, until the master-
passion, Gain, engrosses
you. Have I not?”
“Quite alone in the Reference to ‘alone’
world, I do believe.”

Stave 3: The Second of the Three Spirits

Quotation Technique/Key Possible Analysis Themes Links to other scenes and
Word/Symbol/Imagery context
‘there sat a jolly Giant, Symbol of light
glorious to see, who
bore a glowing torch’ Positive lexis: ‘jolly,’
23
 ‘glorious’

‘The sight of these poor Reference to ‘poor

revellers appeared to revellers’- oxymoron?
interest the Spirit very
much…sprinkled
incense on their dinners
from his torch.’
'God bless us every one!' Pronoun ‘us’

“I’ll drink his health Metaphor

for your sake and the
Day’s,” said Mrs.
Cratchit, “not for his.
Long life to him!”
Scrooge was the Ogre
of the family.’
‘…nobody said or Adjective ‘small’
thought it was at all a
small pudding for a
large family. It would
have been flat heresy to
do so.’

‘rather a disagreeable Comparison to an animal

animal, a savage animal,
an animal that growled
and grunted sometimes’

‘he begged like a boy to Simile

be allowed to stay’
24
 “Spirit! Are they Verbs ‘cling’ and
yours?” ‘appealing’
“They are Man’s,”
Reference to ‘Ignorance’
said the Spirit, looking
and ‘Want’
down upon them. “And
they cling to me,
appealing from their
fathers. This boy is
Ignorance. This girl is
Want. Beware them
both”
“Have they no refuge
or resource?” cried Repetition
Scrooge.
“Are there no
prisons?” said the Spirit,
turning on him for the
last time with his own
words. “Are there no
workhouses?”
Stave 4: The Third of the Three Spirits
Quotation Technique/Key Possible Analysis Themes Links to other scenes and
Word/Symbol/Imagery context
‘The Phantom slowly, Triplets
gravely, silently
approached….the very air Semantic field of fear
through which this Spirit
moved it seemed to scatter
gloom and mystery’
“I fear you more than any Change in lexis- ‘good’
25
 spectre I have seen. But as I and ‘hope’ contrasted with
know your purpose is to do ‘fear’
me good, and as I hope to
live to be another man from
what I was.”
“…a wicked old screw,” Metaphor
pursued the woman, “why
wasn't he natural in his Rhetorical question
lifetime?”

‘…could see nothing but a

spectral hand and one great Semantic field of fear
heap of black’
‘He frightened every one Juxtaposition
away from him when he
was alive, to profit us when Language of business
he was dead!’
‘Quiet. Very quiet. The Simile
noisy little Cratchits were as
still as statues in one corner’ Short sentences

Stave 5: The End Of It

Quotation Technique/Key Possible Analysis Themes Links to other scenes and
Word/Symbol/Imagery context
“I will live in the Past, the Verb ‘scrambled’
Present, and the Future!”
Scrooge repeated, as he
scrambled out of bed.’
‘He had never dreamed Reference to ‘happiness’
that any walk – that
anything – could give him
so much happiness.’
‘I am about to raise your
Scrooge’s humour
26
 salary!'
‘Scrooge was better than
his word . . . . He became Repetition of ‘good’
as good a friend, as good a
master, as good a man as
the good old City knew, or
any other good old city,
town, or borough in the
good old world.’
“I am as light as a
feather, I am as happy as Simile
an angel, I am as merry
as a schoolboy. I am as
giddy as a drunken man”
‘…it was a splendid
laugh, a most illustrious
laugh. The father of a Repetition of ‘laugh’
long, long line of
brilliant laughs!’

Scrooge: Stave 2:
A boy
Stave 1:
A hand at the grindstone
Bah!
Stave 3
Are there no
me Tiny Tim will live
Decrease the population
It’s not my

27
Stave 4 It would have been to do so
me I may sponge away the writing on this I’ll give you Mr Scrooge, the of the

I will Christmas in my heart

Stave 4:
My little, child! My child!
Stave 5
I’ll your salary Bob
party, games. Stave 5:

The Cratchits: Scrooge was a second to Tiny Tim

Stave 1:
The clerk’s fire was so much
comforter

Stave 3: Fred:
Oh what a pudding! His eyes
God bless every one! voice
Brave in Christmas is a good time; a kind,
No one said or it was too a , ,
pudding for such a family
time
28
Fellow- to the grave This boy is , the girl is
.
Marley’s Ghost:
Is it a or a ?
Marley was to with.
Yellow, meagre, , scowling
I wear the chain I in life .
I made it by and by

Mankind was my Ghost of Christmas Yet to Come:

Slowly, , approached
Ghost of Christmas Past:
Deep garment
Like a
Like an man
A tunic of the white
Scrooge seized the and pressed it down upon
his head.
He could not the light

Ghost of Christmas Present:

giant
torch
His breast was
Turning on him with his words

29
30
Family Supernatural

Religion Social responsibility

Christmas Forgiveness and redemption

“Scrooge! A ………………………, wrenching, grasping, scraping,

………………………, covetous old sinner!”
31
“No ………………………could ………………………, no wintry weather
………………………him.”
“Hard and sharp as ………………………… solitary as an
……………………….”
“…that he was all in a ………………………; his face was ruddy and
handsome; his eyes ……………………….”
“Are there no ………………………?” “…decrease the surplus population.”
“Mankind was my ………………………. The common welfare was my
………………………; charity, mercy, forbearance, and benevolence were all
my business”
“From the crown of its head there sprung a bright clear jet of
……………………….”
"Your lip is ………………………," said the Ghost. "And what is that upon
your cheek?"
“A ………………………child, neglected by his friends, is left there still.”
“He corroborated ………………………, remembered ………………………,
enjoyed ………………………, and underwent the strangest agitation.”
“What ………………………has displaced you?” he rejoined.
“A ………………………one.”
“There sat a jolly ………………………, glorious to see, who bore a
………………………torch.”
“They are Man’s…This boy is ………………………. This girl is
………………………. Beware them both”
“Are there no ………………………? … Are there no ………………………?”
“The Phantom slowly, ………………………, ………………………
approached…”
“Quiet. Very quiet. The noisy little Cratchits were as still as statues in one
corner.”
“The only emotion that the Ghost could show him, caused by the event, was
one of ……………………….”
“I will live in the ………………………, the ………………………, and the
………………………!”
“I am not the ………………………I was.”
“I am about to raise your ………………………!”
“I am as light as a ………………………, I am as happy as an
………………………, I am as merry as a ………………………”
'God bless ……………………, Every ……………………!'
Fred Marley’s Ghost
32
Scrooge Tiny Tim

The Cratchits Ghost of Christmas Past

Ghost of Christmas Present Ghost of Christmas Yet to Come

33
Preface Belle

Brief Biography of Charles Dickens

Born to a naval clerk, Dickens moved with his family to London at age 10. When
his father was briefly imprisoned for debt, Charles worked long days at a
warehouse. His experience of financial hardship and impoverishment greatly
34
influenced the content of his stories, and his ambition. He left school at age 15,
but read voraciously and acquired extensive knowledge through jobs as a law
clerk, court reporter, and journalist. As a novelist, Dickens was successful from
the start, with the publication of The Pickwick Papers in 1836, and quickly
became the most famous writer in Victorian England for his unforgettable
characters, comic ingenuity, and biting social critique. He also enjoyed huge
popularity in America where he made several reading tours. He worked
tirelessly, producing a magazine Household Words (later All the Year Round)
and cranking out still-famous novels including Oliver Twist, Bleak House, Great
Expectations, David Copperfield and A Christmas Carol. Dickens had ten
children with his wife Catherine Hogarth, but their marriage was never happy
and Catherine left him after Dickens had an affair with the actress Ellen Ternan.
Dickens died in 1870 and is buried in Poets' Corner of Westminster Abbey.
Historical Context of A Christmas Carol
The impoverished state of London in Dickens’ lifetime is a big influence of the
story. The British Government introduced the Poor Law Amendment Act in the
year 1834, known as the New Poor Law, which led to the establishment of
workhouses, one of Dickens’ most detested social constructions. Dickens was
highly sympathetic to the effects of Industrial Capitalism on children especially.
The story actually began as an idea for a political pamphlet, to draw attention to
the plight of the poor.

Charles Dickens: A Christmas Carol

Read the following extract from Stave 5 and then answer the question that follow.

In this extract, Scrooge has left his house to experience Christmas morning.

He had not gone far, when coming on towards him, he beheld the portly gentleman, who
had walked into his counting-house the day before, and said, ‘Scrooge and Marley’s, I
35 believe?’ It sent a pang across his heart to think how this old gentleman would look upon
him when they met; but he knew what path lay straight before him, and he took it.
‘My dear sir,’ said Scrooge, quickening his pace, and taking the old gentleman by both his
hands, ‘How do you do? I hope you succeeded yesterday. It was very kind of you. A
merry Christmas to you, sir!’
 Starting with this extract, how does Dickens present the themes of generosity and goodwill?
Write about:

 how Dickens presents generosity and goodwill in this extract

 how Dickens presents generosity and goodwill in the novella as a whole.
[30 marks]

Charles Dickens: A Christmas Carol

Read the following extract from Stave 2 and then answer the question that follows.

In this extract, Scrooge is watching his former self as an apprentice for his previous employer,
Mr. Fezziwig. Accompanied by the ghost of Christmas Past, he observes the celebrations and
becomes caught up in the excitement.

There were more dances, and there were forfeits, and more dances, and there was
36 cake, and there was negus, and there was a great piece of Cold Roast, and there
was a great piece of Cold Boiled, and there were mince-pies, and plenty of beer.
But the great effect of the evening came after the Roast and Boiled, when the
fiddler (an artful dog, mind! The sort of man who knew his business better than
you or I could have told it him!) struck up ‘Sir Roger de Coverley’. Then old
 Starting with this extract, how does Dickens explore the idea of abundance?

Write about:

 how Dickens presents abundance in this extract

 how Dickens presents abundance in the novella as a whole.
[30 marks]

Charles Dickens: A Christmas Carol

Read the following extract from Stave 1 and then answer the question that follows.

In this extract, Scrooge is visited by two men collecting money for the poor.

“At this festive season of the year, Mr. Scrooge,” said the gentleman, taking up a pen, “it
is more than usually desirable that we should make some slight provision for the Poor and
Destitute, who suffer greatly at the present time. Many thousands are in want of common
37
necessaries; hundreds of thousands are in want of common comforts, sir.”

“Are there no prisons?” asked Scrooge.

 Starting with this extract, how does Dickens explore the idea of social responsibility?
Write about:

 how Dickens presents social responsibility in this extract

 how Dickens presents social responsibility in the novella as a whole.
[30 marks]

Charles Dickens: A Christmas Carol

Read the following extract from Stave 1 and then answer the question that follows.

Once upon a time – of all the good days in the year, on Christmas Eve – old
Scrooge sat busy in his counting-house. It was cold, bleak, biting weather;
foggy withal: and he could hear the people in the court outside, go wheezing up
and down, beating their hands upon their breasts, and stamping their feet upon
38
the pavement-stones to warm them. The city clocks had only just gone three,
but it was quite dark already: it had not been light all day: and candles were
flaring in the windows of the neighbouring offices, like ruddy smears upon the
 Starting with this extract, how does Dickens show the contrast between positivity and
negativity?
Write about:

 how Dickens presents positivity and negativity in this extract

 how Dickens presents positivity and negativity in the novella as a whole.
[30 marks]

Charles Dickens: A Christmas Carol

Read the following extract and then answer the question that follows.

Then up rose Mrs Cratchit, Cratchit's wife, dressed out

but poorly in a twice-turned gown, but brave in ribbons,
which are cheap and make a goodly show for sixpence;
and she laid the cloth, assisted by Belinda Cratchit,
39
second of her daughters, also brave in ribbons; while
Master Peter Cratchit plunged a fork into the saucepan of
potatoes, and getting the corners of his monstrous shirt
 Starting with this extract, how does Dickens present the Cratchit family?

Write about:

 how Dickens presents the Cratchits in this extract

 how Dickens presents the Cratchits in the novella as a whole.
[30 marks]

Charles Dickens: A Christmas Carol

Read the following extract and then answer the question that follows.

They were a boy and a girl. Yellow, meagre, ragged, scowling, wolfish; but
prostrate, too, in their humility. Where graceful youth should have filled
their features out, and touched them with its freshest tints, a stale and
40 shrivelled hand, like that of age, had pinched, and twisted them, and pulled
them into shreds. Where angels might have sat enthroned, devils lurked,
and glared out menacing. No change, no degradation, no perversion of
 Starting with this extract, how does Dickens present poverty and need?

Write about:

 how Dickens presents poverty and need in this extract

 how Dickens presents poverty and need in the novella as a whole.
[30 marks]
Charles Dickens: A Christmas Carol
Read the following extract and then answer the question that follows.

For again Scrooge saw himself. He was older now; a man in the prime of life. His face
had not the harsh and rigid lines of later years; but it had begun to wear the signs of
care and avarice. There was an eager, greedy, restless motion in the eye, which
showed the passion that had taken root, and where the shadow of the growing tree
41 would fall.

He was not alone, but sat by the side of a fair young girl in a mourning-dress: in
 Starting with this extract, explore how Dickens presents Scrooge’s attitude to money.

Write about:

 how Dickens presents Scrooge’s attitude to money in this extract

 how Dickens presents Scrooge’s attitude to money in the novella as a whole.
[30 marks]

Paper 2 Section A: An Inspector Calls

Gender Generations

42
Social responsibility Class

Mrs Birling Mr Birling

Inspector Goole Sheila Birling

43
Eric Birling Gerald Croft

“A man has to look after ………………………..”

“Practical man of ………………………..”
“Can’t even take a ………………………..”
“Girls of that ……………………….”
“Half ………………………., half
………………………..”
Eva Smith“He ……………………….. Dramatic irony
Of course he
………………………..”
“Very ………………………. with life”
“Men have ………………………. as well as
………………………..”
“We’re respectable ………………………., not
………………………..”
“Burnt her ……………………….
………………………., of course”
“We are ………………………. for each other.”
“Fire and ………………………. and
……………………….”
“We are members of one ………………………..”
“She was ………………………. and a good
………………………..”
“We’re respectable ………………………., not
……………………….”
“………………………., absolutely
……………………….”
“a chain of ……………………….”
“Massiveness, solidity and ……………………….”
“He’s giving us the rope so that we’ll
………………………. ourselves.”
44 “Used her as if she was an ………………………., a
………………………. not a person.”
“Her husband’s social ……………………….”
 1. ‘I’m talking as a hard-headed, practical man of ‘
2. ‘They will be taught it in fire and blood and ‘
3. About fifty, a rather cold woman and her husband’s social
4. ‘A man has to look after .’
5. ‘We are members of one .’
6. ‘She only had to blame’
7. ‘I say the girl’s dead and we all helped to her.’
8. Very pleased with life and rather .
45
 9. ‘But these girls aren’t cheap - they’re .’
10. Half , half .
11. ‘We’re respectable citizens and not .’
12. ‘She was young and ‘
13. ‘Men have as well as privileges’.
14. ‘There are and and of
Eva Smiths and John Smiths’
15. ‘But how do you know it’s the same ?’
16. ‘I liked her – she was .’
17. ‘The Titanic… is , absolutely .’
18. ‘A of events.’
19. ‘Burnt her out, of course.’
20. The lighting should be and intimate
21. Until the arrives, and then it should be
brighter and harder.
22. We hear the ring of a front door bell.

Mr Birling
Quotation Analysis
1.“a man has to look after himself”

2.”hard-headed practical man of

business”

3.”they can’t even take a joke”

46
Mrs Birling
Quotation Analysis
1.“her husband’s social superior”

2.”girls of that class” / “girls of that

sort” / “a girl in her position”

3.”I accept no blame at all”

Eric Birling
Quotation Analysis
1.“half shy, half assertive”

2.”I just had to laugh”

3.”I agree with Sheila”

Sheila Birling
Quotation Analysis
1.“very pleased with life”

2.”he knows. Of course he knows”

3.”she looks at them reflectively”

47
Gerald Croft
Quotation Analysis
1.“we’re respectable citizens, not
criminals”

2.”you couldn’t have done anything

else”

3.”Everything’s alright now.. Sheila…

what about this ring?”

Eva Smith
Quotation Analysis
1.“burnt her inside out, of course”

2.”an animal, a thing, not a person”

3.”Eva Smiths and John Smiths”

Inspector Goole
Quotation Analysis
1.“massiveness, solidity and
purposefulness”

48
2.”Public men have responsibilities as
well as privileges”

3.”The young ones…. are the most

impressionable”

Social responsibility
Quotation Analysis
1.”We’re all in it” (Sheila)

2.”you mustn’t try to build up a kind

of wall” (Sheila)

3.”we have to share our guilt”

(Inspector Goole)

Criticism of capitalism
Quotation Analysis
1.”We don’t live alone” (Inspector
Goole)

2.”millions and millions and millions

of Eva Smiths and John Smiths”
(Inspector Goole)

3.”They will be taught it in fire and

blood and anguish” (Inspector Goole)

Cause and effect

Quotation Analysis
1.”a chain of events” (Inspector

49
Goole)

2.”He’s giving us the rope – so that

we’ll hang ourselves” (Sheila)

3.”We all helped to kill her” (Sheila)

Dramatic irony
Quotation Analysis
1.”unsinkable” (Mr Birling)

2.”war is inevitable… fiddlesticks”

(Mr Birling)

Gender
Quotation Analysis
1.”is it the one you wanted me to
have?” (Sheila to Gerald)

2.”pretty and a good sport” (Eric about

Eva)
“young and pretty” (Gerald about Eva)

3. “you think young women ought to

be protected against unpleasant and
disturbing things?”

Exam questions:
 How and why does Sheila change in An Inspector Calls?
 How does Priestley explore responsibility in An Inspector Calls?
 How does Priestley explore ideas about class in An Inspector Calls?
50
  How is the Inspector presented in An Inspector Calls?
 How does Priestley present gender inequality in An Inspector Calls?
 How is the difference between younger and older generations explored in An
Inspector Calls?
 How and why does Priestly present Mr Birling as a stubborn character in An Inspector
Calls?
 How does Priestley use Eric to explore ideas about childhood?
 How does Priestley use Gerald to explore ideas about class?
 How does Priestley present individualism in An Inspector Calls?
 In An Inspector Calls, the Inspector says ‘We are members of one body’. How does
Priestley explore ideas about collectivism in the play?
 Do you think Mrs Birling is an important character in An Inspector Calls?
 What is the importance of the staging of An Inspector Calls

51
Paper 2 Section B: Power and Conflict Poetry
The Charge of the Light Brigade, Exposure, Wilfred Owen 1917
Alfred Lord Tennyson 1854

Bayonet Charge, Ted Hughes 1957 War Photographer, Carol Ann Duffy
1985

Kamikaze, Beatrice Garland 2007 Remains, Simon Armitage 2008

Poppies, Jessie Weir 2009 London, William Blake 1794

52
Extract from ‘The Prelude’, William Ozymandias, Percy Bysshe Shelley
Wordsworth 1798 1818

My Last Duchess, Robert Browning Storm on the Island, Seamus Heaney

1842 1966

The Emigrée, Carol Rumens 1993 Tissue, Imtiaz Dharker 2006

53
Checking Out Me History, John
Agard, 2007

54
Conflict Poetry
Poem Yea Techniques Quotations Context
r
The Charge Anaphora “half a league” “theirs but to do and die” Crimean War
of the Light Dactylic dimeter “jaws of death / mouth of hell” “shot and shell” Battle of Balaclava
Brigade 1854 Personification “noble six hundred” “when can their glory fade?” Miscommunication
Alfred Lord
Tennyson
Metaphor “someone had blundered” “honour the light brigade” Poet Laureate = patriotism / propaganda
Jarring metre “But nothing happens” “knive us” Nihilism – the pointlessness of existence
Assonance “sudden successive flights of “war lasts, rain soaks and Owen’s personal experience of the First World War
Exposure 1917 bullets” clouds sad stormy”
Wilfred Owen
Repetition “streak the silence” “all their eyes are ice” Owen hospitalised in 1917 with ‘shell shock’ (PTSD)
Refrain “merciless iced east winds” “snow dazed” Owen was an outspoken critic of the war
Enjambment “raw-seamed hot khaki” “shot-slashed furrows” Hughes’ father was a WWI veteran
Semantic fields of war “bullets smacking the belly out of “King, honour, human dignity Hughes’ poems often explore nature
Bayonet and nature the air” etcetera dropped like
Charge 1957
luxuries”
Ted Hughes
Third person “cold clockwork of the stars” “sweating like molten iron” Anonymous soldier
Juxtaposition “patriotic tear” “yellow hare” Describes the experience of ‘going over-the-top’
Religious imagery “spools of suffering” “Rural England.” Duffy’s friendship with a war photographer
War Regular rhyme scheme “ordered rows” “ordinary pain” Belfast, Beirut, Phnom Penh – sites of conflict
Photographer 1985
Carol Ann Duffy
Regular stanza length “tremble” “half-formed ghost” The media is reductive
Juxtaposition “nightmare heat” “a hundred” “five or six” Desensitisation
Italics for direct “one-way journey” “like a huge flag” Cultural appropriation
speech
Colour imagery “powerful incantations” “as though he no longer Kamikaze = suicide attacks made by Japanese WWII
Kamikaze 2007 existed” soldiers
Beatrice Garland
Range of speakers “like bunting on a green-blue “chattered and laughed” Extreme patriotism
translucent sea”
Metaphor and simile “fishes flashing silver” “better way to die” Rejection and isolation
Short clauses “probably armed” “his bloody life” Poem based on Armitage’s 2007 film The Not Dead
Enjambment “possibly not” “in my bloody hands” Based on interviews with veteran soldiers
Remains 2008 Colloquialism “rips through his life” “drink and the drugs” “Desert sand” = Gulf War
Simon Armitage
Half rhyme + four beat “tosses his guts” “end of story, except not First-person narrative mirrors interview style
rhythm = ironic jollity really”
Ambiguous voice “individual war graves” “flattened, rolled, turned into felt” Commissioned by Carol Ann Duffy
Poppies Dramatic monologue “blockade of yellow bias binding” “like a treasure chest” Refers to Armistice Sunday, which commemorates WWI
2009
Jane Weir Symbolism “sellotape bandaged” “tucks, darts, pleats” Weir experiences ‘The Troubles’ in Ireland
Irregular structure “steeling the softening of my face” “the dove pulled freely” Alludes to contemporary wars in Afghanistan and Iraq

55
Power Poetry
Poem Yea Techniques Quotations Context
r
Anaphora “charter’d street” “charter’d “blackning Church” From ‘Songs of Innocence and Experience”
Thames”
London 1794 Metaphor “marks of weakness / woe” “hapless Soldiers sigh” Blake was a Romantic poet
William Blake
Juxtaposition “in every cry” “youthful Harlots curse” Industrial Revolution
Iambic rhythm “mind-forg’d manacles” “blights with plagues the Marriage hearse” Oppression and individual freedom
Simile “straight I unloosed her chain” “like a swan” The sublime and enlightenment
Extract from Personification “small circles glittering idly in the moon” “a huge peak, black and huge” Romantic ideals of the power of nature
‘The Prelude’ 1798 Enjambment “with an unswerving line, I fixed my “upreared its head” Autobiographical poem – Lake District
William view”
Wordsworth “huge and mighty forms that do not live like
Iambic pentameter “she was an elfin pinnace” Spiritual growth and development
living men”
Sonnet form “vast and trunkless” “King of Kings” Romantic poetry
Ozymandias Iambic pentameter “half sunk a shattered visage lies” “Look on my Works, ye Mighty” Sympathising with the French Revolution
Percy Bysshe 1818 “wrinkled lip and sneer of cold command”
Shelley Oxymoron “Nothing beside remains” Criticism of absolute power
Irony “stamped on these lifeless things” “lone and level” Ancient Egypt
Dramatic monologue “looking as if she were alive” “daylight / cherries / white mule” Browning moved to England due to his
My Last One speaker “if they durst” “nine-hundred-years-old name” overprotective father
Duchess 1842 Rhyming couplets “spot of joy” “I gave commands” Based on Duke Alonso of Ferrara
Robert Browning “too soon made glad / too easily
Enjambment “all smiled stopped together” Set in Ferrara, 1564
impressed”
Assonance “we are prepared” “exploding comfortably” Much of Heaney’s poetry is about farm life
Storm on the Enjambment “it blows full / Blast” “spits like a tame cat” The poem is an extended metaphor for the
Island 1966
Pronouns “leaves and branches can raise a “we are bombarded by the empty air” Troubles in Ireland: conflict between Unionists
Seamus Heaney
Extended metaphor chorus in a gale” “it is a huge nothing that we fear” and the Nationalists
Repetition of ‘they’ “sunlight-clear” “like a hollow doll” About a female emigrant
The Emigrée First person perspective “bright, filled paperweight” “It tastes of sunlight” Fear of tyranny
1993
Carol Rumens Simile “sick with tyrants” “comb” / “love” Corruption, dictatorship and violence
Metaphor “white streets” / “white plane” “my shadow falls as evidence of sunlight” Sense of identity and belonging
Extended metaphor “lets the light shine through” “a sigh, a shift” Dharker was born in Pakistan but grew up in
Scotland
Tissue 2006 Modal verbs “age or touching” “borderlines” / “brick” / “block” Much of her poetry deals with cultural identity
Imtiaz Dharker
Repetition “stroked and turned transparent” “the sun shines through” Industrialisation and urbanisation
Enjambment “I might feel their drift” “turned into your skin” Permanence and transience
Non-standard English “dem tell me” “fire-woman” Criticism of Eurocentrism in teaching
Checking Out Repeated quatrain “blind me to me own identity” “a healing star” Non-standard phonetic spelling to reflect his
Me History 2007
Lack of punctuation “bandage up me eye with me own history” “a yellow sunrise” own dialect
John Agard
Enjambment “beacon” “I carving out me identity” Agard was born in Guyana in the Caribbean
56
57
Power Conflict
Power of authorities Conflict between nations

Power of men over women Internal conflict

Power of art The impact of conflict

Power of time Attitudes of civilians to conflict

Power misused Conflict between man and nature

Power of nature Memory of conflict

Power taken away Conflict between past and present

Power of the past Conflict between authorities

Power of politics Conflict between politics and people

Power of humans The pain of conflict

Power of weapons The morality of conflict

Power of money Conflict between cultures

58
59
  How do poets explore conflict with nature in
Storm on the Island and Exposure?
 How do poets explore the memory of conflict in
Remains and War Photographer?
 How do poets explore ideas about the experience
of conflict in Remains and Exposure?
 How do poets explore ideas about internal conflict
in The Emigrée and Checking Out Me History?
 How do poets explore ideas about the power of
location in The Emigrée and London?
 How do poets look at the power of authorities in
London and Ozymandias?
 How do poets look at conflict in war in Charge of
the Light Brigade and Bayonet Charge?
 How do poets look at the power of men in My
Last Duchess and Ozymandias?
 How do poets explore powerlessness in London
and Storm on the Island?
 How do poets explore ideas about the pain of
conflict in Poppies and War Photographer?

Assessment Objective 2: Analyse language, form and structure used by a writer to create meanings and
effects, using relevant subject terminology.

How can I include terminology in my answer?

What is terminology?
60

Terminology is the set of words we use to describe language and structure in English.
  Can you put ‘the’ in front of  Can you put ‘could’ in front
it? of it?
 Is it a person, place or  Can you add ‘ing’ to the
thing? end?
 Can you pluralise it with an  Can you put ‘I’, ‘we’, ‘she’
‘s’ on the end? in front of it?
 Is it something you do or
= a noun Can you touch it? =
concrete noun are?
If not =
abstract noun
= a verb

 Can you add ‘er’ to the end?  Does it end in ‘ly’?

 Can it follow ‘seems’?  Is it describing a verb?
 Is it describing a person,  Is it describing an adjective
place or thing? (e.g. really exciting)?
= an adjective = an adverb

I, me, my, mine, You, your, yours, He, his, she, her, Consider
myself, we, us, yourself, hers, it, its, they, whether the
our yourselves them, their, that pronoun is:
rd  Plural
= 1 person = 2 person
st nd = 3 person  Singular
pronoun pronoun pronoun  Possessive
Does it join two clauses together? = a conjunction
e.g. for, and, nor, but, or, yet, so, when, because, although, whereas

A= indefinite article The = definite article

61

‘cold command’ Repetition of the same sound at = alliteration

London
William Blake
1794

I wander thro' each street,

Near where the charter'd does flow. 
62
And mark in every face I meet
Marks of , marks of .
 
In every of every Man,
In every infant’s of fear,
In every voice: in every ban,
The mind-forg'd I hear:

How the chimney-sweepers cry

Every church appalls, 
And the hapless Soldiers
Runs in down walls 
 
But most through midnight I hear
How the youthful harlot’s
the new-born infant’s tear 
And blights with the marriage hearse

Exposure
Wilfred Owen
1918

Our brains ache, in the iced east winds that us...

Wearied we keep awake because the night is silent...

63
Low drooping flares confuse our memory of the salient...
Worried by silence, sentries , curious, nervous,
But happens.

Watching, we hear the mad gusts ing on the wire.

Like twitching agonies of men among its brambles.
Northward incessantly, the flickering gunnery rumbles,
Far off, like a dull of some other war.
What are we doing here?

The poignant misery of dawn begins to grow...

only know war lasts, rain soaks, and clouds sag stormy.
Dawn massing in the east her army
once more in ranks on shivering ranks of gray,
But happens.

Sudden successive flights of streak the silence.

Less deadly than the air that shudders black with ,
With sidelong flowing flakes that flock, pause and renew,
We watch them wandering up and down the wind's nonchalance,
nothing happens.

Pale flakes with lingering stealth come 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 ?

The Émigrée
Carol Rumens
1993

There once was a country… I left it as a child

but my memory of it is -clear
for it seems I never saw it in that November
which, I am told, comes to the mildest city.
64
The worst news I receive of it cannot break
my original view, the bright, filled .
It may be at , it may be sick with tyrants,
but I am by an impression of sunlight.

The streets of that city, the graceful slopes

glow even clearer as time rolls its
and the frontiers rise between us, close like waves.
That child’s vocabulary I carried here
like a hollow , opens and spills a grammar.
Soon I shall have every coloured molecule of it.
It may by now be a lie, banned by the state
but I can’t get it off my tongue. It tastes of .

I have no passport, there’s no way back at all

but my city comes to me in its own plane.
It lies down in front of me, docile as paper;
I comb its hair and its shining eyes.
My city takes me dancing through the city
of walls. They me of absence, they circle me.
accuse me of being dark in their free city.
city hides behind me. They mutter death,
and my falls as evidence of .

Ozymandias
Percy Bysshe Shelley
1818

I met a from an land

Who said: "Two and legs of stone
Stand in the . Near them, on the sand,
65
Half sunk, a visage lies, whose frown,
And lip, and sneer of c c ,
Tell that its sculptor well those passions read
Which yet survive, on these lifeless things,
The hand that mocked them and the heart that fed:
And on the pedestal these words appear:
'My name is Ozymandias, king of :
Look on my , ye , and despair!'
beside remains. Round the decay
Of that wreck, and bare
The lone and sands stretch far away.”

66
War Photographer
Carol Ann Duffy
1985

In his he is alone
with of suffering set out in ordered .
The only light is and softly glows,
as though this were a church and
he a priest preparing to intone a Mass.
Belfast. Beirut. Phnom Penh. All flesh is .
 
He has a job to do. Solutions in trays
beneath his hands, which did not then
though seem to now. Rural England. Home again
to pain which simple weather can dispel,
to fields which don’t explode beneath the feet
of running children in a heat.

Something is happening. A features

faintly start to before his eyes,
a half-formed . He remembers the cries
of this man’s wife, how he sought approval
without words to do what someone must
and how the blood into foreign dust.
 
A agonies in black and white
from which his editor will pick out or six
for Sunday’s supplement. The reader’s eyeballs prick
with tears between the bath and pre-lunch beers.
From the he stares impassively at where
he earns his living and they do not care.

Language Structure and form

First person Refrain

Third person Enjambment

Alliteration Rhyming couplets

Consonance Metre

Simile Stanza

Metaphor Caesura

Imperatives Punctuation

Imagery Dramatic monologue

Individual words Rhyme scheme

Personification Rhetorical question

Hyperbole Dactylic dimeter

Narrative voice Sonnet

How do poets present ideas about conflict of identity in ‘Checking Out Me History’ and one
other poem from ‘Power and Conflict’?
Plan: Compare ‘Checking Out Me History’ and ‘London’
 Introduction
 Structure of poems
 Imposing ideas of identity onto society
 Permanence of damage caused by conflict of identity
Both poets offer the reader a sense of conflict between the current state of identity and what
they would like it to be. Agard in ‘Checking Out Me History’ criticises the imposition of a
Eurocentric, white cultural identity onto his own knowledge of his personal history by
comparing the fame of white figures of history with the unknown nature of figures that he
identifies with such as ‘Mary Seacole’. This perhaps reflects his own experience of his
personal culture being marginalised. In ‘London’, Blake offers a criticism of the conflict
between the identity of the government and authorities and the identity of the vulnerable in
society. He does this by showing the reader the ‘cry’ of the ‘infant’ and the ‘blood’ of the
‘soldiers’.

Structurally, the poems express the idea of conflict of identity very differently. Agard uses a
free verse, irregular structure to

Furthermore
the use of the italics in the poem serves to

Blake in ‘London’ uses a strict rhyme scheme and rhythm throughout in order to demonstrate

Both poets are concerned with the way authorities impose identities onto society. Agard
expresses this through his repetition of ‘dem tell me’. Specifically,
 .

Blake in ‘London’ shows the negative impact of authorities imposing their identity onto
society when he creates the image of a ‘chartered street’ and a ‘chartered Thames’. Here we
see that

To highlight the deep damage that can be done by a conflict of identity, Agard uses the
metaphor ‘bandage up me eye with me own history’, highlighting the idea that

He goes on to show that

the conflict can be resolves when he says ‘I carving out me identity’. Here the use of the verb
‘carving’ shows

Blake also is concerned with the permanence of damage caused by a conflict of identity. In
‘London’, Blake also seems to hint at the permanent damage done when peoples’ identities
are harmed by authorities when he refers to ‘marks of weakness, marks of woe’

How do poets present ideas about the power of humans in ‘Bayonet Charge’ and one other
poem from ‘Power and Conflict’?
Plan: Compare ‘Exposure’ and ‘Bayonet Charge’
 Introduction
 Sound
 Patriotism
  Nature
Both poets offer the reader a vivid image of the experience of conflict. Owen writes from a
personal experience of war, involving the reader in his description through the use of the
collective first person pronoun ‘we’. Hughes did not himself see combat but seems to have
been heavily influenced by his father’s experience of war. Writing using the third person
pronoun ‘he’ provides the reader with some separation from the action just like Hughes
himself had; we see the experience through an omniscient narrator.

Both Hughes and Owen portray the sounds of war as frightening and shocking. Owen begins
with an image of ‘silence’, speaking of ‘curious’, ‘nervous’ soldiers. In the fourth stanza this
is broken by ‘sudden successive flights of bullets’. Specifically, here

Hughes also talking about the sound of bullets in conflict, describing them as ‘smacking the
belly out of the air’. However, he begins with this loud shocking sound and ends with the
image of a ‘silent’ ‘yellow hare’. In particular, the

In ‘Bayonet Charge’, Hughes undermines and criticises the patriotism attached to conflict,
stating that in the reality of war ‘king, honour, human dignity, etcetera dropped like luxuries
in a yelling alarm’

Owen also undermines images of patriotic bravery through his use of anaphora, repeating
‘but nothing happens’ at the end of three stanzas. Here we see
 .

Hughes repeats the image of a ‘green hedge’ at the start and end of the poem to

. He also creates a vivid image of the impact of conflict on nature, describing the
‘shot-slashed furrows’.

.
However throughout ‘Exposure’, Owen portrays nature as itself an enemy, participating in
the conflict. The reader is introduced at the start to the ‘merciless iced east winds that knife
us’. Here we see

How do poets present ideas about the power of identity in ‘Kamikaze’ and one other poem
from ‘Power and Conflict’?
Plan: Compare ‘Kamikaze’ and ‘The Emigrée’
 Introduction
 Speaker of the poem
 Power of positive memory
 Ending with the powerlessness of identity
Both poets describe identity as formed by the past and affected by the present. Rumens in
‘The Emigrée’, by using a first person perspective, describes the protagonist’s positive
memory of their home of origin, suggesting that it has made a permanent, positive and
important ‘impression’ on them. Garland in ‘Kamikaze’ uses multiple narrative voices in her
description of a pilot’s failure to fulfil his mission due to his positive, nostalgic memories of
his childhood by the sea. Neither poets had personal experiences of the specific identities they
describe but both end their poems with a sense of the powerlessness of individual identity. In
‘The Emigrée’, Rumens emphasises the threat of an unidentified ‘they’ and mentions the
protagonist’s ‘shadow’ and in ‘Kamikaze’, Garland ends with the verb ‘die’ to emphasise the
dramatic negative effect the pilot’s decision had.

Rumens in ‘The Emigrée’ gives the protagonist’s identity importance through the use of the
definite article ‘the’ in the title. This
.
Furthermore, use of the first person narrative voice

Conversely in ‘Kamikaze’, the identity of the pilot is told initially through an omniscient
narrator, who has access to what his daughter ‘thought’ about her father’s memories of his
childhood. This creates the sense that

. Italics in the
poem are used by Garland to

Both poets are concerned with the way memories of the past can inform identity. Rumens
uses a metaphor to describe the memory as a ‘bright, filled paperweight’. Specifically, here

. Her memory of her language ‘tastes of sunlight’

.
Garland in ‘Kamikaze’ emphasises the nostalgic positivity of the pilot’s memory in the simile
‘little boats strung out like bunting’

. However, there is
a hint at the difficulties to come when he remembers the ‘turbulent inrush’ of the sea, which
may represent

.
To highlight the idea that an identity created by past memories can be powerless, Rumens
ends ‘The Emigrée’ using asyndetic listing of the abuse the speaker suffers in the present.
Using the third person collective pronoun ‘they’ emphasises

Furthermore, ending with ‘my shadow falls as evidence of sunlight’

demonstrates

.
Garland is also concerned with the way a personal identity can be weakened by others. After
failing to complete his mission, the pilot’s daughter ‘said, he must have wondered which had
been the better way to die.’ In other words,

.
Here the use of the modal verb ‘must’
. Ending with the verb
‘die’ highlights
.

How do poets present ideas about the power of humans in ‘My Last Duchess’ and one other
poem from ‘Power and Conflict’?
Plan: Compare ‘My Last Duchess’ and ‘Ozymandias’
 Introduction
 Speaker of the poem and structure
 Permanence of power
 Power of nature
Both poets describe the power of an arrogant and seemingly cruel ruler and are concerned
with the use of humans’ power. Shelley’s overall message in ‘Ozymandias’ is that the power
of humans is transient, expressed through multiple narrative voices and the description of the
overwhelming power of nature and time. Browning in ‘My Last Duchess’ demonstrates to the
reader the malevolence that can be present within rulers through the form of a dramatic
monologue and the speaker’s language of superiority.

Shelley in ‘Ozymandias’ sets up the ruler’s importance through the title, which

. Furthermore, use of multiple narrative voices

 .
Caesurae are used throughout the one-stanza poem to
.

There is only one narrative voice in ‘My Last Duchess’, which

The form of the dramatic monologue highlights

. Furthermore, the use of strict
rhyming couplets throughout the poem demonstrates

Both poets are concerned with permanence of power. Shelley makes Ozymandias seem like a
ruler ignorant of the transience of his power by contrasting Ozymandias’ use of imperatives
‘look’ and ‘despair’ with the image of a ‘colossal wreck’ in ‘boundless’ and ‘bare’
surroundings. Specifically, here the

.
Browning in ‘My Last Duchess’ emphasises the apparent permanence of the Duke’s power
when he says ‘I gave commands; then all smiles stopped together’. Here the use of

. Furthermore, when the Duke says ‘I choose

never to stoop’ we see that

In ‘Ozymandias’ the power of nature is highlighted by the ‘shattered visage’ and ‘lifeless
things’. Specifically, the

.
Ozymandias’ pride in his ‘works’ is juxtaposed with the ‘lone’ sands

.
Through the use of the simile ‘looking as if she were alive’ at the start and ‘as if alive’
towards the end of the poem, Shelley could be suggesting that

.
Furthermore, Shelley highlights the superiority that humans can consider they have over
others. The Duke refers to the Count’s daughter as ‘my object’

. Thus we see that the power of nature

.

How do poets present ideas about the impact of conflict in ‘Poppies’ and one other poem
from ‘Power and Conflict’?
Plan: Compare ‘Poppies’ and ‘War Photographer’
 Introduction
 Speaker of the poem and structure
 Loneliness created by conflict
 Emotional impact of conflict
Both poets describe the deeply scarring emotional effect of conflict on individuals. Whilst
Weir chooses the perspective of a mother sending her son to war, Duffy’s protagonist is a
photographer who is impacted by his experiences of conflict and recalls these back at home.
Whilst Duffy’s strict rhyme scheme and regular stanzas reflects the oppressive repetition of
suffering, in ‘Poppies’ the structure is irregular and there is no rhyme scheme; the use of free
verse emphasises the freedom she aspires to have from worry and fear.

In ‘War Photographer’ the protagonist is introduced in the title, which

. The use of third person
narration creates a sense of
.
Furthermore, the strict rhyme scheme and stanza length emphasises
.
Conversely, Weir in Poppies provides a first person narrative perspective in order to
.
In contrast to the ordered nature of the ‘individual war graves’, the poem is written in free
verse with enjambment used throughout to highlight

War Photographer opens with phrase ‘In his darkroom he is finally alone’. Here the
possessive third person pronoun ‘his’ highlights

. Furthermore, the
use of the adverb ‘finally’ emphasises

In ‘Poppies’ the loneliness of the speaker is expressed through the use of images of birds. The
‘dove’ pulling ‘freely against the sky’ represents

. She ‘released a song bird from its cage’, perhaps mirroring her desire to

. Reference to ‘you’ in the poem creates the

sense that
.

The deep emotional impact created by the experience of conflict is highlighted in ‘War
Photographer’ through the image of fields that ‘explode’ in a ‘nightmare heat’.

. Furthermore, the ‘half-formed ghost’ that emerges as the photograph develops

In ‘Poppies’, Weir expresses the emotional impact of conflict by demonstrating the repression
of the speaker’s emotions. She ‘steeled the softening’ of her face. Here the

. Furthermore, the
speaker expresses what she ‘wanted’ to do and ‘resisted’ doing. The image of the speaker’s
emotions being ‘turned into felt’ highlights the idea that