Language

Form

Structure

Name:

Learning goals

AO2 - Language RAG ratingB F S T

Learning Can I identify a language technique that has been used to within a text and make a brief comment about it?

Mastering Can I show an understanding of language techniques and their effect on a reader?

Extending

Can I analyse a range of language techniques, sustaining the effect on the reader?Can I evaluate the language and its effect on the reader?

AO2 - StructureLearning Can I identify a structural technique or a

technique specific to the form within a text and make a brief comment about it?

Mastering Can I show an understanding of structural techniques and techniques stemming from a particular form and comment on their effect on the reader?

Extending

Can I analyse the use of structural techniques or techniques specific to the form and sustain their effect on the reader?Can I show a perceptive grasp of form and structure and their effect on the reader?

AO2 – Subject terminologyLearning Can I make an attempt to use subject

terminology?Mastering Can I use relevant subject terminology to

support my examples?Extending

Can I use relevant subject terminology accurately and appropriately to develop my ideas?Can I integrate subject terminology precisely?

Subject knowledge

development

Word classes

A. Nouns

Nouns are the words for people, places or things.

Proper nouns are the names of particular people, places or things. For example, London and Dr Jekyll. All proper nouns begin with capital letters.

Common nouns are the names given to general people, place6s or things. For example, table, men, ball, countries.

Abstract nouns are words used to present feelings of states. For example, fear, happiness and bravery.

Identify the proper nouns in the sentences below.

a. Nothing to do with you, Sheila. Run along.

b. It chanced on one of these rambles that their way led them down a by-street in a busy quarter of London.

c. “Oh God, Mrs Lyons, never put new shoes on a table.”

d. Bob’s voice was tremulous, when he told them this, and trembled more when he said that Tiny Tim was growing strong and hearty.

e. Still it cried, ‘Sleep no more to all the house, / Glamis hath murdered sleep, and therefore Cawdor / Shall sleep no more – Macbeth shall sleep no more.’

f. Oh, to be in England / Now that April’s there, / And whoever wakes in England / See, some morning, unaware.

Identify the common nouns in the sentences below.

a. ‘Is this a dagger which I see before me?’

b. ‘You said yourself she was a good worker.’

c. The heaviest rain, and snow, and hail, and sleet could boast of the advantage over him in only one respect.

d. True: there was a fine bay, all hills and atmosphere; white sand, and bush down to the sea’s edge; oyster-boats, too, and Maori fishermen with Scottish names.

e. The dictionary. Don’t you know what the dictionary is?

f. Two doors from one corner, on the left hand going east, the line was broken by the entry of a court; and just at that point, a certain sinister block of building thrust forward its gable on the street.

Identify the abstract nouns in the passage below

a. But he had an approved tolerance for others.

b. if you ask me, he behaved in a very peculiar and suspicious manner.

c. The heaviest rain, and snow, and hail, and sleet could boast of the advantage over him in only one respect.

d. ‘But look at all this beauty’ said the hotel manager’s wife.

e. ‘It’s erm, great. Thank you. It’s such a lovely house it’s a pleasure to clean it.’

f. ‘You have displaced the mirth, broke the good meeting with most admired disorder.’

B. Adjectives

An adjective is a word that describes the noun. For example, angry, tall, leather.

A comparative adjective is an adjective that compares the differences between the attributes of two nouns. For example, bigger, quieter, happier

A superlative adjective is used to compare three or more objects, people or places. Using the superlative form takes a comparison to the highest degree possible. For example, biggest, quietest, happiest

Identify the adjectives in the following passage.

a. They sent me a salwar kameez peacock-blue, and another glistening like an orange split open, embossed slippers, gold and black points curling.

b. This is the sergeant who like a good and hardy soldier fought ‘gaiinst my captivity.

c. Oh! But he was a tight-fisted hand at the grindstone, Scrooge! A squeezing, wrenching, grasping, scraping, clutching covetous, old sinner.

d. Even on Sunday, when it veiled its more florid charms and lay comparatively empty of passage, the street shone out in contrast to its dingy neighbourhood, like a fire in a forest; and with its freshly painted shutters, well-polished brasses, and general cleanliness and gaiety of note, instantly caught and pleased the eye of the passenger.

e. My best friend / Always had sweets to share, (He) / knew every word in the dictionary, / He was clean, neat and tidy, / From Monday to Friday, / I wish I could be like that, / Wear clean clothes, talk properly like, / Do sums and history like.

f. ‘There’s a good deal of silly talk about these days – but – and I speak as a hard-headed businessman, who has to take risks and know what he’s about – I say, you can ignore all this silly, pessimistic talk.

Identify the comparative adjectives in the following passage.

a. ‘He told me I was sexier than Marilyn Monroe.’

b. ‘Lesser than Macbeth and greater / Not so happy yet much happier.’

c. ‘I wish the friends were younger,’ chuckled Dr Lanyon. ‘But I suppose we are. And what of that? I see little of him now.’

d. If that’s not high praise, tell me higher, and I’ll use it.

e. ‘Your father and I have been friendly rivals in business for some time now – though Crofts Limited are both older and bigger than Birling and Company – and now you’ve bought us together.’

f. I pictured my birthplace / from fifties’ photographs. / When I was older / there was conflict.’

Identify the superlative adjectives in the following passage.

a. No, we won’t. It’s one of the happiest nights of my life.

b. ‘It was the owl that shrieked, the fatal bellman, / Which gives the stern’st good-night.’

c. Because you’re the youngest Mickey. It used to happen to our Sammy when he was the youngest.

d. In short, I should have liked, I do confess, to have had the lightest licence of a child, and yet to have been man enough to know its value.

e. This hall, in which he was now left alone, was a pet fancy of his friend the doctor’s; and Utterson himself was wont to speak of it as the pleasantest room in London.

C. Verbs

A verb is a word used for an action, state or occurrence. For example, ran, shouted, pondered.

An action verb talks about what the subject is doing in the sentence. For example, painting, sleeping and shouting.

Transitive verbs have a definite object on which, or for which the action is being performed. For example, Rose is painting the kitchen walls, Hannah gave him a big hug.

Dynamic verbs denote an actual action or expression or process done by the subject. The action can be seen or physically felt or the result of which is seen or physically felt. For example, She buys clothes every week, He is swimming at the beach.

Intransitive verbs show an action but with no specific object on which the action is being done. For example, Rose is painting right now, Hannah sneezed repeatedly.

Stative verbs refer to the state of the subject or the situation of the subject, revealing more about the state of mind of the subject. For example, She prefers strawberry jam, The cupboard requires a new coat of paint.

Identify the verbs in the following sentences.

Identify the type of verb used in each extract.

a. Mr Utterson was sitting by his fireside one evening after dinner.

b. Is this a dagger which I see before me, / The handle toward my hand? Come, let me clutch thee. / I have thee not, and yet I see thee still.

c. Yes. I asked her questions about herself. She told me her name was Daisy Renton, that she’d lost both parents, that she came originally from somewhere outside Brumley. She also told me she’d had a job in one of the works here and had had to leave after a strike.

d. A light shone from the window of a hut, and swiftly they advanced towards it. Passing through the wall of mud and stone, they found a cheerful company assembled round a glowing fire.

e. My seven-year-old collected shells / and was bitten by sandflies; / my four-year-old paddled, until / a mad seagull jetted down / to jab its claws and beak into / his head.

f. ‘O proper stuff! / This is the very painting of your fear; / This is the air-drawn dagger which you said / Led you to Duncan. O, these flaws and starts / Imposters to true fear, would well become / A woman’s story at a winter’s fire, / Authorised by her grandam. Shame itself! / Why do you make such faces? When all’s done, / You look but on a stool.’

g. Small round hard stones click / under my heels, / seeding grasses thrust / bearded seeds / into trouser cuffs, cans, / trodden on, crunch / in tall, purple-flowering / amiable weeds.

h. As the cab drew up before the address indicated, the fog lifted a little and showed him a dingy street, a gin palace, a low French eating-house, a shop for the retail of penny numbers and two-penny salads, many ragged children huddled in the doorways and many women of different nationalities passing out, key in hand, to have a morning glass; and the next moment the fog settled down again upon that part, as brown as umber and cut him off from his blackguardly surroundings.

i. As soon as I tried it on, I knew they’d been right. It just didn’t suit me at all. I looked silly in the thing. Well, this girl had brought the dress up from the workroom, and when the assistant – Miss Francis – had asked her something about it, this girl, to show us what she meant, had held the dress up, as if she was wearing it. And it just suited her.

j. Awaking in the middle of a prodigiously tough snore, and sitting up in bed to get his thoughts together, Scrooge had no occasion to be told that the bell was again upon the stroke of One. He felt that he was restored to consciousness in the right nick of time, for the especial purpose of holding a conference with the second messenger despatched to him through Jacob Marley’s intervention.

D. Adverbs

An adverb is used to modify the verb. It tells us when, where, how, in what manner, or to what extent an action is performed.

Identify the adverbs in the following sentences.

a. I don’t mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail.

b. And if she leaves us now, and doesn’t hear any more, then she’ll feel she’s entirely to blame, she’ll be alone with her responsibility, the rest of tonight, all tomorrow, all the next night.

c. MRS LYONS (almost crying) Edward, Edward, don’t. It’s…what I’m doing is only for your own good.

d. In the course of his nightly patrols he had long grown accustomed to the quaint effect with which the footfalls of a single person, while he is still a great way off, suddenly spring out distinct from the vast hum and clatter of the city. Yet his attention had never before been so sharply and decisively arrested; and it was with a strong superstitious prevision of success that he withdrew into the entry of the court.

E. Personal and possessive pronouns

Identify the pronouns in the following sentences.

Identify whether these pronouns are personal or possessive.

a. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out shrewdly in this grating voice.

b. Yes, you did. And if you’d really loved me, you couldn’t have said that. You listened to that nice story about me. I got that girl sacked from Milwards. And now you’ve made up your mind I must obviously be a selfish, vindictive creature.

c. He is not easy to describe. There is something wrong with his appearance; something displeasing, something downright detestable. I never saw a man I so disliked, and yet I scarce known why. He must be deformed somewhere; he gives a strong feeling of deformity, although I couldn’t really specify the point. He’s an extraordinary-looking man, and yet I really can name nothing out of the way. No, sir; I can make no hand of it; I can’t describe him. And it’s not want out of memory; for I declare I can see him this moment.

d. Once I had a husband / You know the sort of chap, I met him at a dance and how he came on with the chat. / He said my eyes were deep blue pools, / My skin as soft as snow, / He told me I was sexier than Marilyn Monroe.

Figurative language

Sensory language is language that appeals to the senses of sight, sound, touch, taste and smell.

A simile is a comparison between two things using the words ‘like’ or ‘as’.

A metaphor is a comparison between two things saying something is something else.

Personification is where human qualities are attributed to an inanimate object.

A. Sensory Language

Identify the examples of sensory language in the following sentences.

a. It chanced on one of these rambles that their way led them down a by-street in a busy quarter of London. The street was small and what is called quiet, but it drove a thriving trade on the week-days. The inhabitants were all doing well, it seemed, and all emulously hoping to do better still, and laying out the surplus of their gains in coquetry; so that the shop fronts stood along that thoroughfare with an air of invitation, like rows of smiling saleswomen. Even on Sunday, when it veiled its more florid charms and lay comparatively empty of passage, the street shone out in contrast to its dingy neighbourhood, like a fire in a forest; and with its freshly painted shutters, well-polished brasses, and general cleanliness and gaiety of note, instantly caught and pleased the eye of the passenger.

b. It was his own room. There was no doubt about that. But it had undergone a suprising transformation. The walls and ceiling were so hung with living green, that it looked a perfect grove; from every part of which, bright gleaming berries glistened. The crisp leaves of holly, mistletoe, and ivy refleced back the light, as if so many little mirrors had been scattered there; and such a mighty blaze went roaring up the chimney, as that dull petrification of a hearth had never know in Scrooge’s time, or Marley’s, or for many and many a winter season gone. Heaped up on the floor, to form a kind of throne, were turkeys, geese, game, poultry, brawn, great joints of meat, suckling-pigs, long wreaths of sausages, mince-pies, plum-puddings, barrels of oysters, red-hot chestnuts, cherry-cheeked apples, juicy oranges, luscious pears, immense twelfth cakes, and seething bowls of punch, that made the chamber dim with their delicious steam. In easy state upon this couch, there sat a jolly Giant, glorious to see; who bore a glowing torch in shape not unlike Plenty’s horn, and held it up, high up, to shed its light on Scrooge, as he came peeing round the door.“Come in!” exclaimed the Ghost. “Come in! and know me better, man!”

B. Simile

Identify the similes in the following sentences.

a. Scrooge signed it: and Scrooge’s name was good upon ‘Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.’ (A Christmas Carol)

b. And all the time, as we were pitching it in red hot, we were keeping the women off him as best we could, for they were as wild as harpies. (Jekyll and Hyde)

c. If I say sooth, I must report they were / As cannons overcharged with double cracks; / so they double redoubled strokes upon the foe. (Macbeth)

d. Brash with glass, / name flaring like a flag / it squats (Poetry: Nothing’s Changed)

C. Metaphor

Identify the metaphors in the following sentences.

a. “Poor Harry Jekyll” he thought, “my mind misgives me he is in deep waters! He was wild when he was young.” (Jekyll and Hyde)

b. Nimble tiny disc, a sun / Runs up the porthole and vanishes. (Poetry: First Flight)

c. ‘An’ you don’t even notice broken bottles in the sand.’ (Blood Brothers)d. The fog came pouring in at every chink and keyhole, and was so dense

without, that although the court was of the narrowest, the houses opposite were mere phantoms. (A Christmas Carol)

e. And I tell you that the time will soon come when, if men will not learn that lesson; then they will be taught it in fire and blood and anguish. (An Inspector Calls)

D. Personification

Identify the examples of personification.

a. Becoming immediately sensible of the impropriety, he poked the fire, and extinguished the last frail spark for ever. (A Christmas Carol)

b. It was a wild, cold, seasonable night of March, with a pale moon, lying on her back through the wind had tilted her, and a flying wrack of the most diaphanous and lawny texture. (Jekyll and Hyde)

c. Now o’er the one half-world / Nature seems dead, and wicked dreams abuse / The curtain’d sleep. Witchcraft celebrates / Pale Hecate’s off’rings, and wither’d murder, / Alarum’d by his sentinel, the wolf / Whose howl’s his watch, thus with his stealthy pace, /With Tarquin’s ravishing strides, towards his design / Moves like a ghost. (Macbeth)

d. Dear god! The very houses seem asleep; / And all that mighty heart is lying still! (Poetry: Composed Upon Westminster Bridge)

Language and sounds

Alliteration is the occurrence of the same letter or sound at the beginning of adjacent or closely connected words.

Sibilance is the state of quality of a hissing sound.

Onomatopoeia is a word that phonetically imitates, resembles or suggests the source of the sound that is describes.

Identify the technique being used in each example below.

a. Small round hard stones click / under my heels, / seeding grasses thrust (Nothing’s Changed)

b. There is husbandry in heaven. (Macbeth)c. How it bared its breadth of breast and opened its capacious palm. (A

Christmas Carol)d. As whence the sun ‘grins his reflection / Shipwracking storms and direful

thunders break, / So from that spring whence comfort seemed to come / Discomfort swells, Mark, King of Scotland, mark: / No sooner justice had, with valor armed… (Macbeth)

e. Thrice the brinded cat hath mew’d / Thrice and once the hedge-pig whined. (Macbeth)

f. Name flaring like a flag (Nothing’s Changed)

g. Double, double, toil and trouble (Macbeth)h. My seven-year-old collected shells / and was bitten by sandflies. (Stewart

Island)

Formality

Standard English is any form of the English language that is accepted as a national norm in a particular English-speaking country.

Jargon is words or expressions used by a profession or group that are difficult for others to understand.

Colloquial language is language used in ordinary or familiar conversations.

Emotive language is the deliberate choice of words to elicit emotion.

Emphatic language is where something is expressed forcibly and clearly.

Archaic language is language that is very old or old-fashioned.

Dialect is a particular form of a language which is peculiar to a specific region or social group.

Read the following extracts and identify what type of language is being used in each.

a. Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. (A Christmas Carol)

b. But I’m not playin’ now ‘cos I am pissed off. (Blood Brothers)

c. ..And then came the horrible part of the thing; for the man trampled calmly over the child’s body and left her screamin on the ground. It sounds nothing to hear, but it was hellish to see. (Dr. Jekyll and Mr Hyde)

d. Give me the daggers! (Macbeth)

e. Anon! / As thou didst leave it. (Macbeth)

f. Foreign intelligence service / recruit / interrogation / target / SIS / international terrorism (Paper 2)

Structural and grammatical features

A paragraph is a self-contained unit of discourse.

Discourse markers are words and phrases used to signpost writing and help structure it.

Opening and closings are the start and the end of a text.

A stanza is a group of lines within a poem.

Rhyme is a repetition of similar sounds in two or more words. A regular rhyme is AABBCCDD. Alternate rhyme is also called cross-rhyming and means that every other line rhymes as in ABAB CDCD

A trochaic tetrameter is a line consisting of four trochees (stressed followed by unstressed sounds) DUM-da, DUM-da, DUM-da, DUM-da

Iambic Pentameter is a poetic meter consisting of five feet in which there is an unstressed sound followed by a stressed sound.

A Quatrain is a stanza consisting of four lines.

Rhythm is a strong, regular repeated pattern of movement or sound.

Tense is a time reference. In English we have the past, present and future tense.

Person is the perspective from which a narrative is told.

Repetition is saying the same thing more than once for emphasis.

Contrast is a comparison which reveals difference

Oxymoron is a combination of words that have opposite or very different meanings

Juxtaposition is a technique in which two or more ideas, places, characters and their actions are placed side by side in a narrative

Binary oppositions is a pair of related terms or concepts that are opposite in meaning.

Answer the questions below.

1. How many paragraphs are there in Chapter 1; The Story of the Door (Dr Jekyll and Mr Hyde)?

2. Discourse markers can be used to sequence ideas, develop ideas, to draw comparisons or identify contrasts. Sort the discourse markers below into those four categories:

next, however, whereas, also, firstly, similarly, although, moreover, furthermore, likewise, as well as, then, meanwhile, after

3. Look at the opening and closing to this text. How do you know the opening and closing are taken from the same text?

Opening:

‘Having rekindled the fire, she thought she would go to market while the water heated. The walk revived her spirits, and flattering herself that she had made good bargains, she trudged home again, after buying a very young lobster, some very old asparagus, and two boxes of acid strawberries. By the time she got cleared up, the dinner arrived and the stove was red-hot. Hannah had left a pan of bread to rise, Meg had worked it up early, set it on the hearth for a second rising, and forgotten it. Meg was entertaining Sallie Gardiner in the parlour, when the door flew open and a floury, crocky, flushed and dishevelled figure appeared, demanding tartly…

Closing:

Jo uttered a groan and fell back in her chair, remembering that she had given a last hasty powdering to the berries out of one of the two boxes on the kitchen table, and had neglected to put the milk in the refrigerator.

4. How many stanzas does the poem ‘London’ have?

5. Identify whether regular rhyme or alternate rhyme has been used in the following two stanzas.

Stanza a

I wander thro’ each charter’d streetNear where the charter’d Thames does flow,And mark in every face I meetMarks of weakness, marks of woe

Stanza b

Oh, to be in EnglandNow that April’s there,And whoever wakes in EnglandSees, some morning, unaware,That the lowest boughs and the brushwood sheafRound the elm-tree bole are in tiny leaf,While the chaffinch sings on the orchard boughIn England – now!

6. In the example below, the witches speak using trochaic tetrameter. Can you identify the four trochees? Why do you think they speak in this way?

Double, double, toil and trouble

7. Identify a poem in the Time and Place cluster that is written using quatrains.

8. What tense is being used in the following sentences?a. He was wild when he was young.b. I was coming home from some place at the end of the world.c. He would be aware of the great field of lampsd. “I see you are going in.”e. “You will not find Dr Jekyll; he is from home.”

9. Which person has been used in the following sentences?a. The lawyer stood awhile when Mr Hyde had left him.b. Is this a dagger I see before me?c. He spoke before the hour bell sounded.

10. Which word has been repeated in the following lines ‘I wander thro’ each charter’d street / Near where the charter’d Thames does flow’ and why?

11. How are contrasts presented in the poem ‘Stewart Island’?

12. Why is ‘Its gathering rage, / Like some dark ancestral spectre / Fearful and reassuring’ an example of an oxymoron?

13. How is juxtaposition used in the poem ‘Nothing’s Changed’?

14. Good vs evil is one example of a binary opposition within Dr Jekyll and Mr Hyde. How many more can you come up with?

Sentence structures

A simple sentence is a sentence containing one subject and one verb. For example,

A compound sentence is a sentence containing two subjects and two verbs, linked by a conjunction. For example,

A complex sentence is a sentence containing two clauses: a main clause and a subordinate clause which add extra details. For example,

A declarative sentence is a sentence in the form of a statement.

An exclamatory sentence is a sentence that expresses strong feelings

An interrogative sentence is a sentence that asks a question.

An imperative sentence is a sentence that gives instructions or expresses a request or a command.

Read each sentence below. Identify what type of sentence you think it is.

a. “Much good it may do you! Much good it has ever done you!”b. “But why?” cried Scrooge’s nephew. “Why?”c. ‘Give me the daggers.’d. “I wish to be left alone,” said Scrooge.e. The ancient tower of a church, whose gruff old bell was always peeping slily

down at Scrooge out of a Gothic window in the wall, became invisible.f. The cold became intense.g. Foggier yet, and colder.h. ‘We shall never see more of Mr Hyde.’i. ‘Did I ever tell you that I once saw him, and shared your feeling of repulsion?’j. The court was very cool and a little damp.k. ‘What! Jekyll! He cried.l. ‘Come, now; get your hat, and take a quick turn with us.’m. At this moment, however, the rooms bore every mark of having been recently

and hurriedly ransacked.

Punctuation

A question mark (?) is a punctuation mark that indicates an interrogative clause.

An exclamation mark (!) is a punctuation mark used after an interjection or exclamation to indicate a strong feeling.

A colon (:) is a punctuation mark that precedes an explanation, introduces a list or emphasises a phrase or single word.

A semi-colon (;) is a punctuation mark which is used to connect two independent clauses.

Ellipsis (…) is a punctuation mark which is used when omitting a word, phrase, line or paragraph

Dashes (-) is a punctuation mark that can take the place of commas, parentheses or colons.

1. Re-write these extracts, inserting the missing punctuation.a. But there is one thing on which you may advise me. I have I have received

a letter and I am at a loss whether I should show it to the police.b. Have you the envelope he asked.c. God forgive us God forgive us said Mr Utterson.d. He recoiled in terror, for the scene had changed, and now he almost

touched a bed a bare, uncurtained bed.

2. Look at the writer’s use of punctuation in each of the cases below. What effect is the writer trying to create?

a. In his first splendour, valley, rock or hill: / Ne’er saw I, never felt, a calm so deep!

b. Yes. I remember Adlestrop - / The name, because one afternoon / of heart the express train drew up there / Unwontedly.

c. True: there was a fine bayd. Tell me why you visit / An English coast?e. No sign says it is: / but we know where we belong.f. I’m not a British tourist in the sea; / I am an anthropologist in trunks.

Form

A play is a dramatic work for the stage.

Poetry is a literary work in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm.

Prose is the ordinary form of spoken or written language.

A soliloquy is where a character speaks their thoughts aloud when by oneself.

An aside is a remark or passage in a play that is intended to be heard by the audience but is supposed to be unheard by the other characters in the play.

A monologue is a long speech by one actor in a play.

Dramatic irony is a situation, or the irony arising from a situation, in which the audience has a fuller knowledge of what is happening in a drama than a character does.

A narrative poem is a form of poetry that tells a story.

A ballad is a sentimental poem or song narrating a story in short stanzas

A lyrical poem is a poem which expresses the writer’s emotions in an imaginative and beautiful way

Free verse is poetry that does not rhyme or have a regular rhythm.

Reported / indirect speech is the report of one speaker or writer on the words spoken / communicates what someone else said

Direct speech is a report of the exact words used by a speaker or writer.

1. How do you know Macbeth is a play?

2. Identify an example of

a. a soliloquy within Macbeth and explain why it has been usedb. an aside within Macbeth and explain why it has been usedc. dramatic irony within Macbeth and explain why it has been used

3. Exploring the anthology, can you identify a poem which isa. A narrative poem?b. A ballad?c. A lyrical poem?d. A poem that is written using free verse?e. A poem that uses direct speech?

Lessons

Lesson 1

Retention quiz

1. What is a noun?2. What is a proper noun?3. What is a common noun?4. What is an abstract noun?5. What is a verb?6. What is an adjective?7. What is comparative adjective?8. What is a superlative adjective?9. What is an adverb?10. What is a personal pronoun?11. What is a possessive pronoun?

AO2

AO2 assesses your ability to explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology.

This AO is worth a staggering 42% of your GCSE English Literature grade and 15% of your language grade.

You will need to be clear on language techniques, structural techniques, features of form and you will need to know your subject terminology.

You will be assessed on AO2 in the following papers:

English Language

Paper 1 (19th century fiction) Q3 (6 marks)

Paper 2 (20th/21st century non-fiction) Q2 (2 marks)

Paper 2 (20th/21st century non-fiction) Q3 (15 marks)

Paper 2 (20th/21st century non-fiction) Q5 (1 mark)

English Literature

Paper 1 Q1a (Macbeth) (20 marks)

Paper 2 Q3a (Dr Jekyll and Mr Hyde) / Q4a (A Christmas Carol) (20 marks)

Paper 2 Q10 (Time and Place poetry) (15 marks)

Paper 2 Q11 (Unseen poetry (12 marks)

Below are some of the terms you should know in order to be able to analyse the language, structure and form of a text. Using three colours: one for language, one for structure and one for form, can you identify whether the techniques below are linguistic, structural or a feature of a specific form?

nouns direct speech person Adverbs

soliloquy ballad sensory language opening and closings

imagery oxymoron contrasts Repetition

discourse markers rhyme alliteration complex sentence

metaphor lyrical poem simile Aside

stage directions verbs ellipsis Stanza

simple sentence imperatives tense Adjectives

Writing a good AO2 response is simple and follows a very basic structure:

Technique – Example – Effect

We are going to practise perfecting this process over the next couple of lessons.

Look at the following passage, taken from ‘Dr Jekyll and Mr Hyde’ by Robert Louis Stevenson. Can you identify the techniques used in bold? Complete the chart with your answers.

1 Mr Utterson the lawyer was a man of rugged countenance,2 that was never lighted by a smile; cold, scanty and3 embarrassed in discourse; backward in sentiment; lean,4 long, dusty, dreary, and yet somehow loveable. At friendly5 meetings, and when the wine was to his taste, something6 eminently human beaconed from his eye; something7 indeed which never found its way into his talk, but which8 spoke not only in these silent symbols of the after-dinner9 face, but more often and loudly in the acts of his life.

Technique Supporting example

There is no need to do more than simply give the feature and an example in a concise way such as

Stevenson uses adjectives to present Mr Utterson such as ‘rugged’, ‘cold’, ‘scanty’ and ‘embarrassed’.

OR

Adjectives are used to present Mr Utterson such as ‘rugged’, ‘cold’, ‘scanty’ and ‘embarrassed’.

Task

In your book, practise writing concise sentences that present the technique being used and the supporting examples, using the information in your chart above.

Lesson 2

Vocabulary: noun, proper noun, common noun, abstract noun, verb, adjective, comparative adjective, superlative adjective, adverb, personal pronoun, possessive pronoun

Retention quiz

1. What are the five senses?2. What is a simile?3. What is a metaphor?4. What is personification?5. What is symbolism?

The effect on the reader

Last lesson we were exploring the presentation of Mr Utterson through Stevenson’s choice of noun phrases, adjectives, adverbs and embedded / subordinate clauses. We also learnt that an AO2 response follows a very basic structure: Technique, supporting example, effect. We identified the four techniques and their support examples, constructing the openings to what we would be our concise paragraphs analysing the language and structure in the passage.

The most critical part of the response is the explanation which comments upon the effect that these devices have in helping the reader form an impression of a character, setting or event. Read the examples below and think about whether they do the job of explaining the effect.

1. Stevenson uses a noun phrase to present the character of Mr Utterson when he writes ‘a lawyer.’ This lets us know what Mr Utterson does for a living.

2. Adjectives have been used to present the character of Mr Utterson when he writes ‘rugged’, ‘cold’, ‘scanty’ and ‘embarrassed.’ Rugged, cold, scanty and embarrassed all give a slightly different effect.

3. The writer uses an adverb: ‘never’. It helps you build a picture of Mr Utterson and makes you want to read on.

Unfortunately these explanations are too simple and generalised. They don’t explain the specifics. They don’t explain HOW it achieves the effect.

Read the redrafts of the generalised answers below:

1. Stevenson uses a noun phrase to present the character of Mr Utterson when he writes ‘a lawyer.’ The use of the noun phrase informs us what Mr Utterson does for a living which we then associate with particular qualities such as being reputable and trustworthy. This leads us to think Mr Utterson is a character with integrity and we believe in him as a result.

2. Adjectives have been used to present the character of Mr Utterson when he writes ‘rugged’, ‘cold’ and ‘scanty.’ The first describing word ‘rugged’ has the effect of making Mr Utterson seem unkempt. ‘Cold’ suggests Mr Utterson isn’t friendly and inviting and ‘scanty’ suggests to us that he is quite small. We form an impression of Mr Utterson as someone who wishes to hide and does not want to socialise with others. We feel he is quite private.

3. The writer uses an adverb: ‘never’. This word gives us the feeling that nothing will make Mr Utterson smile and that there is no hope in this ever happening evoking sympathy for him and a desire to read on to find out why he is so miserable.

Here is a simple generalised answer:

The writer uses the embedded / subordinate clause ‘when the wine was to his taste,’ to present Mr Utterson as a bland character.

Task:

In your book, re-write this answer to include a more specific explanation of the effect of the embedded / subordinate clause.

Now read the following passage taken from ‘A Christmas Carol’ by Charles Dickens.

1 Oh! But he was a tight-fisted hand at the grindstone, Scrooge!2 a squeezing, wrenching, gasping, scraping, clutching,3 Covetous, old sinner! Hard and sharp as flint, from which no

4 steel had ever struck out generous fire; secret, and self-5 contained, and solitary as an oyster. The cold within him froze6 his old features, nipped his pointed nose, shrivelled his cheek,7 stiffened his gait; made his eyes red, his thin lips blue; and8 spoke out shrewdly in his grating voice. A frosty rime was on9 his head, and on his eyebrows, and his wiry chin. He carried10 his own low temperature always about with him; he iced his11 office in the dog-days; and didn’t thaw it one degree at12 Christmas.

Identify four techniques that have been used to present Scrooge, with supporting examples and a specific explanation of the effect of the techniques used on the reader.

Technique Supporting example Explicit effect

Lesson 3

Vocabulary: sensory language, simile, metaphor, personification, symbolism

Retention quiz

1. What is alliteration?2. What is sibilance?3. What is onomatopoeia?

Exemplar responses

Over the past couple of lessons we have been exploring how to write a concise response to AO2 questions. Read an extract from a students’ response below with a focus on how it is structured. Identify where the student has named the technique; where the student has used a supporting examples and then where the student has explained the effect of this technique on the reader’s impression of the setting.

Response to Paper 2, Question 3

1 This is followed by a more intriguing literal device, a2 rhetorical question ‘Want to join MI6?’ This gives direct3 address to the reader which engages them. On top of that4 the meaning of the question relates to the reader because5 of the ‘dream appeal’ of working for MI6 – it makes it seem6 as if anyone could if they wanted to, and who hasn’t7 thought of being a spy? This gives interest and8 excitement to the reader as the idealistic picture forms in9 their imagination of them turning into a spy and being like

10 Bond.

Response to Jekyll and Hyde

1 Stevenson personifies the wind, when he says that it is2 ‘continually charging and routing’, which has the effect3 Of making one feel chased or made to feel uncomfortable4 by the wind.

Response to Paper 1, Question 3

1 The use of the verb ‘fancied’ also shows that the narrator’s2 nerves are getting to him as he is starting to imagine things3 happening. Verbs such as ‘ached’ connote the stress of the4 narrator. The narrator moves into thinking that what he5 ‘fancied’ as a ringing ‘became more distinct.’ Using the6 superlative ‘more’ Allan Poe is able to add to the change in

7 mood he wishes to create.

Response to poetry (NOT Time and Place)

1 Alliteration is used in ‘first fierce’ to make the words stand2 out, catching the reader’s attention. The letter, ‘f’, makes3 the words pronounced strongly, especially ‘fierce’, which is4 located in the beginning of a new line. ‘Fierce’, which is5 also an adjective, is used to give a vivid image of a hard6 and emotional confrontation between the mother and her7 daughter. These suggest the confrontation to be strong8 and full of struggle.

Now, working in pairs and using the grid from last lesson, aim to write four concise paragraphs analysing the use of language techniques and structural techniques to present Scrooge.

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Lesson 4

Vocabulary: alliteration, sibilance, onomatopoeia

Retention quiz

1. What is formality? 2. What is Standard English?3. What is colloquial language?4. What is archaic language?5. What is dialect?6. What is emotive language?7. What is emphatic language?8. What is jargon?

Developing a response: Meanings and methods

To be able to successfully address AO2, you first need to know what you want to say about the text (the meanings) and then find methods that support that. In this lesson we are going to develop a response to the poem ‘London.’

London by William Blake

1 I wander thro’ each charter’d street2 Near where the charter’d Thames does flow,3 And mark in every face I meet4 Marks of weakness, marks of woe

5 In every cry of every Man,6 In every Infant’s cry of fear,7 In every voice, in every ban,8 The mind-forg’d manacles I hear.

9 How the Chimney-sweeper’s cry10 Every black’ning Church appals,11 And the hapless Soldier’s sigh12 Runs in blood down Palace walls

13 But most thro’ midnight streets I hear14 How the youthful Harlot’s curse15 Blasts the new-born Infant’s tear,16 And blights with plagues the Marriage hearse

How are thoughts and feelings towards London presented in this poem?

In order to create a developed response, three approaches should be considered:

What is known (3) Tentative meanings (2) Questions (1)

If we apply these three approaches to the poem London, you might come up with the following:

What is known

1. The narrator is dismayed that everything in the city is owned.2. The narrator thinks the city is dirty.3. The narrator feels the city is immoral.

Tentative meanings

1. Maybe Blake feels that people are not even aware that they are oppressed2. Maybe Blake wants the people to question the situation in London (look to

France)

Question

1. Why are there so many children in this poem? What do they symbolize and why do you think so?

The basis for a strong response is in place here but we need to remind ourselves that the examiners want to know how methods have been used to present these ideas. Therefore, my next step is to identify the methods used to convey these ideas. For each idea below, identify a method that has been used to present this idea. Methods should include language and structure.

What is known MethodsThe narrator is dismayed that everything in the city is owned.

The narrator thinks the city is dirty.

The narrator feels the city is immoral.

Tentative meanings MethodsMaybe Blake feels that people are not even aware that they are oppressed

Maybe Blake wants the people to question the situation in London

Question Methods1. Why are there so many

children in this poem? What do they symbolize and why do you think so?

Construct a mini-paragraph analysing the use of one method (language or structural) to present one idea expressed in the poem London.

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Lesson 5

Vocabulary: formality, standard English, colloquial language, archaic language, dialect, emotive language, emphatic language, jargon

Retention quiz

1. What is an opening?2. What is a closing?3. What does it mean to build?4. What is repetition?5. What is a contrast?6. What is an oxymoron?7. What is juxtaposition?8. What are binary oppositions?

Analysing an exemplar response

1(a) Explore how Shakespeare presents the character of Lady Macbeth as being in control in this extract. Refer closely to the extract in your answer.

MACBETH46 I’ll go no more:47 I am afraid to think what I have done;48 Look on’t again I dare not.

LADY MACBETH49 Infirm of purpose!50 Give me the daggers! The sleeping and the dead51 Are but as pictures: ‘tis the eye of childhood52 That fears a painted devil. If he do bleed,53 I’ll gild the faces of the grooms withal,53 For it must seem their guilt

ExitA knocking is heard.

MACBETH54 Whence is that knocking?55 How is’t with me, when every noise appals me?56 What hands are here? Ha! They pluck out mine eyes!57 Will all great Neptune’s ocean wash this blood58 Clean from my hand? No – this my hand will rather

59 The multitudinous seas incarnadine,

60 Making the green one red.

Re-enter LADY MACBETH

LADY MACBETH61 My hands are of your colour – but I shame62 To wear a heart so white! (Knocking heard again)63 I hear a knocking64 At the south entry. Retire we to our chamber.65 A little water clears us of this deed:66 How easy is it then! Your constancy67 Hath left you unattended. (Knocking again) Hark! -68 More knocking.

69 Get on your nightgown, lest occasion call us,70 And show us to be watchers. – Be not lost71 So poorly in your thoughts!

Lady Macbeth’s control over Macbeth is shown through the use of the exclamation mark in ‘Infirm of purpose!’ as she cannot believe Macbeth is acting in such a cowardly way. The use of the exclamation mark shows the audience how short-tempered she is with him. The extreme emotion displayed by her could be her attempt to snap him out of his fear to ensure that the job is done and their ambitions fulfilled. The use of the imperatives in ‘Give me the daggers!’ shows the audience that Lady Macbeth is prepared to take control of the situation and finish what Macbeth can’t. The audience would see that Lady Macbeth wants the job completed as quickly as possible to reduce the possibility of being discovered. This is reinforced by the use of the personal pronoun ‘I’ll gild the faces of the grooms’ which suggests she is not prepared to be incriminated and face death for committing the act of regicide so will do whatever it takes. The verb ‘shame’ reinforces how focused Lady Macbeth is in fulfilling her ambition and the audience would feel as though nothing, not even Macbeth’s weakness, will stop her from getting what she wants. They would also be surprised at how Lady Macbeth speaks to Macbeth as he is her superior and she is not acting as a woman was supposed to during this time. The use of the adjective ‘little’ in the phrase ‘a little water clears us of this deed’ reveals how Lady Macbeth naively believes that all traces of guilt can be eliminated with a little water. However, perhaps here Lady Macbeth is trying to coax Macbeth into removing the evidence which in turn might make him feel and appear less guilty.

Having read this response, now use the chart on the next page to break down how the answer has been constructed to present how Lady Macbeth takes control but also how Shakespeare uses language and structure to present her control.

Idea Method Supporting example

Effect

Lesson 6

Vocabulary: opening, closing, repetition, contrast, oxymoron, juxtaposition, binary oppositions

Retention quiz

1. What is a paragraph?2. What is a stanza?3. What are discourse markers?4. What is rhyme?5. What is a regular rhyme?6. What is an alternate rhyme?7. What is iambic tetrameter?8. What is pentameter?9. What are quatrains?10. What is rhythm?11. What is tense?12. What is person?

Practising your own response

In today’s lesson you are going to put everything you have learnt into practise. You must either respond to a question on ‘Dr Jekyll and Mr Hyde’ or a question on ‘A Christmas Carol.’

Dr Jekyll and Mr Hyde

From ‘Dr Jekyll was Quite at Ease’ – Utterson decides to talk to Dr Jekyll about his will.

1 (Utterson) ‘You know that will of yours?’

2 A close observer might have gathered that the topic was3 distasteful; but the doctor carried it off gaily. ‘My poor4 Utterson,’ said he, ‘you are unfortunate in such a client.

5 I never saw a man so distressed as you were by my will;6 unless it were that hide-bound pedant, Lanyon, at what he7 called my scientific heresies. O, I know he’s a good fellow –8 you needn’t frown – an excellent fellow, and I always mean to9 see more of him; but a hide-bound pedant for all that; an10 ignorant, blatant pedant. I was never more disappointed in11 any man than Lanyon.’

12 ‘You know I never approved of it,’ pursued Utterson, ruthlessly13 disregarding the fresh topic.

14 ‘My will? Yes, certainly, I know that,’ said the doctor, a trifle15 sharply. ‘You have told me so.’

16 ‘Well, I tell you so again,’ continued the lawyer. ‘I have been17 learning something of young Hyde.’

18 The large handsome face of Dr Jekyll grew pale to the very19 lips, and there came a blackness about his eyes. ‘I do not20 care to hear more,’ said he. ‘This is a matter I thought we21 had agreed to drop.’

22 ‘What I heard was abominable’ said Utterson.

23 ‘It can make no change. You do not understand my position,’24 returned the doctor, with a certain incoherency of manner. ‘I25 am painfully situated, Utterson; my position is very strange –26 a very strange one. It is one of those affairs that cannot be27 mended by talking.’

28 ‘Jekyll,’ said Utterson, ‘you know me: I am a man to be29 trusted. Make a clean breast of this in confidence, and I30 make no doubt I can get you out of it.’

31 ‘My good Utterson,’ said the doctor, ‘ this is very good of you,32 this is downright good of you, and I cannot find words to33 thank you in. I believe you fully; I would trust you before any34 man alive, ay, before myself, if I could make the choice; but35 indeed it isn’t what you fancy; it is not so bad as that; and36 just to put your good heart at rest, I will tell you one thing: the37 moment I choose, I can be rid of Mr Hyde. I give you my hand38 upon that; and I thank you again and again; and I will just add39 one little word, Utterson, that I’m sure you’ll take in good part:40 this is a private matter, and I beg of you to let it sleep.’

3 (a) Explore how Stevenson presents the relationship between Jekyll and Utterson in this extract.

Give examples from the extract to support your ideas.

Before you construct a written response to this question, plan out your response: identify three things you know about the relationship between Jekyll and Utterson in this extract, two inferences or tentative meanings that could be made and one question that arouses interest. Then think about the methods that Stevenson has employed to present these ideas.

What is known Methods

Tentative meanings Methods

Question Methods

A Christmas Carol

From Stave 1, ‘Marley’s Ghost’ – Scrooge’s business partner has died and the reader is introduced to Scrooge.

1 Once upon a time – of all the good days in the year, on2 Christmas Eve – old Scrooge sat busy in his counting-house.3 It was cold, bleak, biting weather; foggy withal: and he could4 hear the people in the court outside, go wheezing up and5 down, beating their hands upon their breasts, and stamping6 their feet upon the pavement-stones to warm them. The city7 clocks had only just gone three, but it was quite dark already:8 it had not been light all day: and candles were flaring in the9 windows of the neighbouring offices, like ruddy smears upon

10 the palpable brown air. The fog came pouring in at every11 chink and keyhole, and was so dense without, that although12 the court was the narrowest, the houses opposite were mere13 phantoms. To see the dingy cloud come drooping down,14 obscuring everything, one might have thought that Nature lived15 hard by, and was brewing on a large scale.

16 The door to Scrooge’s counting-house was open that he might17 keep his eye upon his clerk, who in a dismal little cell beyond,18 a sort of tank, was copying letters. Scrooge had a very small19 fire, but the clerk’s fire was so very much smaller that it looked20 like one coal. But he couldn’t replenish it, for Scrooge kept the21 coal-box in his own room; and so surely as the clerk came in22 with the shovel, the master predicted that it would be23 necessary for them to part. Wherefore the clerk put on his24 white comforter, and tried to warm himself at the candle; in25 which effort, not being a man of strong imagination, he failed.

26 ‘A merry Christmas, uncle! God save you!’ cried a cheerful27 voice. It was the voice of Scrooge’s nephew, who came upon28 him so quickly that this was the first intimation he had of his29 approach.

30 ‘Bah!’ said Scrooge, ‘Humbug!’

31 He had so heated himself with rapid walking in the fog and32 frost, this nephew of Scrooge’s, that he was all in a glow; his33 face ruddy and handsome; his eyes sparkled, and his breath34 smoked again.

35 ‘Christmas a humbug, uncle!’ said Scrooge’s nephew. ‘You36 don’t mean that, I am sure?’

37 ‘I do,’ said Scrooge. ‘Merry Christmas! What right have you to

38 be merry? What reason have you to be merry? You’re poor39 enough.’

40 ‘Come, then,’ returned the nephew gaily. ‘What right have you41 to be dismal? What reason have you to be morose? You’re42 rich enough.’

4 (a) Explore how Dickens presents the setting in this extract.Give examples from the extract to support your ideas.

Before you construct a written response to this question, plan out your response: identify three things you know about the setting in this extract, two inferences or tentative meanings that could be made and one question that arouses interest. Then think about the methods that Dickens has employed to present these ideas.

What is known Methods

Tentative meanings Methods

Question Methods

QuestionNumber

Indicative content

3 (a) The indicative content is not prescriptive. Reward responses that explores the ways in which Stevenson presents the relationship between Jekyll and Utterson in this extract. Responses may include:

Jekyll and Utterson’s relationship is presented as professional: ‘will’, ‘client’, but also friendly as Jekyll tries to make light of his friend’s concerns: ‘carried it off gaily’, ‘I never saw a man so distressed’

Their relationship is honest as Jekyll shares his feelings about Lanyon: ‘ignorant blatant pedant’, but also dishonest as Jekyll is putting on an act; he tries to calm Utterson’s fears: ‘you are unfortunate in such a client.’

Jekyll and Utterson are irritated with one another with Utterson ‘ruthlessly disregarding the fresh topic’ and Jekyll responding ‘a trifle sharply’

Their relationship is close: ‘this is downright good of you, and I cannot find words to thank you’, but maintains secrets: ‘I beg of you to let it sleep’

Jekyll trusts Utterson: ‘I believe you fully’, but is adamant that his privacy must be maintained: ‘this is a private matter’

Utterson wants to help Jekyll: ‘I make no doubt I can get you out of it’

The dialogue begins in apparent good spirits, but ends with tension; Utterson continues to press Jekyll, but Jekyll becomes more and more agitated throughout the extract.

Level Mark DescriptorLevel 1 1-4 The response is simple and the identification of language,

form and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure

Limited use of relevant subject terminology to support examples given

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links them to their effect on the reader

Relevant subject terminology is used to support examples given

Level 4 13-16 The response is focused and detailed. Analysis of language, form and structures and their effect on the reader is sustained.

Relevant subject terminology is used accurately and appropriately to develop ideas

Level 5 17-20 The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader

Relevant subject terminology is integrated and preciseQuestion Indicative content

Number4 (a) The indicative content is not prescriptive. Reward responses that explores

how Dickens presents the setting in this extract. Responses may include: Dickens begins with ‘Once upon a time’ which makes the reader think

that this will be a pleasant fairy story; the initial mood is optimistic, being ‘of all the good days in the year’

The extract is written in third person narrative The setting quickly changes to present an unwelcoming atmosphere;

the triplet emphasises the cold: ‘cold, bleak, biting weather’ The activity outside in the court is described by including the sounds of

passers-by who are desperately trying to keep warm: ‘wheezing’, ‘beating their hands’, ‘stamping their feet’

There is a sense of gloom, as, although it is only three in the afternoon, it is already quite dark: ‘it had not been light all day’

The scene, coldness and atmosphere are described using alliteration: ‘countless candles’, ‘dingy cloud came drooping down’ and a simile: ‘like ruddy smears’

The fog and Nature are personified: ‘The fog came pouring in’, ‘Nature…was brewing on a large scale’

Hyperbole is used to describe the smallness of the fire, suggesting that it was just as cold inside as it was out: ‘it looked like one coal’

When Scrooge’s nephew arrives, despite his cheerful entrance, he is not given a warm welcome: the coldness of the counting-house is again emphasised with the nephew’s breath: ‘his breath smoked again’

The opening paragraph sets the scene outside; the opening sentence of paragraph two invites the reader insider and goes on to explore the counting-house and the room where Bob works; the final short paragraphs provide a contrast with the nephew’s warm entrance.

Level Mark DescriptorLevel 1 1-4 The response is simple and the identification of language, form

and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure

Limited use of relevant subject terminology to support examples given

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links them to their effect on the reader

Relevant subject terminology is used to support examples givenLevel 4 13-16 The response is focused and detailed. Analysis of language,

form and structures and their effect on the reader is sustained. Relevant subject terminology is used accurately and

appropriately to develop ideasLevel 5 17-20 The response is a cohesive evaluation of the interrelationship of

language, form and structure and their effect on the reader Relevant subject terminology is integrated and precise

Lesson 7

Vocabulary: paragraph, stanza, discourse markers, rhyme, regular rhyme, alternate rhyme, iambic tetrameter, pentameter, quatrains, rhythm, tense, person

Retention quiz

1. What is a simple sentence?2. What is a compound sentence?3. What is a complex sentence?4. What is a declarative sentence?5. What is an exclamatory sentence?6. What is an interrogative sentence?7. What is an imperative sentence?

Practice paper

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Lesson 8

Vocabulary: simple sentence, compound sentence, complex sentence, declarative sentence, exclamatory sentence, interrogative sentence, imperative sentence

Retention quiz

1. What is an exclamation mark?2. What is a question mark?3. What is ellipsis?4. What are colons?5. What are semi-colons?6. What are dashes?

Embedding quotations

Time is of the essence in the exam. It is important that responses are concise so that a range of points can be made in the given time. Following the set structure is one way of doing this. Embedding snippets of quotes is a more concise way to use quotations in the exam. They are often shorter than the original quote, allowing you to use your own words to paraphrase or summarise.

For example, when writing about Macbeth’s thoughts on killing the king.

Original quote: 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.

Snippet of quote: He’s here in double trust.

Embedding a quote at the beginning of a sentence using a snippet of the quote:

‘He’s here in double trust’ reflects Macbeth as he considers whether he should kill the king.

Embedding a quote in the middle of a sentence:

Macbeth reflects that ‘He’s here in double trust’ as he considers whether he should kill the king or not.

Embedding a quote at the end of a sentence:

Macbeth reflects upon the king’s visit and whether or not he should kill him when he says ‘He’s here in double trust.’

Embedding several snippets of the quote throughout your sentence:

Macbeth is reflective upon the king’s visit when he says ‘He’s here in double trust’ and ‘Who should against his murderer shut the door / Not bear the knife myself’ as he ponders whether to kill the king or not.

Now have a go with the following quote in which Macbeth reacts to the news that whilst Banquo is dead, Fleance has escaped.

Original quote: Then comes my fit again – I had else been perfect; / Whole as the marble, founded as the rock, / As broad and general as the casing air, / But now I am cabined, cribbed, confined, bound in / To saucy doubts and fears. But Banquo’s safe?

Snippet of quote: ___________________________________________________

Now practise embedding the snippet of the quote in a variety of positions within a sentence.

Embedding a snippet of the quote at the beginning of a sentence:

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Embedding a quote in the middle of a sentence:

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Embedding a quote at the end of a sentence:

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Embedding several snippers of the quote throughout your sentence:

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Embedding quotations certainly helps us be more concise in our writing. Below are two sample paragraphs in which a candidate is making the point that Lady Macbeth’s control is shown through the use of aggressive imperatives.

Student’s attempt number 1

Shakespeare presents Lady Macbeth as control in this extract through the use of aggressive imperatives. This is evident when she says ‘Give me the daggers’ when Macbeth returns with them after having murdered Duncan. The audience would see that Lady Macbeth is frustrated with Macbeth and is in impatient as she wants to ensure the murder weapons are returned to the crime scene so neither she nor Macbeth are incriminated.

Student’s attempt number 2

Aggressive imperatives are used to show Lady Macbeth’s control in this extract when she gives the order ‘give me the daggers’, revealing to the audience her frustration with Macbeth and her impatience in ensuring the murder weapons are returned to the crime scene so neither she nor Macbeth are incriminated.

The second example is more concise as the quotation has been embedded and any words that are redundant have been removed.

Look back to lesson 5 and the question on how Shakespeare presents Lady Macbeth as in control. The example response below was awarded a level 3. Re-draft this response so it is written more concisely using structure of technique, supporting example and effect with the quotation embedded.

After Macbeth murders Duncan, he becomes fearful. This is evident when he says he is ‘afraid’ to look back. Lady Macbeth asserts her power by insulting her husband and calling him an ‘infirm of purpose.’ This implies Lady Macbeth considers her husband weak. Lady Macbeth is portrayed as composed because

she takes the dagger herself. She shows control over her husband by finishing the job he had to complete.

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Lesson 9

Vocabulary: exclamation mark, question mark, ellipsis, colon, semi-colon, dashes

Retention quiz

1. What is a play?2. What is poetry?3. What is prose?4. What is a soliloquy?5. What is an aside?6. What is a monologue?7. What is dramatic irony?8. What is a narrative poem?9. What is a ballad?10. What is a lyrical poem?11. What is reported speech?12. What is direct speech?

Analysing the structure of a longer text

In paper 2, you will be asked to consider how the language and structure have been used by the writer to interest the reader. By now you should be fully confident in exploring the language. This lesson serves as a reminder for how you might go about analysing the structure.

Ok, you try teaching 13-year-olds

1 Shocking news: a young trainee languages teacher on placement2 At Tarleton High in Lancashire “lost it” in class, barricaded the3 Door with furniture, trapping the pupils, and threatened to kill4 Them with something nasty that she had in her handbag. But5 Why shocking? Imagine yourself in her place, “teaching” about6 30 13 or 14-year-old creatures. Do you have one or two in your7 House? Are they polite, quiet and insolent, noisy, crabby,8 Offensive, skulking, smoking, drugging, and whingeing that they9 Are not suitably entertained? What if you had 30? Wouldn’t you10 Like something in your handbag to shut the little toads up?

11 I’m trying not to sound bitter here, but I have taught; I have12 Known supply-teaching hell; and I, too, have blown my top, even13 Though it was 3.30pm and nearly over, because by then they14 Were still climbing up walls (really), throwing scissors, dribbling15 Glue and screaming all the while…and when that happens,16 Sometimes one just cannot keep one’s cool a second longer.

17 And 13 is a particularly cruel age. In my first year’s teaching. I18 Crashed the car and sliced my forehead open on the sun-visor.19 Back at school, with my unsightly 27-stitch scar. I passed two20 13-year-old girls. “She looks uglier than ever,” said they,21 Laughing merrily.

22 To be a teacher, one must be calm, sensible, tough, smartly23 Dressed ALL THE TIME, and attractive. Otherwise, you are24 Done for. Any degree of sensitivity can be a handicap. I blame25 The parents, partly. They often think teacher is a child-minding26 Serf and their huge babies are innocent and truthful. A big27 Mistake.

28 Now think of that young teacher. “She had been trying to get29 Them to be quiet,” we learn. So she had probably been shouted30 At and humiliated for 40 minutes. This was her very last day of31 Several horrible weeks of a placement. The end of her torment32 Was a whisker away, but, driven barmy by pupils, she still blew33 It. Her career is now ruined. But the children were “petrified…34 burst into tears” and were offered “support.” The pathetic little35 wets. She was pretending, you fools…dredging up a last36 desperate ploy to shut the monsters up. If she had cried, they37 would have laughed out loud. Hopefully, she won’t be sacked. If38 that’s what she really, really wants.

Paragraph and ideas

When analysing a longer text, the first thing you should consider are the ideas that are expressed. A quick way of doing this is by summarising the main idea, argument or point made in each paragraph.

Identify the main idea expressed in each of the four paragraphs of this text.

Paragraph What idea is expressed within this paragraph?Paragraph one

Paragraph two

Paragraph three

Paragraph four

In identifying the main idea of each paragraph, you can begin to see how ideas are developed across a text.

Explain how the original idea is developed throughout the text.

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Differences in tone

The second way in which you can analyse structure is in identifying how the tone changes throughout the piece. Contrasts and differences in tone are key and the examiner loves to see that you can pick up on this. For example, in this text, I have identified five distinct tones. For each, can you identify a key quotation from the text that you think reflects the tone I have identified?

Irony

Empathetic

Pragmatic

Sympathetic

Anger

The connection between the opening and the closing paragraph

Finally, seeing if there is a connection between the opening and closing paragraph is another way in which you can offer a comment on the structure.

Look at the opening and the closing paragraph of this text. Is there a connection between the two? How would you know that the opening and closing paragraph are taken from the same text?

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Construct a response to the following question.

How has structural devices been used to interest the reader in the article ‘Ok, you try teaching 13 year olds’?

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Practice Papers

English Language: Paper 1 – Question 3 (15 minutes)

In lines 20-27, how does the writer use language and structure to show the change in the narrator’s mood?

Support your views with references to the text

20 The officers were satisfied. My manner had convinced them. I was21 singularly at ease. They sat, and while I answered cheerily, they22 chatted of familiar things. But, ere long, I felt myself getting pale and23 wished them gone. My head ached, and I fancied a ringing in my ears:24 but still they sat and still chatted. The ringing became more distant: it25 continued and became more distinct: I talked more freely to get rid of26 the feeling: but it continued and gained definiteness – until, at length, I27 found that the noise was not within my ears.

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QuestionNumber

Indicative content

3 Reward the responses that explain how the writer uses language and structure to show the narrator’s mood changing in lines 20 to 25.

Responses may include the following points about the language of the text: At first the narrator just thinks about the officers and is happy they are

‘satisfied’ with his information so the focus is not on him He describes himself as ‘at ease’ and answering their questions

cheerily which shows he is not distressed at first The repetition of ‘still’ when referring the policemen’s presence and

chatter shows the situation is starting to take its toll on him The narrator tries to take action to make the noise go away, but his

distress builds through the description of the noise becoming ‘more distinct’ and ends with him realising in horror that he can’t get rid of it

‘getting pale’ – this physical description shows how frightened he has become

‘at length’ emphasises how long this unpleasant experience is seeming to last for the narrator

Responses may include the following points about the structure of the text: The use of shorter sentences at the start puts across how the

narrator thinks that everything is going to end neatly, but by the end, one long sentence makes up almost half of the paragraph. It puts across his struggle to get rid of the noise

‘it continued’ is repeated to show that the narrator cannot escape the noise

‘but’ is repeated and emphasises the worsening of events There is a contrast between relaxed police and nervous narrator

Level Mark AO2 descriptorLevel 1 1-2 Comment on the language and / or structure used to achieve

effects and influence readers, including use of vocabulary The selection of references is valid but not developed

Level 2 3-4 Explanation of how both language and structure are used to achieve effects and influence readers, including use of vocabulary and sentence structure

The selection of references is appropriate and relevant to the points being made.

Level 3 5-6 Analysis of how both language and structure are used to achieve effects and influence readers, including use of vocabulary, sentence structure and other language features.

The selection of references is discriminating and clarifies the points being made.

GCSE English Language: Paper 2 – Question 3 (30 mins)

Analyse how the writer uses language and structure to interest and engage readers. Support your views with detailed reference to the text.

Psst! Want to join MI6?

As Britain’s foreign intelligence service celebrates its 100th

anniversary, Neil Tweedie gets an insight into MI6’s latestrecruitment drive.

1 Recruiting for HM Secret Intelligence Service used to be a subtle,2 stylish business. One afternoon in term time, a promising3 undergraduate at Oxford or Cambridge would find himself invited4 to tea with the college talent spotter.

5 In the quiet of an oak-panelled study, the potential recruit (right6 school, right family) would be subjected to gentle interrogation7 over crumpets, before being asked (clink of spoon on china) if he8 had ever considered ‘official work’. If the encounter proved9 satisfactory, the candidate received a letter inviting him to an

10 interview. Fast-forward three years and there is our man in a11 crumpled linen suit, sitting in a Lisbon café sizing up his target, a12 Czech military attaché.

13 SIS, popularly known as MI6, Britain’s foreign intelligence service,14 which this year celebrates its 100th birthday, has tiptoed into the15 modern world. Faced with the threat of international terrorism it16 has had to cast its net wider than the cloisters of Oxbridge and a17 few other favoured universities to find recruits who look the part.18 That increasingly means people from the ethnic minorities.

19 There is a demand for more women, too. Not just bluestockings,20 but the kind who know what to do with scatter cushions. Only that21 could explain the presence of Good Housekeeping at a recent SIS22 press conference held at Tate Modern in London, intended to23 stimulate more applications from target groups.

24 It was a curious affair, a rare venturing out of the shadows for25 serving SIS officers – but also very conventional. “Work you can26 believe in. Colleagues you can trust,” promised the displays.27 There were four of them: a historian from the Cabinet Office called28 Mark, a senior SIS recruiting officer called John and two younger29 officers, Catherine and Nick. No one asked if these were their30 real names but it would have been disappointing if they were.31 John would have stood out in a crowd – tall, elegant, forties,32 Patrician – but Nick and Catherine were very normal. He was33 black, thirties, smart – typical young businessman; she was

34 attractive, friendly, early thirties – might have been a French35 teacher.

36 The ladies from Good Housekeeping, Cosmopolitan and Marie37 Claire wanted lifestyle. What was it like being a spy? Could you38 tell your mum? Nick, a softly-spoken south Londoner, state39 educated and first in his family to attend university, was talent40 spotted 10 years ago. He could hardly not tell his wife, who41 worked in the City, and had informed his mother and father. But42 he had managed to conceal his clandestine life from his friends.43 Based at ‘head office’ in London, following assignments in Africa44 and the Middle East, Nick was initially attracted to MI6 by the45 chance to travel – an SIS officer may spend months in a country46 absorbing its culture. After joining he was ‘amazed’ how friendly it47 was. “Occasionally you do work long hours. It might be midnight48 in the UK but its midday in another part of the world. But I do get49 to drop my daughter at nursery and pick her up.”

50 Catherine joined SIS nine years ago after applying for the Foreign51 Office. Her concern was that it might be dangerous, “but I can tell52 you that it’s not. The safety of staff is paramount. You are never53 asked to do anything you are not happy with.”

54 The selection process takes nine months for a successful55 candidate, beginning with the online application form. Applicants56 must be British and hold a 2:2 degree or above.

57 Up to 80 per cent of applicants fail the application form. Half of the58 applicants selected for first interview fall at that hurdle, and half59 the remainder fail the second interview. The process continues60 was an assessment course. Five per cent of applicants fail61 personal vetting.

62 What kind of people do SIS want in their recruitment in-tray?63 “Motivated problem-solvers who do not crave the limelight. People64 who are good at building relationships. You may have to ask65 people to supply information that may place them in danger.”

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QuestionNumber

Indicative content

3 Reward responses that analyse how the article uses language and structure to interest and engage readers.

Responses may include the following points about the language of the text: The writer uses literary techniques such as personification to create

interest in the reader. Referring to SIS as someone ‘tiptoeing’ into the modern world, creates a sense that they want to do it quietly and without fuss or that they are not sure about it

The colloquial tone helps to strengthen rapport with the reader, e.g. ‘Could you tell your mum?’

The use of humour is designed to interest the reader and engage them in what is being said. It also helps to make SIS seem less secret and ‘untouchable’, e.g. ‘the kind who know what to do with scatter cushions’, ‘Could you tell your mum?’

The quotations from the officers make the job sound ‘normal’ and so more appealing, with references to family ‘I do get to drop my daughter at nursery and pick her up’ and skills many people have such as ‘building relationships’

The article contrasts the normal with the unusual – the references to family are contrasted with the references to exotic foreign travel ‘Africa and the Middle East’

Response may include the following points about the structure of the text The use of short sentences at the start sets a conversational tone

as if the writer is talking to the reader and telling them a secret about the types of people being recruited, e.g. ‘That increasingly means people from the ethnic minorities.’ And ‘There is a demand for more women, too.’

The structure of the article is used to surprise the reader and make them realise that their ideas about spies are incorrect, e.g. make them realise that their ideas about spies are incorrect, e.g. lines 10-18 show that the recruitment drive is unusual and the last part, from line 38, shows that there are particular qualities and requirements

The use of short sentences in the section on application emphasises how difficult it is, e.g. ‘Five per cent of applicants fail personal vetting.’

The repetition of percentages and ‘half’ in lines 43-46 shows how hard it is to be selected and this contrasts with the idea of it being open and friendly.

Level Mark AO2 DescriptorLevel 1 1-3 Limited comment on the text

Identification of the language and / or structure used to achieve effects and influence readers

The use of references is limitedLevel 2 4-6 Comment on the text

Comment on the language and / or structure used to achieve effects and influence readers, including use of vocabulary

The selection of references is valid, but not developedNB: The mark awarded cannot progress beyond the top of Level 2 if only language OR structure has been considered.

Level 3 7-9 Explanation of the text Explanation of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary and sentence structure

The selection of references is appropriate and relevant to the points being made

Level 4 10-12 Exploration of the text Exploration of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary, sentence structure and other language features

The selection of references is detailed, appropriate and fully supports the points being made

Level 5 13-15 Analysis of the text Analysis of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary, sentence structure and other language features

The selection of references is discriminating and clarifies the points being made

GCSE English Literature: Macbeth Question 1a (20 mins)

Macbeth – from Act 2 Scene 2, lines 48 to 69In this extract, Macbeth and Lady Macbeth have a conversation, after Macbeth has murdered Duncan.

1(a) Explore how Shakespeare presents the character of Lady Macbeth as being in control in this extract. Refer closely to the extract in your answer.

MACBETH46 I’ll go no more:47 I am afraid to think what I have done;48 Look on’t again I dare not.

LADY MACBETH49 Infirm of purpose!50 Give me the daggers! The sleeping and the dead51 are but as pictures: ‘tis the eye of childhood52 that fears a painted devil. If he do bleed,53 I’ll gild the faces of the grooms withal,53 for it must seem their guilt

ExitA knocking is heard.

MACBETH54 Whence is that knocking?55 How is’t with me, when every noise appals me?56 What hands are here? Ha! They pluck out mine eyes!57 Will all great Neptune’s ocean wash this blood58 Clean from my hand? No – this my hand will rather59 The multitudinous seas incarnadine,60 Making the green one read.

Re-enter LADY MACBETH

LADY MACBETH61 My hands are of your colour – but I shame62 To wear a heart so white! (Knocking heard again)63 I hear a knocking64 At the south entry. Retire we to our chamber.65 A little water clears us of this deed:66 How easy is it then! Your constancy67 Hath left you unattended. (Knocking again) Hark! -68 More knocking.

69 Get on your nightgown, lest occasion call us,70 And show us to be watchers. – Be not lost

71 So poorly in your thoughts!

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Question Number

Indicative content

1(a)Macbeth

The indicative content is not prescriptive. Reward responses that explore how Shakespeare presents the character of Lady Macbeth as being in control.

Responses may include:

Her attitude, e.g. dismissive, fearless, commanding, lack of remorse

Use of imperatives to reveal her authority, e.g. ‘Give me the daggers!’

Reference to a ‘painted devil’ reinforces her evil nature

Not really in control as naïve about the consequences, e.g. ‘little water clears us of this deed: how easy is it then!’

Reference to how Shakespeare reveals character through the use of images / colour, e.g. Lady Macbeth uses ‘white’ to describe Macbeth’s lack of courage

Lady Macbeth tries to shame Macbeth, so she uses this to control him.

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 The response is simple and the identification of language,

form and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure.

Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links these to their effect on the reader.

Relevant subject terminology is used to support examples given.

Level 4 13-16 The response is focused and detailed. Analysis of language, form and structure features and their effect on the reader is sustained.

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader.

Relevant subject terminology is integrated and precise.

GCSE English Literature – Q3a Dr Jekyll and Mr Hyde (20 mins)

3(a) Explore how Stevenson presents the atmosphere of Victorian London in this extract. Give examples from the extract to support your ideas.

From ‘The Carew Murder Case’ – Mr Utterson and Inspector Newcomen take a cab to Mr Hyde’s house.

1 It was by this time about nine in the morning, and the first fog of the2 season. A great chocolate-coloured pall lowered over heaven, but3 the wind was continually charging and routing these embattled4 vapours; so that as the cab crawled from street to street, Mr5 Utterson behind a marvellous number of degrees and hues of6 twilight; for here it would be dark like the back-end of evening; and7 there would be a glow of a rich, lurid brown, like the light of some8 strange conflagration; and here, for a moment, the fog would be9 quite broken up, and a haggard shaft of daylight would glance in

10 between the swirling wreaths. The dismal quarter of Soho seen11 under these changing glimpses, with its muddy ways, and slatternly12 passengers, and its lamps, which had never been extinguished or13 had been kindled afresh to combat this mournful reinvasion of14 darkness, seemed, in the lawyer’s eyes, like a district of some city15 in a nightmare. The thoughts of his mind, besides, were of the16 gloomiest dye; and when he glanced at the companion of his drive,17 he was conscious of some touch of that terror of the law and the18 law’s officers which may at times assail the most honest.

19 As the cab drew up before the address indicated, the fog lifted a20 little and showed him a dingy street, a gin palace, a low French21 eating-house, a shop for the retail of penny numbers and two-22 penny salads, many ragged children huddled in the doorways, and23 many women of many different nationalities passing out, key in24 hand, to have a morning glass; and the next moment the fog settled25 down again upon that part, as brown as umber, and cut him off26 from his blackguardly surroundings. This was the home of Henry27 Jekyll’s favourite; of a man who was heir to a quarter of a million28 sterling.

29 An ivory-faced and silvery-haired old woman opened the door. She30 had an evil face, smoothed by hypocrisy; but her manners were31 excellent. Yes, she said, this was Mr Hyde’s, but he was not at32 home; he had been in that night very late, but had gone away again33 in less than an hour; there was nothing strange in that; his habits34 were very irregular, and he was often absent; for instance, it was35 nearly two months since she had seen him till yesterday.

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QuestionNumber

Indicative content

3 (a) The indicative content is not prescriptive. Reward response that explore how the atmosphere of Victorian London is portrayed in the extract. Responses may include: Victorian London is presented as fogbound (‘first fog of the season’) and

the mood and tone build up a sense of foreboding The effect is of a gloomy / mournful / polluted city (‘chocolate-covered

pall) Although it is ‘nine in the morning’, London appears to be enveloped in

darkness (‘degrees and hues of twilight’) Dismal, poverty-stricken scenes are created, with ‘slatternly passengers’,

‘ragged children’, ‘cheap shops A place where people drink – ‘gin palace’ The place has an evil character, reflected in the ‘evil face’ of the old

woman The use of language contributes to the effect through the choice of verbs

and adjectives, especially ‘muddy’, ‘gloomiest’, ‘haggard’; ‘lowered’, ‘assail’, ‘crawled’ and the simile ‘as brown as umber’

The use of colour emphasise the darkness in particular the repetition of different shades of brown: ‘chocolate’, ‘lurid brown’, ‘as brown as umber’

The gloom of the surroundings is reflected in the thoughts of Utterson the lawyer, which are ‘of the gloomiest dye’

The sinister presentation of the journey through the squalid part of the city (described in the simile ‘like a district…in some nightmare’) prepares the reader for the climactic confirmation that the cab has indeed arrived at the abode of Mr Hyde.

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 The response is simple and the identification of language, form

and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure.

Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links these to their effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 The response is focused and detailed. Analysis of language,

form and structure features and their effect on the reader is sustained.

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader.

Relevant subject terminology is integrated and precise.

GCSE English Literature: Q4a A Christmas Carol (20 mins)

4 (a) Explore how Dickens presents Scrooge’s character in this extract. Give examples from the extract to support your ideas.

From Stave 1, ‘Marley’s Ghost’ – Scrooge is visited by two men collecting money for the poor.

1 This lunatic, in letting Scrooge’s nephew out, had let two other2 people in. They were portly gentlemen, pleasant to behold, and3 now stood, with their hats off, in Scrooge’s office. They had4 books and papers in their hands, and bowed to him.

5 “Scrooge and Marley’s, I believe,” said one of the gentlemen,6 referring to his list. “Have I the pleasure of addressing Mr.7 Scrooge, or Mr. Marley?”

8 “Mr. Marley has been dead these seven years,” Scrooge replied.9 “He died seven years ago, this very night.”

10 “We have no doubt his liberality is well represented by his11 surviving partner,” said the gentleman, presenting his credentials.

12 It certainly was; for they had been two kindred spirits. At the13 ominous word ‘liberality’, Scrooge frowned, and shook his head,14 and handed the credentials back.

15 “At this festive season of the year, Mr. Scrooge,” said the16 gentleman, taking up a pen, “it is more than usually desirable17 that we should make some slight provision for the Poor and18 destitute, who suffer greatly at the present time. Many19 thousands are in want of common necessaries; hundreds of20 thousands are in want of common comforts, sir.”

21 “Are there no prisons?” asked Scrooge.

22 “Plenty of prisons,” said the gentleman, laying down the pen23 again.

24 “And the Union workhouses?” demanded Scrooge. “Are they25 still in operation?”

26 “They are. Still,” returned the gentleman, “I wish I could say they27 were not.”

28 “The Treadmill and the Poor Law are in full vigour, then?” said29 Scrooge.

30 “Both very busy, sir.”

31 “Oh! I was afraid, from what you said at first, that something had32 occurred to stop them in their useful course,” said Scrooge. “I’m33 very glad to hear it.”

34 “Under the impression that they scarcely furnish Christian cheer35 of mind or body to the multitude,” returned the gentleman, “a few36 of us are endeavouring to raise a fund to buy the Poor some37 meat and drink and means of warmth. We choose this time,38 because it is a time, of all others, when Want is keenly felt, and39 abundance rejoices. What shall I put you down for?”

40 “Nothing!” Scrooge replied.

41 “You wish to be anonymous?”

42 “I wish to be left alone,” said Scrooge. “Since you ask me what I43 wish, gentlemen, that is my answer. I don’t make merry myself44 at Christmas and I can’t afford to make idle people merry. I help45 the establishments I have mentioned – they cost enough; and46 those who are badly off must go there.”

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QuestionNumber

Indicative content

4 (a) The indicative content is not prescriptive. Reward response that explore how Dickens portrays Scrooge in the extract. Responses may include: Scrooge is shown to be a person of some importance, as the ‘portly

gentlemen’ bowed to him His opening words are in completely unemotional language – just a

statement of face He ‘frowned’ at the word ‘liberality’ – the whole idea of a generous spirit

was one he had not time for His response to the request for charity shows his complete lack of

sympathy for the plight of the poor He refers to the various institutions and laws which existed to bring relief

to the poor (‘Union workhouses’, ‘Poor Law’) His sarcastic tone underlies his unsympathetic character ‘I’m very glad to

hear it.’ He completely refuses to donate with the single emphatic word ‘Nothing!’ The visitors cling to the hope that he will donate anonymously, but that is

anything but his intention He shows himself to be solitary (‘I wish to be left alone’) and has no time

for merrymaking The development of the extract gives gradual clues into Scrooge’s

character which is shown fully by his final shocking statement of rejection

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 The response is simple and the identification of language, form

and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure.

Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links these to their effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 The response is focused and detailed. Analysis of language,

form and structure features and their effect on the reader is sustained.

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader.

Relevant subject terminology is integrated and precise.

GCSE English Literature: Q10 Time and Place anthology (10 mins)

Re-read Adlestrop. How is the natural environment presented in this poem?In your answer you should consider the poet’s use of language, form and structure.

1 Yes, I remember Adlestrop -2 The name, because one afternoon3 Of heat the express-train drew up there4 Unwontedly. It was late June.

5 The steam hissed. Someone cleared his throat.6 No one left and no one came7 On the bare platform. What I saw8 Was Adlestrop – only the name

9 And willows, willow-herb, and grass,10 And meadowsweet, and haycocks dry,11 No white less still and lonely fair12 Than the high cloudlets in the sky.

13 And for that minute a blackbird sang14 Close by, and round him, mistier,15 Farther and farther, all the birds16 Of Oxfordshire and Gloucestershire.

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QuestionNumber

Indicative content

3 (a) The indicative content is not prescriptive. Reward response that explore how Edward Thomas presents the natural environment in Adlestrop.Responses may include

Form and structure (AO2): The poem is written in rhyming quatrains – four, four-line stanzas (iambic tetrameters);

the regular, steady rhythm might be thought to match the reflective mood of recollection

The regular rhyming scheme (ABCB, DEFE, etc) is also very measured and deliberate The enjambment at the half-way point takes the reader on from the train’s stopping at

Adlestrop to the sounds and sights of the rural landscape

The Poet’s ideas and language (AO2): The use of the word ‘Yes’ at the start is typical of how people begin a memory

(conversational tone): the poet reflects on a place he had previously visited The repetition of the name ‘Adlestrop’ and the word ‘name’ emphasises the way this

unusual village name, from the station sign, imprinted itself on his mind, bringing the precise rural location into focus.

The word ‘unwontedly’, emphatically placed after an enjambment, underlines that this was not a normal stop on the line

The fact that it was an express train that suddenly stopped emphasises the contrast between the busy rushing lives people lead and the beauty and calm of this moment and the place

The hissing of the steam from the engine contrasts with the stillness and emptiness of the station and the environment he found himself in

The sound effects reinforce the contrasts: sibilance in ‘steam hissed’; repeated soft, liquid sounds in ‘willows, willow-herb’

‘it was late June’ gives a precise effect, confirmed by the close attention to detail (such as someone clearing his throat)

The description of the plants and haycocks is vivid and the poet suggests a harmony between the landscape and the sky

‘No white less still and lonely fair’ gives the impression of a moment frozen and isolated (‘No one left and no one came’).

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 Identification of form and structure is minimal

There is little awareness of the language used by the poets Little evidence of relevant subject terminology

Level 2 5-8 There is some comment on the form and structure of the poems. Some awareness of the poets’ use of language is shown, but without

development Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows a sound understanding of form and structure and links them to their effect

There is clear awareness, with sound examples, of the poet’s use of language and of its effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 Analysis of form and structure and their effect is sustained

The candidate comments effectively on the poets’ use of language and its effect on the reader

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 There is perceptive grasp of form and structure and their effect. The response offers a cohesive evaluation of the poets’ language and its

effect on the reader. Relevant subject terminology is integrated and precise.

GCSE English Language: Paper 1 – Question 3 (15 minutes)

In lines 26-40, how does the writer use language and structure to show the reactions of those eating the dinner?

Support your views with references to the text

26 Poor Jo would gladly have gone under the table, as one thing after27 another was tasted and left, while Amy giggled, Meg looked distressed,28 Miss Crocker pursed her lips and Laurie talked and laughed with all his29 might to give a cheerful tone to the festive scene. Jo’s one strong30 point was the fruit, for she had sugared it well, and had a pitcher of rich31 cream to eat with it. Her hot cheeks cooled a trifle, and she drew a32 long breath as the pretty glass plates went round, and everyone33 looked graciously at the little rosy islands floating in a sea of cream.34 Miss Crocker tasted first, made a wry face, and drank some water35 hastily. Jo, who refused, thinking there might not be enough, for they36 dwindled sadly after the picking over, glanced at Laurie, but he was37 eating away manfully, though there a slight pucker about his mouth38 and he kept his eye fixed on his plate. Amy, who was fond of delicate39 fare, took a heaping spoonful, choked, hid her face in her napkin, and40 left the table precipitately.

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QuestionNumber

Indicative content

3 Reward the responses that explain how the writer uses language and structure to show the narrator’s mood changing in lines 20 to 25.

Responses may include the following points about the language of the text: The guests are not enjoying the food, so much so that Jo wants to

hide: ‘would gladly have gone under the table’ Verbs are used to show disgust at the food: ‘looked distressed’,

‘pursed her lips’, ‘choked’ The verbs used to describe the behaviour of Amy and Laurie show

that they feel embarrassed and uncomfortable: ‘giggled’, ‘talked and laughed’

The description of Laurie’s tone shows that he knows Jo will feel uncomfortable at the reactions so tries to put her at ease: ‘all his might to give a cheerful tone’

The description of the guests looking ‘graciously’ at the fruit suggests they feel that they need to be polite after the first course

Adverbs such as ‘hastily’ and ‘precipitately’ show the negative reactions of Miss Crocker and Amy as they are forced to make quick movements because of how the food tastes

The adverb ‘manfully’ shows that Laurie needs to be brave while eating the food, showing how bad it is

The description of the guests’ facial expressions (especially mouths) emphasises their feelings: ‘pursed her lips’, ‘made a wry face’. ‘slight pucker about his mouth’, ‘hide her face’

The use of the extremity in the reaction of Amy at the end of the extract ‘took a heaping spoonful, choked, hid her face in her napkin, and left the table precipitately’.

Responses may include the following points about the structure of the text: The section is structured to move between Jo’s reactions and those

of her guests to show contrast: Jo would ‘gladly have gone under the table’, ‘Her hot cheeks cooled a trifle’, ‘she drew a long breath’, ‘refused, thinking there might not be enough’

The use of lists shows how varied the reactions are: Miss Crocker tasted, made a face, drank some water; Laurie eats, puckers his mouth and looks at the plate

The use of three reactions is shown in the reactions of Miss Crocker (tastes, makes a face and drinks some water) and Laurie (earts, puckers his mouth and looks at his plate) while Amy’s reaction is fourfold and therefore contrasts as it is more extreme: she takes a spoonful, chokes, hides her face and leaves the table

The section is structured as all one paragraph which shows the pace of events as the dessert is served

Sentences often begin with the name of a specific person which emphasises their reactions: ‘Miss Crocker’, ‘Amy’.

Level Mark AO2 descriptorLevel 1 1-2 Comment on the language and / or structure used to achieve

effects and influence readers, including use of vocabulary The selection of references is valid but not developed

Level 2 3-4 Explanation of how both language and structure are used to achieve effects and influence readers, including use of vocabulary and sentence structure

The selection of references is appropriate and relevant to the points being made.

Level 3 5-6 Analysis of how both language and structure are used to achieve effects and influence readers, including use of vocabulary, sentence structure and other language features.

The selection of references is discriminating and clarifies the points being made.

GCSE English Language: Paper 2 – Question 3 (30 mins)

Analyse how the writer uses language and structure to interest and engage readers.

Support your views with detailed reference to the text.

Extract from ‘127 Hours: Between a Rock and a Hard Place’ byAron Ralston (2004), an American climber

Ralston goes hiking and climbing in a canyon. While climbingdown a narrow canyon, a boulder crushed his right hand againstthe canyon wall. He had not informed anyone of his hikingplans.

1 Just below the ledge where I’m standing is a stone the size of a2 large bus tyre, stuck fast in the channel between the walls, a few3 feet out from the lip. If I can step onto it, then I’ll have a nine-foot4 height to descend, less than that of the first overhang. I’ll dangle5 off the stone, then take a short fall onto the rounded rocks piled6 on the canyon floor. Stemming across the canyon at the lip of7 the dropoff, with one foot and one hand on each of the walls, I8 traverse out to the stone. I press my back against the south wall9 and lock my left knee, which pushes my foot tight against the

10 north wall. With my right foot, I kick at the boulder to test how11 stuck it is. It’s jammed tightly enough to hold my weight. I lower12 myself from the chimneying position and step onto the stone. It13 supports me but teeters slightly. After confirming that I don’t14 want to chimney down from the stone’s height, I squat and grip15 the rear of the lodged boulder, turning to face back upcanyon.16 Sliding my belly over the front edge, I can lower myself and hang17 from my fully extended arms, akin to climbing down from the18 roof of a house.

19 As I dangle, I feel the stone respond to my adjusting grip with a20 scraping quake as my body’s weight applies enough torque to21 disturb it from its position. Instantly, I know this is trouble, and22 instinctively, I let go of the rotating boulder to land on the round23 rocks below. When I look up, the backlit stone falling toward my24 head consumes the sky. Fear shoots my hands over my head. I25 can’t move backward or I’ll fall over a small ledge. My only hope26 is to push off the falling rock and get my head out of its way.

27 The next three seconds play out at a tenth of their normal speed.28 Time dilates, as if I’m dreaming, and my reactions decelerate. In29 slow motion: The rock smashes my left hand against the south30 wall; my eyes register the collision, and I yank my left arm back31 as the rock ricochets; the boulder then crushed my right hand32 and ensnares my right arm at the wrist, palm in, thumb up,33 fingers extended; the rock slides and another food down the wall34 with my arm in tow, tearing the skin off the lateral side of my

35 forearm. Then silence.

36 My disbelief paralyses me temporarily as I stare at the sight of my37 arm vanishing into an implausibly small gap between the fallen38 boulder and the canyon wall. Within moments, my nervous39 system’s pain response overcomes the initial shock. Good40 christ, my hand. The flaring agony throws me into a panic.

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QuestionNumber

Indicative content

3 Reward responses that analyse how the article uses language and

structure to interest and engage readers.

Responses may include the following points about the language of the text: The use of personal pronouns: repetitive use of ‘I’ creates a sense

that the events are personal The language used creates drama/suspense: ‘It supports me but

teeters slightly’ suggests that something is going to happen References to time show the speed of events and create suspense:

‘The next three seconds play out at a tenth of their normal speed’ Alliteration is used to create interest: on ‘the round rocks below’;

‘rock ricochets’ Use of emotive language conveys the writer’s feelings and physical

pain: ‘the rock slides another foot down the wall with my arm in tow, tearing the skin off the lateral side of my forearm’

Technical language, ‘traverse’, ‘chimneying’, ‘torque’, is used to show that he is an expert in climbing and has done this before, creating confidence in him

Religious language is used to express extreme emotion: ‘Good Christ, my hand’

Response may include the following points about the structure of the text Use of punctuation shows the slowing down of time and his

reactions: ‘with my arm in tow…My disbelief paralyses me temporarily as I stare at the sight of my arm vanishing into an implausibly small gap…’

The extract starts with confidence that Ralston knows what he is doing (the first paragraph shows words like ‘lock’, ‘tight’, ‘confirming’), but then he ends the second paragraph with a sentence beginning with ‘My only hope’, showing the building of suspense

The use of short sentences emphasises the stressful situation and the physical pain: ‘Then silence’, ‘Good Christ, my hand’

Lists are used to show how much action is happening: ‘The rock smashes my left hand against the south wall; my eyes register the collision, and I yank my left arm back as the rock ricochets; at the wrist, palm in, thumb up, fingers extended.’

Level Mark AO2 DescriptorLevel 1 1-3 Limited comment on the text

Identification of the language and / or structure used to achieve effects and influence readers

The use of references is limitedLevel 2 4-6 Comment on the text

Comment on the language and / or structure used to achieve effects and influence readers, including use of vocabulary

The selection of references is valid, but not developedNB: The mark awarded cannot progress beyond the top of Level 2 if only language OR structure has been considered.

Level 3 7-9 Explanation of the text Explanation of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary and sentence structure

The selection of references is appropriate and relevant to the points being made

Level 4 10-12 Exploration of the text Exploration of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary, sentence structure and other language features

The selection of references is detailed, appropriate and fully supports the points being made

Level 5 13-15 Analysis of the text Analysis of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary, sentence structure and other language features

The selection of references is discriminating and clarifies the points being made

GCSE English Literature: Macbeth Question 1a (20 mins)

Macbeth – from Act 3 Scene 1, lines 1 to 28In this extract, Banquo talks to Macbeth who is now King.

1 (a) Explore how Shakespeare presents the relationship between Banquo and Macbeth. Refer closely to the extract in your answer.

Enter Banquo alone.

BANQUO1 Thou hast it now: King, Cawdor, Glamis all2 As the weird women promised: and I fear3 Thou playedst most foully for’t. Yet it is said4 It should not stand in thy posterity5 But that myself should be the root and father6 Of many kings. If there come some truth from them,7 As upon thee, Macbeth, their speeches shine,8 Why by the verities on thee made good9 May they not be my oracles as well

10 And set me up in hope? But hush! No more.

Trumpet fanfare. Enter Macbeth as King, Lady Macbeth, Lennox, Ross, Lords and attendants

MACBETH11 Here is our chief guest.

LADY MACBETH12 If he had been forgotten13 It had been as a gap in our great feast14 And all thing un-becoming.

MACBETH15 Tonight we hold a solemn supper, sir,16 And I’ll request your presence.

BANQUO17 Let your highness18 Command upon me, to the which my duties19 Are with a most indissoluble tie20 Forever knit.

MACBETH21 Ride you this afternoon?

BANQUO22 Ay, my good Lord.

MACBETH23 We should have else desired your good advice,

24 Which still hath been both grave and prosperous25 In this day’s council; but we’ll take tomorrow26 Is’t far you ride?

BANQUO27 As far, my lord, as will fill up the time28 ‘Twixt this and supper. Go not my horse the better,29 I must become a borrower of the night30 For a dark hour or twain.

MACBETH31 Fail not our feast.

BANQUO32 My lord, I will not.

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Question Number

Indicative content

1(a)Macbeth

The indicative content is not prescriptive. Reward responses that explore how Shakespeare presents the relationship between Macbeth and Banquo.

Responses may include:

Banquo’s suspicious attitude is revealed in his soliloquy: ‘Thou hast it now’, ‘and I fear thou playedst most foully for’t’

Macbeth’s new status: he enters to the sound of a ‘trumpet fanfare’

Macbeth’s self-confident attitude is revealed by the royal ‘we’: ‘tonight we hold a solemn supper, sir’; ‘we should have else desired your good advice’. He then switches to ‘I’ to indicate his friendship with Banquo

Banquo’s attitude towards Macbeth is formal and cold: ‘Let your highness…my duties are with a most indissoluble tie / Forever knot’

Macbeth is seemingly friendly: ‘Fail not our feast’

Macbeth asks short direct questions of Banquo to establish his friend’s movements.

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 The response is simple and the identification of language,

form and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure.

Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links these to their effect on the reader.

Relevant subject terminology is used to support examples given.

Level 4 13-16 The response is focused and detailed. Analysis of language, form and structure features and their effect on the reader is sustained.

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader.

Relevant subject terminology is integrated and precise.

GCSE English Literature – Q3a Dr Jekyll and Mr Hyde (20 mins)

3(a) Explore how Stevenson presents Enfield in this extract. Give examples from the extract to support your ideas.

From ‘Story of the Door’ – Utterson and Richard Enfield are taking their regular Sunday walk.

1 Mr Enfield and the lawyer were on the other side of the bystreet;2 but when they came abreast of the entry, the former lifted up his3 cane and pointed.

4 ‘Did you ever remark that door?’ he asked; and when his5 companion had replied in the affirmative, ‘it is connected in my6 mind,’ added he, ‘with a very odd story.’

7 ‘Indeed?’ said Mr Utterson, with a slight change of voice, ‘and8 what was that?’

9 ‘Well, it was this way,’ returned Mr Enfield: ‘I was coming home10 from some place at the end of the world, about three o’clock11 of a black winter morning, and my way lay through a part of12 town where there was literally nothing to be seen but lamps.13 Street after street, and all the folks asleep – street after street,14 all lighted up as if for a procession and all as empty as a church15 - Till at last I got into a state of mind when a man listens and16 listens and begins to long for the sight of a policeman. All at17 once, I saw two figures: one a little man who was stumping18 along eastward at a good walk, and the other a girl of maybe19 eight or ten who was running as hard as she was able down a20 cross street. Well, sir, the two ran into one another naturally21 enough at the corner; and then came the horrible part of the22 thing; for the man trampled calmly over the child’s body and left23 her screaming on the ground. It sounds nothing to hear, but it24 was hellish to see. It wasn’t like a man; it was like some25 damned Juggarnaut. I gave a view halloa, took to my heels,26 Collared my gentleman, and brought him back to where there27 was already quite a group about the screaming child. He was28 perfectly cool and made no resistance, but gave me one look,29 so ugly that it brought out the sweat on me like running. The30 people who had turned out were the girl’s own family; and pretty31 soon, the doctor, for whom she had been sent, put in his32 appearance. Well, the child was not much the worse, more33 frightened, according to the Sawbones; and there you might34 have supposed would be an end to it. But there was one35 curious circumstance. I had taken a loathing to my gentleman36 at first sight. So had the child’s family, which was only natural.

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QuestionNumber

Indicative content

3 (a) The indicative content is not prescriptive. Reward response that explore the ways in which Stevenson presents Enfield in this extract.

Responses may include:

Enfield is walking with the lawyer, Utterson, when he breaks the silence by asking his companion about the ‘door’; Enfield has clearly been disturbed by what he witnessed: ‘connected in my mind’

It is not clear where Enfield has been until the early hours of the morning; the ambiguity raises some questions, especially as he was returning from ‘the end of the world’

Enfield recalls and emphasises his long walk that night by repeating ‘street after street’

He speaks poetically with his use of figurative language and the use of similes: ‘lighted up as if for a procession and all as empty as a church’, ‘like some damned Juggernaut’, ‘like running’, to make his descriptions full of tension

The use of onomatopoeia brings realism to the scene: ‘halloa’ The setting is unnerving and Enfield confesses to a feeling of unease:

‘long for the sight of a policeman’ Enfield tells Utterson about the ‘Juggernaut’ incident, hardly pausing for

breath as he recalls the horrific scene He shows bravery when he runs after the man: ‘took to my heels,

collared my gentleman, and brought him back’ Enfield uses hyperbole to describe how ‘ugly’ the man looked as it

‘brought out the sweat on me like running’; there is an instant dislike for the gentleman; Enfield says that he has ‘taken a loathing…at first sight’, almost realising the evil the man was capable of

The structure of the extract begins with Enfield breaking the silence and then hardly stopping when he recounts the events of that night; as the story of the man’s capture is told, the increased use of commas suggest he was gasping for breath.

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 The response is simple and the identification of language, form

and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure.

Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links these to their effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 The response is focused and detailed. Analysis of language,

form and structure features and their effect on the reader is sustained.

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader.

Relevant subject terminology is integrated and precise.

GCSE English Literature – Q4a A Christmas Carol (20 mins)

4 (a) Explore how Dickens presents Christmas Eve in this extract. Give examples from the extract to support your ideas.

From Stave 2, ‘The first of the three spirits’ – The first spirit takes Ebenezer Scrooge on a journey into his past.

1 The Ghost stopped at a certain warehouse door, and asked

2 Scrooge if he knew it.

3 ‘Know it! Said Scrooge. ‘Was I apprenticed here?’

4 They went in. At sight of an old gentleman in a Welch wig,5 sitting behind such a high desk, that if he had been two inches6 taller he must have knocked his head against the ceiling,7 Scrooge cried in great excitement.

8 ‘Why, it’s old Fezziwig! Bless his heart; it’s Fezziwig alive9 again!’

10 Old Fezziwig laid down his pen, and looked up at the clock,11 which pointed to the hour of seven. He rubbed his hands;12 adjusted his capacious waistcoats; laughed all over himself,13 from his shoes to his organ of benevolence; and called out in a14 comfortable, oily, rich, fat, jovial voice:

15 ‘Yo ho, there! Ebenezer! Dick!’

16 Scrooge’s former self, now grown a young man, came briskly in,17 accompanied by his fellow-‘prentice.

18 ‘Dick Wilkins, to be sure!’ said Scrooge to the Ghost. ‘Bless me,19 yes. There he is. He was very much attached to me, was Dick.20 poor Dick! Dear, dear!’

21 ‘Yo ho, my boys!’ said Fezziwig. ‘No more work tonight.22 Christmas Eve, Dick. Christmas, Ebenezer! Let’s have the23 shutters up’ cried old Fezziwig, with a sharp clap of his hands,24 ‘before a man can say, Jack Robinson!’

25 You wouldn’t believe how those two fellows went at it! They26 charged into the street with the shutters – one, two, three – had27 ‘em up in their places – four, five six – barred ‘em and pinned28 ‘em – seven, eight, nine – and came back before you could have29 got to twelve, panting like race-horses.

30 ‘Hilli-ho!’ cried old Fezziwig, skipping down from the high desk,31 with wonderful agility. ‘Clear away, my lads, and let’s have lots32 of room here! Hilli-ho, Dick! Churrup, Ebenezer!’

33 Clear away! There was nothing they wouldn’t have cleared34 away, or couldn’t have cleared away, with old Fezziwig looking35 on. It was done in a minute. Every moveable was packed off,36 As if it were dismissed from public life evermore; the floor was37 swept and watered, the lamps were trimmed, fuel was heaped

38 upon the fire; and the warehouse was as snug, and warm, and39 dry, and bright a ball-room, as you would desire to see upon a40 winter’s night.

41 In came a fiddler with a music-book, and went up to the lofty42 desk, and made an orchestra of it, and tuned like fifty stomach-43 aches. In came Mrs Fezziwig, one vast substantial smile. In44 came the three Miss Fezziwigs, beaming and loveable.

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QuestionNumber

Indicative content

4 (a) The indicative content is not prescriptive. Reward response that explore the ways in which Dickens presents Christmas Eve in this extract.

Responses may include: Scrooge has good memories of Christmas Eve at Fezziwig’s warehouse,

as he speaks of Fezziwig with some affection, ‘Bless his heart’; Scrooge appears to be excited to see him alive again with his exclamatory sentences: ‘it’s old Fezziwig!’, ‘Fezziwig alive again!’

Dickens lists qualities that suggest that Fezziwig is happy because it is Christmas Eve: ‘fat, jovial voice’

Fezziwig is kind to his employees and values them: ‘Yo ho, my boys!’, ‘No more work tonight. Christmas Eve’

He is a good employer, surprising his employees with a Christmas party Fezziwig provides good working conditions at Christmas; the

accommodation is warm, clean, comfortable and festive: ‘fuel was heaped upon the fire’

The warehouse working space is transformed: ‘the warehouse was as snug, and warm, and dry, and bright a ball-room, as you would desire.’

Music is provided for the Christmas party: ‘In came a fiddler with a music-book’

The Christmas party brings everyone together, family and employees: ‘In came Mrs Fezziwig’ with her ‘vast substantial smile’. Fezziwig’s children are described as ‘beaming and loveable’

The repetition of ‘In came’ is used to emphasise the bustling excitement of Christmas Eve

The extract provides the reader with Fezziwig’s comments, but not those of Ebenezer and Dick; the reader is provided with an omniscient view of the scene by the narrative voice.

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 The response is simple and the identification of language, form

and structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure.

Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links these to their effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 The response is focused and detailed. Analysis of language,

form and structure features and their effect on the reader is sustained.

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader.

Relevant subject terminology is integrated and precise.GCSE English Literature: Q10 Time and Place anthology (10 mins)

Re-read Where the Picnic was. How is the location presented in this poem?In your answer you should consider the poet’s use of language, form and structure.

1 Where we made the fire2 In the summer time

3 Of branch and briar4 On the hill to the sea,5 I slowly climb6 Through winter mire,7 And scan and trace8 The forsaken place9 Quite readily

10 Now a cold wind blows,11 And the grass is grey,12 But the spot still shows13 As a burnt circle – aye,14 And stick-ends, charred,15 Still strew the sward16 Whereon I stand,17 Lest the relic of the band18 Who came that day!

19 Yes, I am here20 Just as last year,21 And the sea breathes brine22 From its strange straight line23 Up hither, the same24 As when we four came.25 - But two have wandered far26 From this grassy rise27 Into urban roar28 Where no picnics are,29 And one – has shut her eyes30 For evermore.

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QuestionNumber

Indicative content

3 (a) The indicative content is not prescriptive. Reward response that explain how Hardy presents a particular location in Where the Picnic was.

Responses may include

Form and structure (AO2): The poem is written in first person narrative, which conveys the poet’s feelings and

emotions about a particular location; the narrative voice moves backwards and forwards,

between past and present The structure of the poem reflects the passage of time and his feelings for the location; it is

presented in three stanzas and has a regular rhythm achieved through the rhyme Much of the poem is monosyllabic, perhaps to reflect the steady pulse of the sea in the

background The use of the dash creates a pause and indicates the poet’s thoughts about that particular

location The tone of the poem is reflective and sombre; the poet returns to the location at a different

time of year: ‘Through winter mire’

The Poet’s ideas and language (AO2): The poem recalls a favourite place which holds special memories for the poet when he, his

wife and two friends went for a picnic; the location has remained the same, ‘the spot still shows’, but the poet is alone now that his wife has died and friends have moved to the city and ‘into urban roar’

The use of alliteration and sibilance throughout the poem creates an effect of the sound of the sea: ‘Still strew the sward’, ‘breathes brine / From its strange straight line’

The use of personification: ‘sea breathes brine’ The use of temporal language: ‘summer’, ‘now’, ‘last’, ‘that day’, ‘For evermore’ Negative language is used to describe the location which has remained the same:

‘forsaken’, ‘cold wind’, ‘grass is grey’, ‘burnt circle’, ‘charred’ The use of contrast of summer and winter: ‘In the summer time’, ‘Through winter mire’ and

the contrast of the ‘forsaken place’ with ‘urban roar / Where no picnics are’, create a negative tone

The poet uses a euphemism to refer to the death of his partner: And one – has shut her eyes / For evermore’; a theme of death runs through the poem with the ‘burnt circle’, ‘relic’, and ‘grey’ grass.

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 Identification of form and structure is minimal

There is little awareness of the language used by the poets Little evidence of relevant subject terminology

Level 2 5-8 There is some comment on the form and structure of the poems. Some awareness of the poets’ use of language is shown, but without

development Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows a sound understanding of form and structure and links them to their effect

There is clear awareness, with sound examples, of the poet’s use of language and of its effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 Analysis of form and structure and their effect is sustained

The candidate comments effectively on the poets’ use of language and its effect on the reader

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 There is perceptive grasp of form and structure and their effect. The response offers a cohesive evaluation of the poets’ language and its effect

on the reader. Relevant subject terminology is integrated and precise.

GCSE English Language: Paper 1 – Question 3 (15 minutes)

In lines 14-28, how does the writer use language and structure to show the narrator’s feelings about Bertha?

Support your views with references to the text

14 And he slept. His head sunk on his breast, and I scarce heard his

15 regular breathing. For a few minutes I watched the vessel – the rosy16 colour of the liquid remained unchanged. Then my thoughts wandered17 - they visited the fountain, and dwelt on a thousand charming18 scenes never to be renewed – never! Serpents and adders were in my19 heart as the word ‘Never!’ half formed itself on my lips. False girls! -20 false and cruel! Never more would she smile on me as that evening21 she smiled on Albert. Worthless, detested woman! I would not remain22 unrevenged – she should see Albert expire at her feet – she should die23 beneath my vengeance. She had smiled in disdain and triumph – she24 knew my wretchedness and her power. Yet what power had she? -25 The power of exciting my hate – my utter scorn – my – oh, all but26 indifference! Could I attain that – could I regard her with careless27 eyes, transferring my rejected love to one fairer and more true, that28 were indeed a victory!

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QuestionNumber

Indicative content

3 Reward the responses that explain how the writer uses language and structure to show the narrator’s mood changing in lines 20 to 25.

Responses may include the following points about the language of the

text: At first the narrator just thinks about the officers and is happy they are

‘satisfied’ with his information so the focus is not on him He describes himself as ‘at ease’ and answering their questions

cheerily which shows he is not distressed at first The repetition of ‘still’ when referring the policemen’s presence and

chatter shows the situation is starting to take its toll on him The narrator tries to take action to make the noise go away, but his

distress builds through the description of the noise becoming ‘more distinct’ and ends with him realising in horror that he can’t get rid of it

‘getting pale’ – this physical description shows how frightened he has become

‘at length’ emphasises how long this unpleasant experience is seeming to last for the narrator

Responses may include the following points about the structure of the text: The use of shorter sentences at the start puts across how the

narrator thinks that everything is going to end neatly, but by the end, one long sentence makes up almost half of the paragraph. It puts across his struggle to get rid of the noise

‘it continued’ is repeated to show that the narrator cannot escape the noise

‘but’ is repeated and emphasises the worsening of events There is a contrast between relaxed police and nervous narrator

Level Mark AO2 descriptorLevel 1 1-2 Comment on the language and / or structure used to achieve

effects and influence readers, including use of vocabulary The selection of references is valid but not developed

Level 2 3-4 Explanation of how both language and structure are used to achieve effects and influence readers, including use of vocabulary and sentence structure

The selection of references is appropriate and relevant to the points being made.

Level 3 5-6 Analysis of how both language and structure are used to achieve effects and influence readers, including use of vocabulary, sentence structure and other language features.

The selection of references is discriminating and clarifies the points being made.

GCSE English Language: Paper 2 – Question 3 (30 mins)

Analyse how the writer uses language and structure to interest and engage the reader.

Support your views with detailed reference to the text.

Extract from ‘Love Letters of the Great War’, an anthology ofletters written to and from soldiers during the First World War.

This edited letter was written by rifleman Bert Bailey to his wifeLucilla. Bert and Lucilla had married in June 1915, when he wasat home on leave. A few hours after writing this letter, Bert waskilled.

1 Wednesday, 27 October 1915

2 My Darling Wife,

3 Another night has passed and another morning come and I am4 still in the trenches and in good health. Although all day and5 night on Monday it rained steadily yet Tuesday (yesterday)6 morning broke fair and fine and we had a nice day except that7 underneath everything was mud and slosh. We were employed8 all the morning and afternoon in putting down boards along the9 trenches and have greatly improved it for walking…

10 Just a few words now about your last parcel. I don’t often11 mention everything, but I do appreciate the rag you sent me, it is12 so very useful. The piece this week is lovely and I make a very13 shrewd guess that, when I am using it as a tablecloth, it was not14 always used for that purpose but once formed part of my lady’s15 - ‘Oh dear, oh dear, what am I saying’ – nevertheless, it is16 grand to wrap my bread in and keep my food clean and nice.17 Cigarettes – don’t send any more until I ask you to. Toffee,18 condensed milk, candles, rice and potted meat: the toffee, milk,19 rice and one candle have all gone. Potted meat for tea today,20 candle tonight if necessary. The Oxo cubes will be very nice to21 augment my soup with, no doubt. Don’t send me anymore Oxo22 or Bovril until I ask you to, Darling, will you? The little pat of23 butter is always welcome, and the bread I think is an24 improvement on buying expensive cakes. Of course a little25 homemade cake is nice, but I was never a lover of cake.26 Please discontinue sending tea, sugar and salt for a bit, Darling,27 as I have plenty. Don’t think I am trying to economise and stint28 myself because it is not that, and it all helps us, dead, doesn’t it?

29 Now my little Darling, you must be patient with me won’t you and30 don’t get cross because I have been having a lot to say about31 the parcels. You are a pet to send them and you know you32 asked me to guide you as to what I most required, don’t you?

33 The pastry of your own make was absolutely A1, and a perfect

34 success – and she’s the little girl who said, ‘Oh, can I only cook35 a plain dinner.’ One great thing is off my mind and that is that I36 need never fear for my life in the future when you send me or37 make me pastry!

38 The weather has remained fine all the afternoon and let’s hope39 it will be fine tonight. A cold night’s bad, but a wet cold night is40 worse. You must not worry about me, Darling, because I am41 just as able to look after myself as the other chaps. So dearest42 little one, just keep cheerful and enjoy yourself all you can, and43 wrap up now the cold is here. If you require new clothes in the44 way of an overcoat or mac or gloves or anything for the winter,45 don’t let yourself go short, will you? Just take it from the cash46 and note it in the book as I told you, so that we can see how the47 cash is made up for the sake of keeping proper accounts. I’m48 afraid I twaddle a lot but never mind.

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QuestionNumber

Indicative content

3 Reward responses that analyse how the article uses language and structure to interest and engage readers.

Responses may include the following points about the language of the text: The use of personal pronouns: repetitive use of ‘I’ creates a sense

that the events are personal The language used creates a sense of normality in that the letter

starts with news and weather: ‘on Monday it rained steadily yet Tuesday (yesterday) morning broke fair and fine’

References to time show that events are important to him and create a sense that he is missing home: ‘Another night has passed and another morning come’, ‘all day and night on Monday’, ‘all the morning and afternoon’

Positive language is used to show he is trying to remain upbeat despite the circumstances: ‘good’, ‘fair and fine’, ‘we had a nice day’, ‘greatly improved’

The writer emphasises how pleased he is when he talks about what his wife has sent him: ‘it is so very useful’, ‘the piece this week is lovely’, ‘it is grand’, ‘very nice’

Alliteration is used to create interest: ‘fair and fine’ Use of emotive language conveys the writer’s feelings and affection

for his wife: ‘my little Darling’, ‘Dearest little one’; this contrasts with his feelings about work which are implied through language like ‘employed’ and ‘putting down boards along the trenches.’

He uses contrasting descriptions to show he wants his wife to know he is alright, but also he does not want her to feel that he is pleased to be away: ‘we had a nice day except that underneath everything was mud and slosh’, ‘A cold night’s bad, but a wet cold night is worse. You must not worry about me, Darling.’

Colloquial language is used to show he is talking to someone he knows and is relaxed with: ‘slosh’, ‘twaddle’

Response may include the following points about the structure of the text The letter starts with repetition of ‘another’ to show how long he has

been away: ‘Another night has passed and another morning’ Use of lists shows what the writer wants and does not want his wide

to send: ‘Toffee, condensed milk, candles, rich and potted meat; The letter uses (tag) questions to show that he is engaging his wife

in the letter and to try to avoid upsetting her: ‘will you’, ‘doesn’t it?’. ‘won’t you,’ ‘didn’t you?’

The use of structure shows the spontaneity of his thinking: ‘Potted meat for tea today, candle tonight if necessary’, ‘it was not always used for that purpose but once formed part of my lady’s – ‘Oh dear, oh dear, what am I saying”

The use of a variety of paragraph lengths: short paragraphs to make specific personal comments to his wife and longer paragraphs to explore the wider context for both of them

The letter suggests it is one of a sequence; it makes reference to

the past at the start: ‘I am still in the trenches’, ‘your last parcel’; it ends by looking to the future: ‘If you require new clothes…for the winter.’

Level Mark AO2 DescriptorLevel 1 1-3 Limited comment on the text

Identification of the language and / or structure used to achieve effects and influence readers

The use of references is limitedLevel 2 4-6 Comment on the text

Comment on the language and / or structure used to achieve effects and influence readers, including use of vocabulary

The selection of references is valid, but not developedNB: The mark awarded cannot progress beyond the top of Level 2 if only language OR structure has been considered.

Level 3 7-9 Explanation of the text Explanation of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary and sentence structure

The selection of references is appropriate and relevant to the points being made

Level 4 10-12 Exploration of the text Exploration of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary, sentence structure and other language features

The selection of references is detailed, appropriate and fully supports the points being made

Level 5 13-15 Analysis of the text Analysis of how both language and structure are used to

achieve effects and influence readers, including use of vocabulary, sentence structure and other language features

The selection of references is discriminating and clarifies the points being made

GCSE English Literature: Macbeth Question 1a (20 mins)

Macbeth – from Act 1 Scene 3, lines 128 to 153In this extract, Macbeth has just been told that he is to become Thane of Cawdor

1 (a) Explore how Shakespeare presents the relationship between Banquo and Macbeth. Refer closely to the extract in your answer.

MACBETH128 (Aside) Two truths are told129 As happy prologues to the swelling act130 Of the imperial theme. (To ROS and ANGUS) I thank131 You, gentlemen132 (Aside) This supernatural soliciting133 Cannot be ill – cannot be good. If ill,134 Why hath it given me earnest of success,135 Commencing in a truth? I am Thane of Cawdor.136 If good, why do I yield to that suggestion137 Whose horrid image doth unfix my hair,138 And make my seated heart knock at my ribs139 Against the use of nature? Present fears140 Are less than horrible imaginings.141 My thought, whose murder yet is but fantastical,142 Shakes so my single state of man, that function143 Is smothered in surmise, and nothing is144 But what is not.

BANQUO145 (To ROSS and ANGUS) Look how our partner’s rapt.

MACBETH146 (Aside) If chance will have my king, why, chance147 May crown me,148 Without my stir.

BANQUO149 New honours come upon him150 Like our strange garments – cleave not to their mould151 But with the aid of use.

MACBETH152 (Aside) Come what come may,153 Time and the hour runs through the roughest day.

BANQUO154 Worthy Macbeth, we stay upon your leisure.

MACBETH155 Give me your favour. My dull brain was wrought156 With things forgotten. Kind gentlemen, your pains157 Are registered where every day I turn158 The leaf to read them. – Let us toward the king.

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Question Number

Indicative content

1(a)Macbeth

The indicative content is not prescriptive. Reward responses that explore how Shakespeare presents the reactions of Macbeth.

Responses may include:

His reactions to the announcement that he is now the Thane of Cawdor, for example, questioning, doubting, weighing up and seeking to justify: ‘This supernatural soliciting / Cannot be ill – cannot be good’

The ambiguity of his words to illustrate his confusion: ‘nothing is / But what is not’; ‘Cannot be ill – cannot be good.’ The expressions could indicate confusion between the world Macbeth thinks of as real and the world of dreams: a confused mind

How Macbeth is obsessed with the predictions; his soliloquy emphasises his curiosity with what his future may hold and his questioning shows his confusion: ‘Why hath it given me earnest of success, / Commencing in a truth?’

How Macbeth begins to consider the possibility of ‘murder’; however, it terrifies him and makes his ‘seated heart knock at (his) ribs’ and makes him have ‘horrible imaginings’

Reference to how Shakespeare uses language to illustrate the impact of the predictions on Macbeth through the use of dramatic and metaphorical images: ‘horrid image doth unfix my hair.’

How Macbeth believes in fate dictating whether he becomes King: ‘If chance will have me king…Without my stir.’

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 The response is simple and the identification of language, form and

structure is minimal Little evidence of relevant subject terminology

Level 2 5-8 The response is largely descriptive. There is some comment on the language, form and structure.

Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows an understanding of a range of language, form and structure features and links these to their effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 The response is focused and detailed. Analysis of language, form

and structure features and their effect on the reader is sustained. Relevant subject terminology is used accurately and appropriately to

develop ideas.Level 5 17-20 The response is a cohesive evaluation of the interrelationship of

language, form and structure and their effect on the reader. Relevant subject terminology is integrated and precise.

GCSE English Literature: Q10 Time and Place anthology (10 mins)

Re-read Home Thoughts from Abroad. How are memories presented in this poem?In your answer you should consider the poet’s use of language, form and structure.

1 Oh, to be in England

2 Now that April’s there,3 And whoever wakes in England4 Sees, some morning, unaware,5 That the lowest boughs and the brushwood sheaf6 Round the elm-tree bole are in tiny leaf,7 While the chaffinch sings on the orchard bough8 In England – now!

9 And after April, when May follows,10 And the whitethroat builds, and all the swallows!11 Hark, where my blossomed pear-tree in the hedge12 Leans to the field and scatters on the clover13 Blossoms and dewdrops – at the bent spray’s edge -14 That’s the wise thrush; he sings each song twice over,15 Lest you should think he never could recapture16 The first fine careless rapture!17 And though the fields look rough with hoary dew18 All will be gay when noontides wakes anew19 The buttercups, the little children’s dower20- Far brighter than this gaudy melon-flower!

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___________________________________________________________________QuestionNumber

Indicative content

3 (a) The indicative content is not prescriptive. Reward response that explain how Hardy presents a particular location in Where the Picnic was.

Responses may include

Form and structure (AO2): The poem is divided into two sections, each with a different tone; first the joy of thinking of

home and the second the resignation that home is far away In the first, shorter stanza the speaker talks about his longing to be back in England as

spring arrives in April; the stanza establishes the emotion of the poem; the second stanza focuses on May

Both stanzas have their own rhyming pattern. The rhyming pattern in the first stanza provides a feeling of the rising and decreasing emotions that the speaker feels; the happiness of thinking of England the realisation that home is a long way away. The rhyme of the second stanza suggests a more contemplative tone

The second stanza is longer and is mostly written in pentameter The short lyric describes a beautiful scene and the speaker nostalgically longs to be there

and is homesick

The Poet’s ideas and language (AO2): The poems begins with the speaker wishing he were in England: ‘Oh to be in England’ and

continues by describing and recalling the beauty of nature in springtime and how it seems to arrive unnoticed: ‘some morning, unaware’

The use of alliteration makes the descriptions more powerful: ‘boughs and the brushwood’, ‘first fine’

Several lines begin with ‘And’, suggesting a continuous flow of thoughts and happy memories

The second stanza introduces more birds and trees; the naming of specific things provide colour imagery, which evokes a beautiful scene: ‘whitethroat’, ‘blossomed pear tree’, ‘clover’, ‘dewdrops’, ‘buttercups’

Sensory images enhance the scene: ‘chaffinch sings’, ‘Hark’, ‘rough with hoary dew’ The poet’s enthusiasm and happy memories are enhanced by the use of exclamatory

sentences: ‘In England – now!’, ‘and all the swallows!’, ‘careless rapture!’ The ‘wise thrush’ sings his song twice so that his listener knows that the bird is truly joyous The comparison of the ‘buttercup’ with the ‘gaudy melon-flower’ suggests that the beauty in

England is far more beautiful than what the poet can see when away from home

Level Mark Descriptor – AO2 (20 marks)Level 1 1-4 Identification of form and structure is minimal

There is little awareness of the language used by the poets Little evidence of relevant subject terminology

Level 2 5-8 There is some comment on the form and structure of the poems. Some awareness of the poets’ use of language is shown, but without

development Limited use of relevant subject terminology to support examples given.

Level 3 9-12 The response shows a sound understanding of form and structure and links them to their effect

There is clear awareness, with sound examples, of the poet’s use of language and of its effect on the reader.

Relevant subject terminology is used to support examples given.Level 4 13-16 Analysis of form and structure and their effect is sustained

The candidate comments effectively on the poets’ use of language and its effect on the reader

Relevant subject terminology is used accurately and appropriately to develop ideas.

Level 5 17-20 There is perceptive grasp of form and structure and their effect. The response offers a cohesive evaluation of the poets’ language and its effect

on the reader. Relevant subject terminology is integrated and precise.

Knowledge retention quiz1. What is a noun?

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2. What is a proper noun?

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3. What is a common noun?

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4. What is an abstract noun?

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5. What is a verb?

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6. What is an adjective?

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7. What is comparative adjective?

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8. What is a superlative adjective?

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9. What is an adverb?

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10. What is a personal pronoun?

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11. What is a possessive pronoun?

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12. What are the five senses?

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13. What is a simile?

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14. What is a metaphor?

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15. What is personification?

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16. What is symbolism?

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17. What is alliteration?

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18. What is sibilance?

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19. What is onomatopoeia?

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20. What is formality

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21. What is standard English

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22. What is colloquial language?

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23. What is archaic language?

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24. What is dialect?

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25. What is emotive language?

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26. What is emphatic language?

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27. What is jargon?

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28. What is an opening?

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29. What is a closing?

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30. What does it mean to build?

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31. What is repetition?

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32. What is a contrast?

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33. What is an oxymoron?

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34. What is juxtaposition?

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35. What are binary oppositions?

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36. What is a paragraph?

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37. What is a stanza?

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38. What are discourse markers?

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39. What is rhyme?

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40. What is a regular rhyme?

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41. What is an alternate rhyme?

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42. What is iambic tetrameter?

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43. What is pentameter?

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44. What are quatrains?

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45. What is rhythm?

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46. What is tense?

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47. What is person?

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48. What is a simple sentence?

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49. What is a compound sentence?

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50. What is a complex sentence?

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51. What is a declarative sentence?

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52. What is an exclamatory sentence?

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53. What is an interrogative sentence?

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54. What is an imperative sentence?

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55. What is an exclamation mark?

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56. What is a question mark?

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57. What is ellipsis?

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58. What are colons?

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59. What are semi-colons?

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60. What are dashes?

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61. What is a play?

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62. What is poetry?

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63. What is prose?

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64. What is a soliloquy?

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65. What is an aside?

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66. What is a monologue?

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67. What is dramatic irony?

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68. What is a narrative poem?

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69. What is a ballad?

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70. What is a lyrical poem?

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71. What is reported speech?

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72. What is direct speech?

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