Year 9: Poetry - Oasis Academy Brislington · man called Elijah. Elijah was a prophet and miracle...
Transcript of Year 9: Poetry - Oasis Academy Brislington · man called Elijah. Elijah was a prophet and miracle...
Year 9: Poetry
Name:
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Poetry
Contents
‘Wherever I Hang’ by Grace Nichols (1950-) Page 2
‘The Night Mail’ by W. H. Auden (1907-1973) Page 3
‘Swing Low, Sweet Chariot’ by Wallace Willis (1820-1880) Page 5
‘The Canterbury Tales’ by Geoffrey Chaucer (c.1343-1400) Page 7
‘Paradise Lost’ (extract from Book 1) by John Milton (1608-1674) Page 10
Compare the ways poets present fictional journeys Page 12
‘The Road Not Taken’ by Robert Frost (1874-1963) Page 13
‘My Father Thought It’ by Simon Armitage (1963-) Page 14
Compare how poets reflect on journeys Page 17
‘The Love Song of J. Alfred Prufrock’ (extract) by T. S. Eliot (1888-
1965)
Page 18
Essay Writing Practice Page 20
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Wherever I Hang – Grace Nichols (1950-)
I leave me people, me land, me home
For reasons I not too sure
I forsake de sun
And de humming-bird splendour
Had big rats in de floorboard
So I pick up me new-world-self
And come to this place call England
At first I feeling like I in a dream -
De misty greyness
I touching the walls to see if they real
They solid to de seam
And de people pouring from de underground system
Like beans
And when I look up to de sky
I see Lord Nelson high – too high to lie.
And is so I sending home photos of myself
Among de pigeons and de snow
And is so I warding off de cold
And is so, little by little
I begin to change my calypso ways
Never visiting nobody
Before giving them clear warning
And waiting me turn in queue
Now, after all this time
I get accustom to de English life
But I still miss back-home side
To tell you de truth
I don’t know really where I belaang
Yes, divided to de ocean
Divided to the bone
Wherever I hang me knickers – that’s my home.
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The Night Mail – W. H. Auden (1907-1973)
This is the Night Mail crossing the border,
Bringing the cheque and the postal order,
Letters for the rich, letters for the poor,
The shop at the corner and the girl next door.
Pulling up Beattock, a steady climb:
The gradient's against her, but she's on time.
Past cotton-grass and moorland boulder
Shovelling white steam over her shoulder,
Snorting noisily as she passes
Silent miles of wind-bent grasses.
Birds turn their heads as she approaches,
Stare from the bushes at her blank-faced coaches.
Sheep-dogs cannot turn her course;
They slumber on with paws across.
In the farm she passes no one wakes,
But a jug in the bedroom gently shakes.
Dawn freshens, the climb is done.
Down towards Glasgow she descends
Towards the steam tugs yelping down the glade of cranes,
Towards the fields of apparatus, the furnaces
Set on the dark plain like gigantic chessmen.
All Scotland waits for her:
In the dark glens, beside the pale-green sea lochs
Men long for news.
Letters of thanks, letters from banks,
Letters of joy from the girl and the boy,
Receipted bills and invitations
To inspect new stock or visit relations,
And applications for situations
And timid lovers' declarations
And gossip, gossip from all the nations,
News circumstantial, news financial,
Letters with holiday snaps to enlarge in,
Letters with faces scrawled in the margin,
Letters from uncles, cousins, and aunts,
Letters to Scotland from the South of France,
Letters of condolence to Highlands and Lowlands
Notes from overseas to Hebrides
Written on paper of every hue,
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Beattock –
village in
Scotland;
moorland –
a piece of
land
yelping – a
sharp cry
loch – lake
timid –
scared
scrawled –
written
quickly
Hebrides –
islands off
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The pink, the violet, the white and the blue,
The chatty, the catty, the boring, adoring,
The cold and official and the heart's outpouring,
Clever, stupid, short and long,
The typed and the printed and the spelt all wrong.
Thousands are still asleep
Dreaming of terrifying monsters,
Or of friendly tea beside the band at Cranston's or Crawford's:
Asleep in working Glasgow, asleep in well-set Edinburgh,
Asleep in granite Aberdeen,
They continue their dreams,
And shall wake soon and long for letters,
And none will hear the postman's knock
Without a quickening of the heart,
For who can bear to feel himself forgotten?
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the coast
of Scotland
Cranston's
or
Crawford's
– tea shops
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‘Swing Low, Sweet Chariot’ by Wallace Willis
The poem we are learning about today is an African American spiritual
song. It is believed to have been composed by Wallace Willis, a black
American slave in the 19th century.
Wallace Willis was a slave who worked on a plantation in Mississippi. He
and his family were moved to a farm in Oklahoma, and it is believed that the
song was composed on the cotton plantation there. Some believe that the
song was used as a coded message about escaping their slavery and
moving to the north of America, where slaves could have freedom.
During this time in American history, slaves did not receive an education.
Many were unable to read and write. The Bible still played an important part
of slaves’ lives, though. This poem is part of the call and response tradition.
This means that the leader would sing a line and then the others would
repeat the line together. Often the songs were not written down, but they
were passed down between generations orally. The songs were often about
the struggle of slavery, oppression and the hope they had for the future. This
type of music influenced gospel music traditions we have today.
The content of the poem is based on a passage in the Bible. It is about a
man called Elijah. Elijah was a prophet and miracle worker. This is the
moment Elijah is walking to the river Jordan, he strikes the water and it is
divided. He is then taken to heaven on a chariot that passes between the
water. His assistant Elisha witnesses the miracle.
As they were walking along and talking together,
suddenly a chariot of fire and horses of fire
appeared and separated the two of them, and
Elijah went up to heaven in a whirlwind. 12 Elisha
saw this and cried out, “My father! My father! The
chariots and horsemen of Israel!” And Elisha saw
him no more. Then he took hold of his garment
and tore it in two.
(2 Kings chapter 2 verses 11-12)
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Swing Low, Sweet Chariot – Wallace Willis (1820-1880?)
Swing low, sweet chariot, Coming for to carry me home,
Swing low, sweet chariot, Coming for to carry me home.
I looked over Jordan and what did I see,
Coming for to carry me home?
A band of angels coming after me,
Coming for to carry me home.
If you get there before I do,
Coming for to carry me home,
Tell all my friends I’m coming too,
Coming for to carry me home.
The brightest day that ever I saw,
Coming for to carry me home.
When Jesus washed my sins away,
Coming for to carry me home.
I’m sometimes up and sometimes down,
Coming for to carry me home,
But still my soul feels heavenly bound,
Coming for to carry me home...
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‘The Canterbury Tales’ by Geoffrey Chaucer
We are going to be studying a section of a poem called ‘The Canterbury Tales’. This is a
very long poem that includes 24 stories told by different pilgrims on a journey in
Springtime. They travel the 50 miles from the Tabard Inn in Southwark (London) to the
shrine of Thomas à Becket in Canterbury in Kent.
Map of the route taken by the pilgrims
The 29 pilgrims are referred to as a ‘company’ in the poem. These people came from
varying walks of life. In ‘The Canterbury Tales’ the company was made up of a knight, a
cook, a man of law, a seamstress, a friar, a sailor, a monk and many more. They take it in
turns to tell stories as they travel to Canterbury. Their stories reflect their personalities and
their social status. A pilgrimage was a rare occasion when people from different parts of
society would interact as they had the same purpose.
Journeys in Medieval England
The pilgrimage to Canterbury would have taken three or four days on horseback,
depending on how many times they stopped for rest. But the company would travel at
just faster than walking pace, so traditionally it would have taken longer. Chaucer uses
this context to write his poem.
The fictional pilgrims were travelling from a city to the country. They would have seen the
landscape change as they completed their journey. The tavern owner, Harry Bailly,
suggests that they tell stories to pass the time and to entertain themselves. In Medieval
England, the oral tradition of storytelling was a key part of life. Chaucer’s characters and
stories are still famous today.
Language
The poem would have originally been written in Middle English which was a combination
of French and English. This is because of the Norman invasion in 1066 when those in power
spoke French. England at this time was undergoing great political and linguistic change,
Chaucer wanted to create a snapshot of society at this time. We are going to read and
study the poem in a modern translation.
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The Canterbury Tales – Geoffrey Chaucer (c.1343-1400)
The General Prologue
When April with his showers sweet with fruit
The drought of March has pierced unto the root
And bathed each vein with liquor that has power
To generate therein and sire the flower;
When Zephyr also has, with his sweet breath,
Quickened again, in every holt and heath,
The tender shoots and buds, and the young sun
Into the Ram one half his course has run,
And many little birds make melody
That sleep through all the night with open eye
(So Nature pricks them on to ramp and rage)-
Then do folk long to go on pilgrimage,
And palmers to go seeking out strange strands,
To distant shrines well known in sundry lands.
And specially from every shire's end
Of England they to Canterbury wend,
The holy blessed martyr there to seek
Who helped them when they lay so ill and weak.
Befell that, in that season, on a day
In Southwark, at the Tabard, as I lay
Ready to start upon my pilgrimage
To Canterbury, full of devout homage,
There came at nightfall to that hostelry
Some nine and twenty in a company
Of sundry persons who had chanced to fall
In fellowship, and pilgrims were they all
That toward Canterbury town would ride.
The rooms and stables spacious were and wide,
And well we there were eased, and of the best.
And briefly, when the sun had gone to rest,
So had I spoken with them, every one,
That I was of their fellowship anon,
And made agreement that we'd early rise
To take the road, as you I will apprise.
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drought – dryness
vein – root of each
plant
Zephyr – the west
wind
Ram – zodiac sign
of Aries (so it is
mid-April)
palmers –
dedicated pilgrims
holy blessed
martyr – St Thomas
à Becket
Tabard, hostelry –
an inn that
provides food,
drink and lodging
sundry – varied
fellowship -
company
eased –
comfortable
accommodation
anon – soon
apprise – tell
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The Canterbury Tales (Stanza 1)
When April with his showers sweet with fruit
The drought of March has pierced unto the root
And bathed each vein with liquor that has power
To generate therein and sire the flower;
When Zephyr also has, with his sweet breath,
Quickened again, in every holt and heath,
The tender shoots and buds, and the young sun
Into the Ram one half his course has run,
And many little birds make melody
That sleep through all the night with open eye
(So Nature pricks them on to ramp and rage)-
Then do folk long to go on pilgrimage,
And palmers to go seeking out strange strands,
To distant shrines well known in sundry lands.
And specially from every shire's end
Of England they to Canterbury wend,
The holy blessed martyr there to seek
Who helped them when they lay so ill and weak.
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Paradise Lost (extract from Book 1) – John Milton (1608-1674)
Original Poem Modern Prose
Of Man’s First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal taste
Brought Death into the World, and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blissful Seat,
Sing Heav'nly Muse, that on the secret top
Of Oreb, or of Sinai, didst inspire
That Shepherd, who first taught the chosen Seed,
In the Beginning how the Heav'ns and Earth
Rose out of Chaos: Or if Sion Hill
Delight thee more, and Siloa's Brook that flow'd
Fast by the Oracle of God; I thence
Invoke thy aid to my adventrous Song,
That with no middle flight intends to soar
Above th' Aonian Mount, while it pursues
Things unattempted yet in Prose or Rhime.
And chiefly Thou O Spirit, that dost prefer
Before all Temples th' upright heart and pure,
Instruct me, for Thou know'st; Thou from the first
Wast present, and with mighty wings outspread
Dove-like satst brooding on the vast Abyss
And mad'st it pregnant: What in me is dark
Illumin, what is low raise and support;
That to the highth of this great Argument
I may assert Eternal Providence,
And justifie the wayes of God to men.
Say first, for Heav'n hides nothing from thy view
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Lines 1 – 5: Tell me about man's first sin, when he tasted the
forbidden fruit and caused all our troubles, until Jesus came
and saved us.
Lines 6 – 11: Muse, inspire me with this knowledge. You are
the Holy Spirit who inspired Moses in his teachings.
Lines 12 – 16: I'm asking for your help because I want to write
a great work different from any that have ever been written
before.
Lines 17 – 18: I want you to teach me, Holy Spirit, because
you value goodness more than fancy churches.
Lines 19 – 22: You know everything. You were there at the
Beginning. You sat like a dove with your wings spread over
the dark emptiness and made it come to life.
Lines 23 – 26: Holy Spirit, enlighten me where I am ignorant
and strengthen my abilities so that I can correctly explain
God's great purpose to men.
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Nor the deep Tract of Hell, say first what cause
Mov'd our Grand Parents in that happy State,
Favour'd of Heav'n so highly, to fall off
From thir Creator, and transgress his Will
For one restraint, Lords of the World besides?
Who first seduc'd them to that foul revolt?
Th' infernal Serpent; he it was, whose guile
Stird up with Envy and Revenge, deceiv'd
The Mother of Mankind, what time his Pride
Had cast him out from Heav'n, with all his Host
Of Rebel Angels, by whose aid aspiring
To set himself in Glory above his Peers,
He trusted to have equal'd the most High,
If he oppos'd; and with ambitious aim
Against the Throne and Monarchy of God
Rais'd impious War in Heav'n and Battel proud
With vain attempt. Him the Almighty Power
Hurld headlong flaming from th' Ethereal Skie
With hideous ruine and combustion down
To bottomless perdition, there to dwell
In Adamantine Chains and penal Fire,
Who durst defie th' Omnipotent to Arms.
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Lines 27 – 32: Holy Spirit, you know everything about Heaven
and Hell, so tell me, what was it that made Adam and Eve go
against God's orders? They seemed so happy. He had given
them the whole world, except for one little thing.
Lines 33 – 36: Who made them do this awful thing? It was that
snake from Hell, wasn't it? His envy and thirst for revenge
made him trick Eve the way he did.
Lines 37 – 43: Satan’s pride got him thrown out of Heaven
with all his followers. They supported his ambition to glorify
himself - even to the point of waging war against God.
Lines 44 – 49: But Satan was doomed to fail. After a terrible
war, God threw him into Hell for daring to fight him.
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Compare the ways poets present fictional journeys in ‘The Canterbury Tales’ and ‘Paradise Lost’.
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The Road Not Taken – Robert Frost (1874-1963)
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
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diverged – separated
undergrowth – plants
that grow under trees in
the woods
better claim – looked
more appealing
12 – 13: Both roads
looked the same in the
morning
ages hence – in the
future
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The 1970s – The era of punk
The rebellious youth of the 1970s and 1980s found shocking
ways to show their identities. This was most evident in the
punk movement. Punk was a fashion and music style that
defied the social norms.
Punks wore shredded clothing and dyed their hair bright
colours and shaved and shaped it into spikes and ridges
such as the Mohawk (a ridge of hair sticking straight up,
running down the centre of the head). They got tattoos and
pierced their bodies in many places rarely seen in modern
Western culture, performing many of the piercings
themselves. It was typical to see punk youth wearing safety
pins in their pierced ears, noses, eyebrows, and cheeks. Their
appearance was scandalous – many people blamed the
rising crime rates on the establishment of this subculture!
If the early punk piercings were all about rebellion and
shock, later piercings had a more fashionable purpose. The
ears were still a popular spot to pierce, but instead of
one earring now each ear might hold several earrings,
ranging from the lobe to the top of the ear.
The clothes were never cheap, but the Punks improvised
their own gear and the look spread rapidly. It provoked
open hostility and is still potent today.
Fashion designers at the time viewed the
punk movement as 'a heroic attempt to
confront the older generation'. Over time,
the radical nature of punk was absorbed
by mainstream culture and fashion, and
became less dangerous and revolutionary.
A front-page newspaper article on punk
band The Sex Pistols
A POP group shocked millions of viewers last night with the filthiest language heard on British television.
The Sex Pistols, leaders of the new “punk rock” cult, hurled a string of four-letter obscenities at interviewer Bill Grundy on Thames TV’s family teatime programme, “Today”.
The Thames switchboard was flooded with protests. Nearly 200 angry viewers telephoned the Mirror. One man
was so furious he kicked in the screen of his £380 colour TV. Grundy was immediately carpeted by his boss and will
apologise in tonight’s programme. SHOCKER
A Thames spokesman said: “Because the programme was live, we could not foresee the language which would be used. We apologise to all viewers.”
Lorry driver James Homes, 47, was outraged that his eight-year-old son Lee heard the swearing… and kicked in the screen of his TV.
“It blew up and I was kicked backwards,” he said. “But I was so angry and disgusted with this filth that I took
a swing with my boot. “I can swear as well as anyone, but I don’t want this sort of
muck coming into my home at teatime.”
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My Father Thought It – Simon Armitage (1963 – )
My father thought it bloody queer,
the day I rolled home with a ring of silver in my ear
half hidden by a mop of hair. "You’ve lost your head.
If that’s how easily you’re led
you should’ve had it through your nose instead."
And even then I hadn’t had the nerve to numb
the lobe with ice, then drive a needle through the skin,
then wear a safety-pin. It took a jeweller’s gun
to pierce the flesh, and then a friend
to thread the sleeper in, and where it slept
the hole became a sore, became a wound, and wept.
At twenty-nine, it comes as no surprise to hear
my own voice breaking like a tear, released like water,
cried from way back in the spiral of the ear. If I were you,
I’d take it out and leave it out next year.
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My Father Thought It – Simon Armitage (1963 – )
My father thought it bloody queer,
the day I rolled home with a ring of silver in my ear
half hidden by a mop of hair. "You’ve lost your head.
If that’s how easily you’re led
you should’ve had it through your nose instead."
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Stanza 1 questions:
1. What is the context of this poem?
2. Which people are referred to in this stanza?
3. How does the speaker feel about the experience?
4. What is the relationship between the father and son
like?
And even then I hadn’t had the nerve to numb
the lobe with ice, then drive a needle through the skin,
then wear a safety-pin. It took a jeweller’s gun
to pierce the flesh, and then a friend
to thread the sleeper in, and where it slept
the hole became a sore, became a wound, and wept.
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Stanza 2 questions:
5. What happens to the piercing?
6. What evidence do we have that the speaker regrets
the decision to get a piercing?
7. How does the repetition of ‘and’ show the passing of
time?
8. The final line in this stanza describes what happens to
the piercing. How could this line also be a metaphor?
At twenty-nine, it comes as no surprise to hear
my own voice breaking like a tear, released like water,
cried from way back in the spiral of the ear. If I were you,
I’d take it out and leave it out next year.
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Stanza 3 questions:
9. How is the passing of time indicated?
10. The poem is nostalgic and emotional. Highlight phrases
that show this.
11. Why are italics used for the last line of the poem?
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Compare how poets reflect on journeys in ‘The Road Not Taken’ and ‘My Father Thought It’.
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‘The Love Song of J. Alfred Prufrock’ (extract) – T.S. Eliot (1888 – 1965)
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question ...
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
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etherized – medicated for an operation
sawdust – an inferior wood
insidious intent – deceptive purposes
muzzle – the nose and mouth
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For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
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mounting – rising up to
asserted – held there
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Essay Writing
Writers’ names
You should refer to the author of a text by their surname.
Which of these sentences would be correct?
Fix up the incorrect sentences.
1. Eliot presents the speaker in ‘Love Song’ as a procrastinator.
2. Grace is an immigrant from Guyana to England – she is not treated very well.
3. Milton speaks about Satan’s rebellion against God and why he was ‘hurld’ from
heaven.
4. In ‘The Road Not Taken’, Forst presents the predicament of choosing between two
roads.
5. By using vivid imagery, Simon Armitage shows that he regrets getting the piercing.
Pronouns
It is important to be able to distinguish between the writer, speaker and characters in your
writing. You should avoid using ‘he’, ‘him’, ‘she’ and ‘her’ if it could be unclear who you
are talking about.
Here are some passages for ‘Swing Low, Sweet Chariot’ and ‘Paradise Lost’.
Correct the unclear parts.
1. Willis and Milton describe journeys between heaven and earth. The poem is set in
the present, but he also refers to the future hope that he has.
2. Milton and Willis describe the bliss of home. He speaks of the terrible mistake Adam
and Eve made when they ate from the ‘forbidden tree’ and were expelled from
the Garden of Eden.
3. Both poets speak of the future. Willis says his ‘soul feels heavenly bound’ whilst
Milton speaks of us being restored by ‘one greater man’. He speaks of Jesus
washing his sins away.
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Tone
These two essays make the same points in different ways. Which is better? Why?
A) But Satan didn’t want to do what God said so he fight him and LOST!!! So he fell into
hell when God kicked him and there he stayed and it was hot and nasty to be
there and he was miserable.
B) However, Satan was disobedient and did not want to follow God’s rule. He rebelled
and was sent out of heaven to gruesome hell. Milton describes hell as an
unpleasant place and not one his readers would want to go to suggesting that the
poem has a moral.
Vocabulary
Where relevant, you can use the words and terms we have studied in your essay.
What are the missing terms, definitions, or examples?
Term: Extended metaphor
Definition: ____________________________________________________________________
Example from ‘The Road Not Taken’: Frost describes two roads as life choices that people
need to decide on.
Term: _______________
Definition: A person who moves to live in another country permanently. This may be out of
choice or sometimes people are forced to move because of war, natural disasters or
financial difficulty.
Example from ‘Wherever I Hang’: Nichols describes her move from Guyana to England in
the 1970s.
Term: Procrastinate
Definition: to wait a long time before doing something that you must do.
Example from ‘The Love Song of J. Alfred Prufrock’:
_______________________________________________________________________________________
_______________________________________________________________________________________
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Term: Epic poetry
Definition: a type of poetry that uses big themes, invocation of the Muse and epithets.
Example(s) from ‘Paradise Lost’:
_______________________________________________________________________________________
_______________________________________________________________________________________
Proof reading
A student has written a paragraph about time in ‘The Canterbury Tales’.
Fix up the errors in this paragraph.
Chaucer uses time to celebrate the season of Spring. In the
opening of the poem he describes how the weather makes the
land ferti le. The poem is set during the astrological sign of Aries
which means that the seasons are changing. I t also reminded
Christians to be more holy because it was soon Easter. Spring
spreads to every part of the land, including the birds. Chauncer
says that ‘many l ittle birds make melody’ which shows how
idyl l ic the time of year is. I t is during this season that people are
motivated and reminded to go on a pilgrimage.