GCSE English Literature - Bedford Free · PDF fileGCSE English Literature Revision Pack CONTENTS: TOP TIPS: Tips for how to answer essay questions for English Literature Unit 1 –

GCSE English Literature

Revision Pack

CONTENTS:

TOP TIPS:

Tips for how to answer essay questions for English Literature

Unit 1 – Exploring Modern Texts

Of Mice and Men

Plot overview

Notes & Analysis

Guide to Writing an Essay

Essay questions and mark schemes

Model Essay

An Inspector Calls

Plot overview

Notes

Guide to Writing an Essay

Essay questions and mark schemes

Model Essay

Unit 2 – Poetry Across Time

AQA Poetry

Conflict

o Notes

o Essay Questions and mark schemes

Relationships

o Notes

o Essay questions and mark schemes

TOP TIPS:

P – Point

E - Evidence

T - Technique

A - Analysis

L - Link

Things to remember:

1. Always BEGIN with TECHNIQUES (Writer‟s craft)

2. Focus on MINIMUM 3. MAXIMUM 4 techniques

3. For best marks, in introduction, refer to:

a. Name of author

b. 3 techniques used

c. Overall effect of these techniques

4. Do NOT narrate or summarise the story!!!

5. Always use an appropriate QUOTE to back up your point

Unit 1 - Exploring Modern Texts (40%)

In this unit candidates will study two modern texts, one of which will be based on exploring different

cultures. Modern in this context is defined as post - 1945.

Candidates will be expected to consider:

• Ideas, themes and issues

• Characterisation

• Settings

These must be underpinned by understanding the writers' language and techniques.

Assessment Objectives (AOs)

All specifications in English Literature must require candidates to demonstrate their ability to:

AO1 respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and

support interpretations

AO2 explain how language, structure and form contribute to writers‟ presentation of ideas, themes and

settings

AO4 relate texts to their social, cultural and historical contexts; explain how texts have been influential and

significant to self and other readers in different contexts and at different times

Unit 1 - Exploring Modern Texts (40%)

Section A (20%): - AN INSPECTOR CALLS

Skills targeted:

AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to

illustrate and support interpretations

AO2 Explain how language, structure and form contribute to writers‟ presentation of ideas,

themes and settings.

Section B (20%): - OF MICE AND MEN (America)

Skills targeted:

AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to

illustrate and support interpretations.

AO2 Explain how language, structure and form contribute to writers’ presentation of ideas,

themes and settings.

AO4 Relate texts to their social, cultural and historical contexts; explain how texts have been

influential and significant to self and other readers in different contexts and at different times.

AN INSPECTOR CALLS

SECTION A – Modern Drama

PLOT OVERVIEW

Act 1

The Birling family is celebrating the engagement of Sheila to Gerald Croft, the son of Lord

and Lady Croft, who comes from „an old country family – the landed people‟. Arthur Birling

is in a good mood and makes a number of speeches, giving his views about the state of the

world, technology and industrial relations. One of his main themes is about everyone being

responsible for themselves; he doesn‟t believe that anyone has a responsibility to others apart

from his family.

His speech is interrupted by the sound of a door bell. Inspector Goole is announced and

enters the dining room where the family are gathered. He informs them of the death of a

young woman who has committed suicide by drinking disinfectant. It emerges that Birling

had sacked the girl, Eva Smith, two years earlier, after she had been one of the ring-leaders in

a strike and demanding higher wages.

Sheila Birling is also connected to the girl, having had her sacked from her new job at

Milwards. She is horrified by what she did and is genuinely remorseful.

The inspector seems to know the details of the family‟s involvement before they speak and

when he tells them that girl changed her name to Daisy Renton, Gerald‟s reaction tells them

us that he, too, knew the girl. When they are temporarily left alone, Sheila warns Gerald not

to try to hide anything from the inspector.

By the end of the first act, the audience is expecting the inspector to reveal further

connections with members of the Birling family.

Act 2

Although Gerald tries to get Sheila to leave the room, she insists on staying; Gerald admits to

having had an affair with Eva Smith, the girl who h knew as Daisy Renton, the previous

summer. Sheila is hurt and disappointed in Gerald who had told her he was busy at the works

at that time. After Gerald broke off the affair, Eva/Daisy had left Brumley for a few months.

After Sheila has returned her engagement ring to him, Gerald goes out, appearing genuinely

affected by the new of the girl‟s death.

Despite Sheila‟s repeated warnings, Mrs. Birling tries to intimidate the inspector, believing

that she could have no possible connection to the girl. When the inspector reminds her of the

pregnant girl she turned away from the charity organisation she chaired, Mrs. Birling

concedes but justifies her actions, claiming that the girl deserved it as she had lied to her

about her name - calling herself Mrs. Birling. She also claims that she refused the girl‟s

story about the father of the baby offering to help her with stolen money. She retains her

stern, judgemental position and insists that the father of the baby is the only guilty party and

should be held responsible for the girl‟s death.

During this exchange, Eric (the son of Arthur and Sybil Birling) who has, until now, been

out, enters the house and the audience realise that he is, in fact, the father of the baby.

Act 3

Eric immediately realises that they are all aware of his connection with Eva Smith, and he

narrates his story. He verifies that he did, indeed, offer to help Eva Smith and the baby by

stealing money from his father‟s business.

Following this, the inspector makes his final monologue about the need for social

responsibility. This dialogue is in complete contrast to that of Arthur Birling‟s at the start and

the two characters are, thus, placed in direct opposition to each other.

During this time, Gerald has been out and he now re-enters with the news that there is no

Inspector by the name of Goole on the force and that he is, in fact, an imposter. At this news,

Arthur and Sybil are relieved and talk about how all of this can be forgotten. However, a

change has come over Sheila and Birling who try to convince their parents that regardless of

whether or not Inspector Goole is a real inspector, they cannot deny what they have all done,

and therefore, need to amend their ways.

The play ends with a phone call from the police station which informs them that an inspector

is on his way to question them about the death of a young girl.

NOTES & ANALYSIS:

Context

Inspector Calls is set in 1912 An Inspector Calls was written in 1945

The First World War would start in two

years.

The Second World War ended in Europe on 8 May

1945. People were recovering from nearly six

years of warfare, danger and uncertainty.

There were strong distinctions between

the upper and lower classes.

Class distinctions had been greatly reduced as a

result of two world wars.

Women were subservient to men. All a

well off woman could do was to get

married; a poor woman was seen as cheap

labour.

As a result of the wars, women had earned a more

valued place in society.

The ruling classes saw no need to change

the status quo.

There was a great desire for social change.

Immediately after The Second World War,

Clement Attlee's Labour Party won a landslide

victory over Winston Churchill and the

Conservatives.

Dramatic Devices:

There are 7 main devices –

1) The Dramatic irony with Arthur Birling (p8)

2) Timing of the door bell (p10)

3) Photo of Eva Smith

4) The revelation that Eva Smith was pregnant (p45)

5) The swapping of the order of interrogation – Mrs. Birling & Eric

6) The Inspector‟s speech at the end (p56)

The timing of the phone (p72)

Devices used to create tension in Inspector Calls:

Dramatic irony

Action in 1 room

Inspector‟s divisive methods

Use of imperatives / orders by Inspector

The timing of the door bell

The timing of the final phone call

Symbols

The use of one room The door-bell

Lighting Eva Smith

Author Surrogate

Sheila‟s ring Sheila and Eric

The Inspector Arthur & Sybil Birling

Complete the following chart:

Symbols in AN INSPECTOR CALLS

Theme Textual Ref. Characters Interpretation & perceptive insight Page

ref. One room

The door &

door bell

Light

Author

surrogate

Sheila‟s ring

Eva Smith

Sheila & Eric

Arthur & Sybil

Inspector Goole

Themes

Themes in AN INSPECTOR CALLS

Theme Textual Ref. Characters Interpretation & perceptive

insight Page

ref. Socialism VS

Capitalism

Responsibility

Dichotomy &

juxtaposition of:

class & age

Change VS Status

quo

Power

Socialism VS Capitalism Power

Social responsibility Change VS Status quo

Dichotomy/Juxtaposition

Character Analysis

Who / what does she represent?

What role does she play at start?

What role does she play at the end?

What is the significance of her changing role?

What does she represent in society?

What is her significance in the text?

How does each member of the Birling family use her to

justify their actions?

Does it matter if she is dead or not?

What does he represent in society?

What role does she play at start?

What role does she play at the end?

What is the significance of her changing role?

What does he represent in society?

How is Arthur Birling‟s role significant to the play?

How is dramatic irony important in understanding his

character?

Adjectives to describe his character

What does she represent in society?

How is Sybil Birling‟s role significant to the play?

What is the significance of Inspector Goole

interrogating Sybil Birling before Eric?

Adjectives to describe her character

Who/what does he represent in society?

How is Inspector Goole‟s role significant to the play?

What is significant about Inspector Goole‟s name?

What devices does the Inspector use to interrogate

members of the Birling family?

What techniques gives Inspector Goole power over the

members of the Birling family?

Structuring an Essay

Introduction:

Thesis statement, including:

Name of writer

Name 3 techniques (maximum 4)

Explain overall effect of the techniques

Paragraph 1:

Choose 1st technique

Use quote to support your point

Detailed analysis of effect

Paragraph 2:

Choose 2nd

technique



Paragraph 3:

Choose 3rd

technique



Conclusion:

Say something new or pose a question which will linger on the mind of the

reader.

PETAL

Essay Questions and Mark Scheme:

Foundation Questions:

1F Mark Scheme Template: Section A

Skills content:

Mark Band 6 26-30 marks

Students demonstrate:

. 6.1 Considered/qualified response to task

. 6.2 Considered/qualified response to text

. 6.3 Details linked to interpretation

. 6.4 Appreciation/consideration of writer’s uses of language and/or form and/or structure and effect on readers/audience

. 6.5 Thoughtful consideration of ideas/themes

Information is presented in a way which assists with communication of meaning. Syntax and spelling are generally accurate.



. 5.1 Sustained response to task

. 5.2 Sustained response to text

. 5.3 Effective use of details to support interpretation

. 5.4 Explanation of effects of writer’s uses of language and/or structure and/or form

. 5.5 Understanding of themes/ideas/ feelings/attitudes

Information is usually presented in a way which assists with communication of meaning. Syntax and spelling are generally accurate.



. 4.1 Explained response to task

. 4.2 Explained response to text

. 4.3 Details used to support a range of comments

. 4.4 Identification of effect(s) of writer’s choices of language and/or form and/or structure

. 4.5 Awareness of ideas/themes/feelings/attitudes

Information is presented in a way which is generally clear. Syntax and spelling have some degree of accuracy.



. 3.1 Supported response to task

. 3.2 Supported response to text

. 3.3 Comment(s)on detail(s)

. 3.4 Awareness of writer making choice(s) of language and/or structure and/or form

. 3.5 Generalisations about ideas/themes/feelings/attitudes

Despite lapses, information is presented in a way which is usually clear. Syntax and spelling have some degree of accuracy, although there are likely to be frequent errors.



. 2.1 Some clear response to task

. 2.2 Some clear response to text

. 2.3 Range of details used

. 2.4 Simple identification of method(s)

. 2.5 Some range of explicit meanings given

Syntax and spelling are sufficiently clear to convey meaning.



. 1.1 Simple response to task

. 1.2 Simple response to text

. 1.3 Reference to some details

. 1.4 Reference to writer’s methods

. 1.5 Simple comment on meaning(s)

Despite frequent lapses in syntax and spelling, meaning can be derived.

0 marks

Nothing worthy of credit

(January 2011)

1. How does Priestley present Eric in An Inspector Calls?

Write about:

• what Eric says and does

• how other characters respond to him

• the methods Priestley uses to present Eric. (30marks)

Mark Scheme:

Indicative content

Examiners are encouraged to reward any valid interpretations. Answers might, however ,

include some of the following:

AO1

• what he says and does - foolish and young

• his relationships with his family – how they respond to him and how he responds to

them

• his growth through the play

• his reaction to the Inspector

AO2

• his journey through the play – how he is introduced and what his last lines in the play

are

• the language he uses

• changes in his attitude

the differences between him and his parents

2. Write about the differences between Sheila and Sybil Birling in the play

An Inspector Calls.

You should write about:

• what they say and do

• their different attitudes

• the methods Priestley uses to present Sheila and Sybil Birling. (30 marks)

Mark Scheme:

Indicative content



AO1

• differences between children and parents – what both characters say and do

• their behaviour and attitudes – compare and contrast

• attitudes to Eva Smith and Inspector Goole

• speed with which they understand the enormity of the situation

AO2

• language used by the different characters

• the play form as a dramatic device to manipulate the characters and audience – is this

seen through the characters?

• the differences in the journeys of the characters through the play

• scene directions to help the audience learn about the characters

Higher Questions:

Unit 1H Mark Scheme Template: Section A

Skills content:



. 6.1 Insightful exploratory response to task

. 6.2 Insightful exploratory response to text

. 6.3 Close analysis of detail to support interpretation

. 6.4 Evaluation of the writer’s uses of language and/or structure and/or form and effects on readers/audience

. 6.5 Convincing/imaginative interpretation of ideas/themes

Information is presented clearly and accurately. Writing is fluent and focused. Syntax and spelling are used with a high degree of accuracy.



. 5.1 Exploratory response to task

. 5.2 Exploratory response to text

. 5.3 Analytical use of details to support interpretation

. 5.4 Analysis of writer’s uses of language and/or structure and/or form and effects on readers/audience

. 5.5 Exploration of ideas/themes

Structure and style are used effectively to render meaning clear. Syntax and spelling are used with a high degree of accuracy.



. 4.1 Considered/qualified response to task

. 4.2 Considered/qualified response to text


. 4.4 Appreciation/consideration of writer’s uses of language and/or form and/or structure and effect on readers/audience





. 3.1 Sustained response to task

. 3.2 Sustained response to text


. 3.4 Explanation of effects of writer’s uses of language and/or form and/or structure and effects on readers/audience

. 3.5 Understanding of ideas/themes/feelings/attitudes




. 2.1 Explained response to task

. 2.2 Explained response to text



. 2.5 Awareness of ideas/themes/feelings/attitudes


Mark Band 1


1-5 marks 1.1 Supported response to task

1.2 Supported response to text

1.3 Comment(s)on detail(s)

1.4 Awareness of writer making choice(s) of language and/or structure and/or form

1.5 Generalisations about ideas/themes/feelings/attitudes


0 marks


(January 2011)

Question 1

How does Priestley show that tension is at the heart of the Birling family?

(30 marks)

Mark Scheme:

Indicative content

Examiners are encouraged to reward any valid interpretations. Answers might, however,


AO1

• the lack of understanding between the generations – Mr Birling does not understand

his children

• sibling squabbles

• lack of compassion and differing views/beliefs brought out by the Inspector

• the characters are outspoken and do not consider each other

• the impact of the Inspector takes the shroud off the niceties within the family

AO2

• the play form allows tension to be created through the staging and scene directions –

the use of subdued lighting at the beginning to create a relaxed atmosphere could in

fact be shrouding the true feelings at the table especially as the language hints at

tension

• the use of cliff hangers especially used to show Sheila and Gerald‟s relationship and

problems (it will be assumed by students that as they are engaged he is considered

part of the family)

• the dialogue between the characters is a clear indication of tension, e.g. Birling and

Eric.

• the children still being treated as „little children‟, seen through the language

Question 2

Priestley criticises the selfishness of people like the Birlings. What methods

does he use to present this selfishness?

(30 marks)

Mark Scheme:

Indicative content



AO1

• the lack of understanding from Birling of the working class

• Sheila having no regard for other people as seen in the incident at Milwards

• Eric stealing money to, sort out his problem‟

• Sybil – having a position in society and not using it correctly

• social satire of the wealthy class and their lack of appreciation for others

AO2

• dramatic irony – to humiliate those similar to Birling – shows their self-obsession and

that their assuredness is misplaced

• the fact the play is set in 1912 and written in 1945/6 – satirises his society and those in

it like Birling who have not learnt from past mistakes

• creating a chain of events to show that one action can have many consequences

• through the dialogue of the characters – Priestley is able to highlight their faults

• through the Inspector‟s tone and style of questioning – mouthpiece for Priestley?

Model Essay:

How does Priestley use the Inspector to voice his message on Social Responsibility?

Indeed, it may be said that An Inspector Calls is a play more centred on themes and ideas than one

driven by plot. Hence, Priestley uses a number of devices throughout the text to convey his ideas

about social responsibility - juxtaposition being perhaps one of the more significant strategies

employed by Priestley to highlight his ideas about the community and social responsibility. Thus,

when Mr Birling – a stereotypical construct of Aristocratic English society – presents his monologue

about the „unsinkable Titanic‟ and the „scaremongers making a fuss about nothing‟, the audience are

immediately made aware of his ignorance and self-inflated, pompous attitude, thus casting doubt over

his capitalist ideas about „mind[ing] his own business‟. This, then, is in direct contrast to the

Inspector‟s message on socialism, further highlighted by the clever timing of the doorbell which is

designed not only to unnerve the audience and the characters, but to create a conflict between Mr

Birling and the Inspector.

This conflict between the Inspector and Arthur Birling serves as a powerful dichotomy of ideas –

between capitalism and socialism – and is thus amply exploited by Priestley to highlight both the way

things were in British society during the Pre-World War 1 era, and the immense need for change.

This juxtaposition and power play, thus, add strength to the ideas presented by Priestley. The use of

the Inspector as author surrogate gives further credence to the socialist ideal and is enforced through

Priestley‟s clever crafting of characters; Birling who is set up as a sanctimonious, arrogant, yet

ignorant fool is juxtaposed by the Inspector – a modest, yet informed individual who represents the

common people; Mrs Birling who is clearly disliked by Priestley himself, is portrayed as an

egotistical, uncaring and self-important person whose manner is repugnant not only to Priestley, but

also to the audience whose views of her affects, in turn, their views on the selfish policies which she

represents. The contrast between the characters of Mr and Mrs Birling to that of Sheila and Eric also

help to highlight the gradual change affecting pre-World War 1 society which led to a demand for

better working conditions for the working classes, and a smudging of those lines which, until then, so

uncompromisingly defined the social classes. Accordingly, the younger generation – represented by

the characters of Eric and Sheila – portray societal shifts towards greater equality and, subsequently,

become author surrogates to some extent, joining forces with the Inspector to give further weight to

Priestley‟s socialist ideal.

The conflict between the Inspector and Mr Birling are sustained not only by the use of dramatic irony

to create a negative impression of Birling and a lack credibility which impacts on the audience‟

perception of his values, but through his shaping of the Inspector‟s character who, despite his muted

and inferior appearance, is revealed to be the most authoritative voice in the play; the almost

transcendent, god-like voice given to the Inspector by Priestley, which carries forward this vital

message about society, individuals and the need for human understanding and compassion, though

ignored by the two older members of the family, finds root in the hearts of the younger members– the

generation who will, in time, be responsible for shaping a new society, and thus, those who matter

most. This authority stems not only from his role of Inspector, but through his persistent use of

Socratic questioning which is merciless and unforgiving towards the other characters despite their

social superiority. Moreover, Priestley‟s perpetual use of the word „authority‟ to describe the

Inspector‟s manner, tone and register, along with his frequent referral to the Inspector‟s „cutting in‟ of

other‟s speech, immediately gives him a power denied to the other characters, consequently, allowing

Priestley to voice his ideas more vociferously through the Inspector‟s mouth. This interruption of

speech, accompanied by the interruption of Birling‟s speech by the doorbell, further increases the

power given to the Inspector. This very blatant and biased shaping of character and plot highlights

once again the central focus of the play as one of theme rather than narrative.

******************

Comment [XB1]: 5.1 Exploratory response to task 5.2 Exploratory response to text

Comment [XB2]: 6.1 Insightful exploratory response to task 6.2 Insightful exploratory response to text 6.4 Evaluation of the writer’s uses of language and/or structure and/or form and effects 6.5 Convincing/imaginative interpretation of ideas/themes




Comment [XB6]: 6.1 Insightful exploratory response to task 6.2 Insightful exploratory response to text 6.5 Convincing/imaginative interpretation of ideas/themes

Comment [XB7]: 6.1 Insightful exploratory response to task 6.2 Insightful exploratory response to text 6.5 Convincing/imaginative interpretation of ideas/themes

Comment [XB8]: 6.1 Insightful exploratory response to task 6.2 Insightful exploratory response to text 6.3 Close analysis of detail to support interpretation 6.4 Evaluation of the writer’s uses of language and/or structure and/or form and effects on readers/audience 6.5 Convincing/imaginative interpretation of ideas/themes

OF MICE AND MEN SECTION B - Exploring cultures

PLOT OVERVIEW

Section 1

Description of a riverbed in rural California, a beautiful, wooded area at the base of “golden

foothill slopes.” A path runs to the river, used by boys going swimming and riffraff coming

down from the highway. Two men walk along the path. The first, George, is small, wiry, and

sharp-featured, while his companion, Lennie, is large and awkward. They are both dressed in

denim, farmhand attire.

As they reach a clearing, Lennie stops to drink from the river, and George warns him not to

drink too much or he will get sick, as he did the night before. As their conversation continues,

it becomes clear that the larger man has a mild mental disability, and that his companion

looks out for his safety.

George decides that they will stay in the clearing for the night. At Lennie‟s request, George

tells Lennie about their DREAM of a ranch of their own and their rabbits – which Lennie is

particularly interested in. We learn, briefly, of the events in Weed and George tells Lennie

that if something were to go wrong, he should come here, hide in the brush and wait for

George.

Section 2

Lennie and George arrive at the ranch and meet with Candy and the boss. They also meet

Curley for the first time. After Curley leaves, Candy explains that Curley loves beating up big

guys, “kind of like he‟s mad at ‟em because he ain‟t a big guy.” George already feels that

there is potential for trouble here.

They meet Curley‟s wife, a pretty, heavily made-up woman with a nasal voice, appears.

Lennie is immediately fascinated by her. George immediately recognises trouble. This is

reinforced by the fact that she is wearing red – the same colour the lady was wearing in Weed

and the source of Lennie‟s trouble there.

Slim is also introduced. His description is the complete opposite of Curley‟s wife. Steinbeck

clearly signals to the reader his personal feelings about the different characters.

Section 3

At the end of the workday, Slim and George return to the bunkhouse. Slim has agreed to give

one of the pups to Lennie, and George thanks him for his kindness, insisting that Lennie is

“dumb as hell,” but is neither crazy nor mean. Slim appreciates George‟s friendship with

Lennie, saying that it is a welcome change in a world where no one ever “seems to give a

damn about nobody.” George confides in Slim and ends up telling him the story of what

happened in Weed. We are told that his tone takes on the tone of a confession, giving Slim a

God-like nature.

Carlson insists that Candy‟s dog is put down on the grounds that she is old and makes the

place smell. Candy is reluctant, but when Slim does not respond, he gives in. Carlson

reassures Candy that the dog won‟t feel a thing, and that he will shoot her in the back of the

head. Slim suggests that he take a shovel.

There are a few long moments of silence.

Lennie asks George to tell him again about their dream. They forget that Candy is still in the

room. When he has finished, Candy turns and asks George if he can join the dream and

informs them that he has the money to back up their dream. For the first time, the dream

seems to become a real possibility.

Section 4

Crooks is introduced in detail with 1 ½ pages of description of his room, his belongings and

his physical appearance.

Lennie wanders into Crooks‟ room and begins to talk. At first, Crooks seems displeased and

tells Lennie to leave. He eventually asks him to come and sit and takes pleasuring in torturing

Lennie by telling him that George might not return. When Lennie becomes aggressive,

George backs off.

Soon Candy also comes in. He and Lennie begin to talk about their shared dream and Crooks

becomes drawn into this, asking if he, too, can join them, even without pay.

However, this is short-lived as Curlely‟s wife arrives and after insulting each of the three

men, Crooks becomes angry and asks her to leave. Consequently, Curley‟s wife flares up and

threatens to have Crooks lynched if he doesn‟t be quiet.

Section 5

It is Sunday afternoon and Lennie is alone in the barn, sitting in the hay and stroking the dead

body of his puppy. He talks to himself, asking the animal why it died: “You ain‟t so little as

mice. I didn‟t bounce you hard.” Worrying that George will be angry and will not let him

raise the rabbits on their farm, he starts to bury it in the hay. He decides to tell George that he

found it dead but then realizes that George will see through this lie. Frustrated, he curses the

dog for dying and hurls it across the room. Soon, though, Lennie retrieves the puppy, strokes

it again, and reasons that perhaps George won‟t care, since the puppy meant nothing to

George.

As he talks to himself, Curley‟s wife enters and sits beside him. He hastily hides the puppy

and tells her that George ordered him not to speak to her. She reassures him that it is safe for

him to talk to her, pointing out that the other men are occupied with a horseshoe tournament

outside and will not interrupt them. She then complains about her loneliness and the cold

treatment she gets from the ranch-hands. She tells Lennie about her dreams of living a

different life. She reveals that her mother denied her the opportunity to join a traveling show

when she was fifteen and then, years later, a talent scout spotted her and promised to take her

to Hollywood to become a movie star. When nothing came of it, she decided to marry Curley,

whom she dislikes.

Lennie continues to talk about his rabbits, and she asks him why he likes animals so much.

Lennie replies that he likes to touch soft things with his fingers. She admits that she likes the

same thing, and offers to let him stroke her hair. She warns him not to “muss it,” but he

quickly becomes excited and holds on too tight, frightening her. When she cries out, Lennie

panics and clamps his strong hands over her mouth to silence her. The more she struggles, the

tighter his grip becomes, and he shakes her until her body goes limp. Lennie has broken her

neck.

Lennie recalls George‟s advice to „hide in the brush‟ if anything goes wrong, and quickly

runs away. Candy discovers the body of Curley‟s wife and tells George. George tells Candy

to give him a few minutes and then to let the others know as if he has just discovered the

body.

Curley appears unmoved by the death of his wife, his only concern - to „get that bastard‟

Lennie.

Section 6

The men look for Lennie. George finds Lennie before the others in the brush. Lennie is sitting

by the pool, talking to himself about the „bad thing‟ he has done. He hallucinates a giant

rabbit with the voice of his aunt Clara which tells him off.

George sits down besides Lennie and reassures him that he is not angry with him and that he

never was and, on Lennie‟s request, relates their dream one last time. He raises the gun

(which he has stolen from Carlson) to the back of Lennie‟s head and pulls the trigger. Lennie

dies instantly. The others hear the shot and come to the brush.

The story ends with Slim leading George towards the road, and towards his new life.

NOTES & ANALYSIS:

Page references for characters

Character analysis of:

C's wife - 49, 53-54, 109-112, 129

Crooks - 98-116

George – 19-35, 42-43, 65-69

Lennie – 19-35, 51-55, 75, 82-86, 140-148

Slim – 55-60, 65-75, 81, 133, 148-149

Candy – 39-41, 48-49, 71-76, 80, 86-89, 110-114, 132, 135, 136

The Boss – 42-43

Context

Set in 1930s America, during the Great Depression. Factors affecting the population at the

time were:

The collapse of the stock market

Droughts

Both had enormous impact on the lives of ordinary people. This led to a lot of people

migrating, in search of work – a new class of people – migrant or itinerant workers

The Great Depression

(Wall Street crash)

& Drought

Poverty resulting from the depression and drought

led to movement which in turn led to loneliness

and an inability to form long-term relationships.

This is why George and Lennie’s relationship

was viewed with so much suspicion and

surprise.

“

The loneliness and poverty led to dreams as

a form of escape – an escape from reality.

This also allowed for a sense of hope in some

of them as, as long as there was a dream,

there was a possibility.

*

*

*

*

The hopelessness of their situation is established

through the title which reiterates the idea of fate and

the inevitability that life is never the way we hope

or plan.

This inevitability is further enforced through

the use of cycles:

*

* …

*

*

Inevitability is also shown through foreshadowing:

*Rabbits at start run away when G&L arrive –

foreshadows that their dream will also escape.

*The start & end of the novel – they start with the pool

and the leaves and the snake. At the end, the snake is eaten

by the heron. Two layers of meaning – no development;

and the Garden of Eden scenario which leads to exile and

punishment.

*Weed & red dress – foreshadows that things will go

wrong here too.

*Animals dying, including Candy’s dog.

Other themes

Prejudice & discrimination:

*

*

*

*

Other symbolism

*

*

*

*

*

Elements of Naturalism

*

*

*

*

*

*

*

Complete the following chart

Symbolism

Symbols Context Interpretation

Beginning

and ending

/the routine

of the

workers

Cyclical nature

of the novel and

the characters‟

lives.

Inevitability of people‟s lives/ fate is not in our hands / The title of

the book helps to reinforce this idea. Though this may be interpreted

as being rather depressing, it may also be perceived as being realistic

– as Steinbeck, being a naturalist writer, attempted to portray things

cynically, while retaining a degree of reality in his depiction.

Animals

Death of the

animals

Description of

Lennie - Bear,

horse, bull

Rabbits and

farm animals

The animals which die get bigger each time – foreshadowing the

eventual death of Lennie?

Foreshadows Lennie‟s death / Foreshadows the destruction of the

American Dream /

Represents Lennie‟s character & physical abilities. Takes away his

humanity perhaps to include him in the animal cycle (ironic

representation).

Perhaps by dehumanising the most humane character in the book,

Steinbeck is attempting to draw a connection between humans and

animals – as the name of the novel suggests – to show that there is

ultimately no difference between the two, their fate is the same.

Represent the dream / the fact that they are never in contact with a

rabbit, that they are not on the ranch, may suggest that the dream is

not realistic. At the beginning of the book, the rabbits at the pool

run away when Lennie and George arrive – they are always chasing

the dream perhaps, but never catch up?

At the beginning of the novel, Lennie is shown carrying a dead

mouse in his pocket. Perhaps this is Steinbeck‟s way of linking the

mouse to the man – as in the title, and by portraying the mouse as

being dead, perhaps this suggests that the dream is dead from the

start.

Settings

Pool

Natural setting

(heavenly)

Soledad

Weed

Reader‟s expectations are built – they know that there will be trouble

and that the book is likely to end by the pool because of George‟s

words to Lennie. Moreover, this Garden of Eden like description at

the start also suggests that it can only get worse from here – as with

the „Fall‟.

The natural setting is represented almost in a heavenly manner. This

is also where the snake appears – as with the garden of Eden. The

serpent in Eden introduced temptation and destroyed the dream. He

represented evil but the „natural‟ or the „natural man‟. (Steinbeck is

a naturalist writer).

Soledad in Spanish means loneliness!

This is significant to the characters in the novel.

Might represent G&L‟s life journey – they are forever being

„weeded‟ out. The negative connotations at the beginning of the

novel suggest that they are moving away from the bad to something

Themes

better. However, the place they are moving to no better (called

Soledad). Or perhaps it could suggest that their lives will always be

negative, going from bad to worse.

Curley‟s

wife

In the creation story, it is Eve who eats the apple and destroys man‟s

dream or their ability to live in happiness. This is also the role of

Curley‟s wife in the novel. However, Eve‟s role in the creation story

was crucial as it was her action which paved the way for man to be

born and for reality to be established. For this to happen, the dream

of Eden had to be taken away. In the same way, Curley‟s wife‟s

actions destroy their dream and allow reality and fate to take over in

George‟s life.

The pool is also significant as it is Lennie‟s final resting place – it is

a place of peace and beauty.

Colour,

light and

shadow

Red first appears in Ketchup at the beginning of chapter 1.

Lennnie‟s liking for red is established here and later continued in

Curley‟s wife who is immediately established as a catalyst for

danger. Red – link to the forbidden apple? Again the source of

broken dreams.

Shadow in association with Curley‟s wife – again a sign that she is a

catalyst for trouble. All the negative things happen in shadow or

darkness – the death of Curley‟s wife, the killing of Candy‟s dog.

Curley‟s wife replaces light with shadow.

Crook‟s room is lit by a meagre yellow light. It‟s dim. Perhaps

shows loneliness, bitterness and lack of hope. When he joins the

dream, it is only momentary, and for that moment, there is a

glimmer of hope, but this soon fades.

Crooks Crooks is seen rubbing ointment on his back at the start. When they

leave, he is doing the same – inevitability and perpetual nature of

life. Fate!

He is a symbol of isolation and discrimination, as is Curley‟s wife.

He gives up his job for the dream and for companionship – shows

perhaps the power or significance of the dream.

Cream The dream The thickness of the cream may suggest the unrealistic nature of the

dream.

Cycles

Cycles & inevitability Power

Dreams / The American Dream

Discrimination

*Racism *Sexism

*Ageism

Foreshadowing

Complete the following chart:

Themes in OF MICE & MEN

Theme Textual Ref. Characters Interpretation & perceptive

insight Page

ref. Cycles &

inevitability

Power

Dreams / The

American Dream

Discrimination:

Racism

Sexism

Ageism

Foreshadowing

Character Analysis

What is significant about her lack of a name?

What is significant about her being the only woman on

the ranch?

What is significant about the colour red with relation to

Curley‟s wife?

How does Steinbeck portray her as an outsider?

What names are used in reference to Curley‟s wife and

how is this relevant?

What is significant about Steinbeck‟s description of

Slim?

What role does Slim play in the text?

How is Steinbeck‟s description of Slim significant when

compared to the description of Curley‟s wife?

Where does Slim appear in the hierarchy on the ranch?

How much power does he have, and over whom?

Where does Curley appear in the hierarchy on the ranch?

What is significant about the way he dresses?

How much power does Curley have and over whom?

What is the relevance of Curley‟s height?


George compared to Lennie‟s?

How would you describe George‟s relationship with

Lennie, and to what extent does George need Lennie?

What do you understand to be George‟s motivation for

killing Lennie at the end?

What might Lennie‟s death mean for George?


Lennie compared to George?

How would you describe Lennie‟s relationship with

George?

Why does Steinbeck compare Lennie to animals? And

how might this be ironic?

How may Lennie be symbolic to the story?

What is significant about his lack of a name?

What is significant about her being the only black man

on the ranch?


Crook‟s room and posessions?

How does Steinbeck portray him as an outsider?

What is significant about the fact that Crooks taunts

Lennie?

Structuring an Essay

Introduction:


Name of writer



Paragraph 1:

Choose 1st technique



Paragraph 2:

Choose 2nd

technique



Paragraph 3:

Choose 3rd

technique



Conclusion:


reader.

PETAL



1F Mark Scheme Template: Section B

Skills Content:


In response to the task, students demonstrate:



. 6.3 Appreciation/consideration of writer’s uses of language and/or form and/or structure and effect on readers

. 6.4 Considered/qualified response to context(s)

. 6.5 Thoughtful selection and consideration of details to support response to context(s)




. 5.1 Sustained understanding of ideas/themes/feelings/attitudes


. 5.3 Explanation of effects of writer’s uses of language and/or structure and/or form

. 5.4 Sustained response to context(s)

. 5.5 Selection of effective details to support response to context(s)




. 4.1 Explained response to ideas/themes/feelings/attitudes



. 4.4 Explained response to context(s)

. 4.5 Selection of a range of details to support response to context(s)




. 3.1 Supported response to ideas/themes/feelings/attitudes

. 3.2 Comment(s)on detail(s)

. 3.3 Awareness of writer making choice(s) of language and/or structure and/or form

. 3.4 Supported response to context(s)

. 3.5 Details used to support response to context




. 2.1 Some clear responses given

. 2.2 Range of details used

. 2.3 Simple identification of method(s)

. 2.4 Some clear response to context(s)

. 2.5 Range of details relating to context used

Syntax and spelling are sufficiently clear to convey meaning.



. 1.1 Simple comment or response to text

. 1.2 Reference to some details

. 1.3 Reference to writer’s methods

. 1.4 Reference to context(s)

. 1.5 Some details relating to context used

Despite frequent lapses in syntax and spelling, meaning can be derived.

0 marks


(January 2011)

1. (a) How does the writer use details in this passage to present Candy?

and then Part (b)

(b) How do other characters treat Candy in the novel and what does this

show you about the society in which he lives?

In Part (b) write about:

• what the other characters say and do to Candy

• what society was like at this time.

The old man was reassured. He had drawn a derogatory statement from George. He felt safe now, and he

spoke more confidently. „Wait‟ll you see Curley‟s wife.‟ George cut the cards again and put out a

solitaire lay, slowly and deliberately.

„Purty?‟ he asked casually.

„Yeah. Purty ... but ––‟

George studied his cards. „But what?‟

„Well – she got the eye.‟

„Yeah? Married two weeks and got the eye? Maybe that‟s why Curley‟s pants is

full of ants.‟

„I seen her give Slim the eye. Slim‟s a jerkline skinner. Hell of a nice fella. Slim don‟t need to wear no

high-heeled boots on a grain team. I seen her give Slim the eye. Curley never seen it. An‟ I seen her give

Carlson the eye.‟

George pretended a lack of interest. „Looks like we was gonna have fun.‟

The swamper stood up from his box. „Know what I think?‟ George did not answer.

„Well, I think Curley‟s married ... a tart.‟

„He ain‟t the first,‟ said George. „There‟s plenty done that.‟

The old man moved toward the door, and his ancient dog lifted his head and peered about, and then got

painfully to his feet to follow. „I gotta be settin‟ out the wash basins for the guys. The teams‟ll be in

before long. You guys gonna buck barley?‟

„Yeah.‟

„You won‟t tell Curley nothing I said?‟

„Hell no.‟

„Well, you look her over, mister. You see if she ain‟t a tart.‟ He stepped out the door into the brilliant

sunshine.

Mark Scheme:

Indicative content



AO1

• Doesn‟t think much of Curley‟s wife

• lacks confidence and also is lonely – he appears to want to please as if that will secure

him a friend

• likes to gossip and thinks he understands all the characters

• what the other characters say and do

AO2

• judgmental language – either positive or negative.

• “tart” – clearly shows viewpoint of women

• suggestive language – trying to entice George into the gossip

• childlike – as if that is what he has been lowered to!

AO4

• shows another form of discrimination in society at the time

• segregation of society – theme of loneliness and isolation

• roles and work in society

(January 2012)

2. (a) What do you learn about Curley’s wife from the details in the

passage? and then Part (b)

(b) How do other characters treat Curley’s wife in the novel? What does

this tell you about attitudes towards women in the society in which she

lives? In part (b) write about:

• what the other characters say and do to Curley‟s wife

• the methods Steinbeck uses to show attitudes towards women.

Both men glanced up, for the rectangle of sunshine in the doorway was cut off. A girl

was standing there looking in. She had full, rouged lips and wide-spaced eyes, heavily made

up. Her fingernails were red. Her hair hung in little rolled clusters, like sausages. She wore a

cotton house dress and red mules, on the insteps of which were little bouquets of red ostrich

feathers. „I‟m lookin‟ for Curley,‟ she said. Her voice had a nasal, brittle quality.

George looked away from her and then back. „He was in here a minute ago, but he

went.‟

„Oh!‟ She put her hands behind her back and leaned against the door frame so that

her body was thrown forward. „You‟re the new fellas that just come, ain‟t ya?‟

„Yeah.‟

Lennie‟s eyes moved down over her body, and though she did not seem to be looking at

Lennie she bridled a little. She looked at her fingernails. „Sometimes Curley‟s in here‟, she

explained.

George said brusquely, „Well he ain‟t now.‟

„If he ain‟t, I guess I better look some place else,‟ she said playfully.

Lennie watched her, fascinated. George said, „If I see him, I‟ll pass the word you was

looking for him.‟

She smiled archly and twitched her body. „Nobody can‟t blame a person for lookin‟,‟she said.

There were footsteps behind her, going by. She turned her head.

„Hi, Slim,‟ she said.

Mark Scheme:

Indicative content



AO1

• she likes to „flirt‟ with the men and is confident and able to talk to them

• she is lonely

• she takes pride in her appearance

• how the men react to her

AO2

• description of her wearing „red‟ connotes danger / tart

• the language used by her

• the language used by the men when talking about her – „tart‟, „jail-bait‟

• the manipulation of the reader by Steinbeck – choice of words used by others about

her e.g. Candy‟s attitude

AO4

• women‟s place in society – she is the only woman on the ranch, doesn‟t have work

and is ignored by the men or seen as a „trouble maker‟

Higher Questions:

Unit 1H Mark Scheme Template: Section B

Skills Content:



6.1 Insightful exploratory interpretation of ideas/themes

6.2 Close analysis of detail to support interpretation

6.3 Evaluation of the writer’s uses of language and/or structure and/or form and effects on readers

6.4 Insightful exploratory response to context(s)

6.5 Insightful exploration of a range of telling detail to support response to context(s)

Information is presented clearly and accurately. Writing is fluent and focused. Syntax and spelling are used with a high degree of accuracy.



. 5.1 Exploratory interpretation of ideas/themes

. 5.2 Analytical use of details to support interpretation

. 5.3 Analysis of writer’s uses of language and/or structure and/or form and effects on readers

. 5.4 Exploratory response to context(s)

. 5.5 Exploration of a range of telling detail to support response to context(s)

Structure and style are used effectively to render meaning clear. Syntax and spelling are used with a high degree of accuracy.





. 4.3 Appreciation/consideration of writer’s uses of language and/or form and/or structure and effect on readers

. 4.4 Considered/qualified response to context(s)

. 4.5 Thoughtful selection and consideration of details to support response to context(s)


Mark


Band 3 11-15 marks

3.1 Sustained understanding of themes/ideas/feelings/attitudes

3.2 Effective use of details to support interpretation

3.3 Explanation of effects of writer’s uses of language and/or form and/or structure

3.4 Sustained response to context(s)

3.5 Selection of effective details to support response to context(s)




. 2.1 Explained response to ideas/themes/feelings/attitudes



. 2.4 Explained response to context(s)

. 2.5 Selection of a range of details to support response to context(s)




1.1 Supported response to ideas/themes/feelings/attitudes

1.2 Comment(s)on detail(s)

1.3 Awareness of writer making choice(s) of language and/or structure and/or form

1.4 Supported response to context(s)

1.5 Details used to support response to context(s)


0 marks


(January 2011)

1(a) What methods does Steinbeck use in this passage to present Candy?

and then Part (b)

(b) How do you think Steinbeck uses the character of Candy in the novel as

a whole to convey important ideas about society at that time? (30 marks)

The old man was reassured. He had drawn a derogatory statement from George. He felt safe now, and

he spoke more confidently. „Wait‟ll you see Curley‟s wife.‟ George cut the cards again and put out a

solitaire lay, slowly and deliberately.

„Purty?‟ he asked casually.

„Yeah. Purty ... but ––‟

George studied his cards. „But what?‟

„Well – she got the eye.‟

„Yeah? Married two weeks and got the eye? Maybe that‟s why Curley‟s pants is

full of ants.‟

„I seen her give Slim the eye. Slim‟s a jerkline skinner. Hell of a nice fella. Slim don‟t need to wear

no high-heeled boots on a grain team. I seen her give Slim the eye. Curley never seen it. An‟ I seen

her give Carlson the eye.‟

George pretended a lack of interest. „Looks like we was gonna have fun.‟

The swamper stood up from his box. „Know what I think?‟ George did not answer.

„Well, I think Curley‟s married ... a tart.‟

„He ain‟t the first,‟ said George. „There‟s plenty done that.‟

The old man moved toward the door, and his ancient dog lifted his head and peered about, and then

got painfully to his feet to follow. „I gotta be settin‟ out the wash basins for the guys. The teams‟ll be

in before long. You guys gonna buck barley?‟

„Yeah.‟

„You won‟t tell Curley nothing I said?‟

„Hell no.‟

„Well, you look her over, mister. You see if she ain‟t a tart.‟ He stepped out the door into the brilliant

sunshine.

Mark Scheme:

Indicative content



AO1

• old

• knows a lot about people on the ranch/a gossip

• Doesn‟t think highly of Curley‟s wife – possibly link to gender and society

• lacks confidence and also is lonely – he appears to want to please as if that will secure

him a friend

• is a warm and welcoming character to George and Lennie

AO2

• Candy is important to the novel – he is a pivotal character as he introduces all the

characters on the ranch to George and Lennie and the reader

• he is the first character we meet after George and Lennie

• “tart‟ – clearly shows viewpoint of women

• dialect

AO4

• shows another form of discrimination in society at the time

• segregation of society – theme of loneliness and isolation

• roles and work in society

(January 2012)

2 (a) How does Steinbeck use details in this passage to present the

bunkhouse and its inhabitants? and then Part (b)

In the rest of the novel, how does Steinbeck present the lives of ranch

workers at that time? (30 marks) The bunk house was a long, rectangular building. Inside, the walls were whitewashed

and the floor unpainted. In three walls there were small, square windows, and in the fourth, a solid

door with a wooden latch. Against the walls were eight bunks, five of them made up with blankets

and the other three showing their burlap ticking. Over each bunk there was nailed an apple box with

the opening forward so that it made two shelves for the personal belongings of the occupant of the

bunk. And these shelves were loaded with little articles, soap and talcum powder, razors and those

Western magazines ranch men love to read and scoff at and secretly believe. And there were

medicines on the shelves, and little vials, combs; and from nails on the box sides, a few neckties. Near

one wall there was a black cast-iron stove, its stove-pipe going straight up through the ceiling. In the

middle of the room stood a big square table littered with playing cards, and around it were grouped

boxes for the players to sit on.

At about ten o‟clock in the morning the sun threw a bright dust-laden bar through one

of the side windows, and in and out of the beam flies shot like rushing stars. The wooden latch raised.

The door opened and a tall, stoop-shouldered old man came in. He was dressed in blue jeans and he

carried a big push-broom in his left hand. Behind him came George, and behind George, Lennie.

„The boss was expectin‟ you last night,‟ the old man said. „He was sore as hell when

you wasn‟t here to go out this morning.‟ He pointed with his right arm, and out of the sleeve came a

round stick-like wrist, but no hand. „You can have them two beds there,‟ he said, indicating two bunks

near the stove.

George stepped over and threw his blankets down on the burlap sack of straw that was a mattress. He

looked into the box shelf and then picked a small yellow can from it. „Say. What the hell‟s this?‟

„I don‟t know,‟ said the old man.

„Says “positively kills lice, roaches, and other scourges”. What the hell kind of bed you giving us,

anyways. We don‟t want no pants rabbits.‟

Mark Scheme:

Indicative content



AO1

• Sparse nature of bunkhouse / only had necessities /sense of impermanence

• Activities of the inhabitants – Western magazines / playing cards

• Details about Candy, George and Lennie

• Loneliness, isolation and transient nature of their lives

AO2

• How the impersonal, harsh – almost formal – nature of the bunkhouse is created, e.g.

„rectangular‟, „square‟, „straight up‟, „boxes‟

• Significance of the word „littered‟ in contrast with the ordered nature of the rest of the

bunkhouse

• The „sameness‟ of each bunk and each man‟s possessions

• Lives of ranch workers presented through different characters

• The structure of the novel reflecting the ranch workers‟ lives

AO4

• Backdrop of the Great Depression and the American Dream – fear of being „canned‟

and being kept going by an unattainable dream

• Some ranch workers subject to prejudice and discrimination

Model Essay:

How does Steinbeck present the character of Crooks? How does this impact on our

understanding of 1930s America?

Crooks, as with Curley‟s wife, is portrayed by Steinbeck as an outsider – a “weak” character

who is not only lonely, but isolated; aware of his own isolation, Crooks both accepts and

actively compounds this through his own behaviour and understanding of the context in

which he lives – a society which is prejudiced, discriminatory and unforgiving towards him

and those like him.

The racial prejudice which Steinbeck presents in the novel is further enforced by the lone

character of Crooks – this solitary figure helps to convey the message that it is not only

Crooks who is alone, but others like him fill solitary positions in white American society; as

strength is said to be found in number, this solitariness of Crooks suggests the extent of his

weakness, not only on the ranch, but in society at large. This isolation is reflected through

the use of space and positioning in the novel – his “aloof” nature, and his desire to “keep his

distance” and for “other people to keep theirs”, is clearly visible as Steinbeck retains a

physical distance between Crooks and the other characters in the book. Hence, the bunkhouse

is out of bounds for Crooks; rather he belongs, in the eyes of those on the ranch, in the stable

– his only company being the horses. This is, in itself, suggestive of the prejudice that filled

the hearts of white American society. Thus, in the social hierarchy which prevailed on the

ranch – the ranch being a microcosm of 1930‟s America – Crooks belonged on or just above

the level of the horses. This is again reinforced through the description of his room where

Steinbeck informs the reader of the apple box which contained “a range of medicines, both

for himself and for the horses”.

Despite being a northern negro, and growing up with neighbouring white children, Crooks‟

awareness of his limitations has left him in a state of hopelessness. In this regard, he is

inevitably a “permanent fixture” on the ranch, and with little hope of escape or pleasure. It is

in this light that Steinbeck first gives him hope in the dream presented by Lennie and Candy,

and then withdraws it through the spiteful and conscious words of Curley‟s wife – “well, you

keep your place then, Nigger.” The defeat voiced through the words, “‟member what I said

about hoein….jus‟ forget it, I didn‟ mean it. Jus‟ foolin”, makes clear the lack of social

mobility for black people at that time and, with it, their lack of power and forced self-

effacement. Indeed, it is understandable why Crooks is portrayed, by Steinbeck, as having a

crooked back; unlike Candy‟s disability which allows him to retain an upright position,

Crooks is forced to bend down – no doubt symbolic of his humble rank amidst his white

counterparts, even those with physical and mental disabilities. In addition to this, his name –

a derivation of the word „crook‟ - is reflective of the perceptions held by many white

Americans towards their black neighbours – ironically, this perception was anything but

neighbourly. Thus, in the very seed of his character, lies Crooks‟ weakness; an under-dog and

failure, he is unable to challenge the fate which society has decreed for him.

The effect of this is unequivocally presented by Steinbeck through the physical description of

Crooks – his “pain-tightened lips”; “deep black wrinkles”, and deep-set eyes are indicative of

Comment [XB9]:

Comment [XB10]: . .6.1 Insightful exploratory interpretation of ideas/themes

Comment [XB11]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.3 Evaluation of the writer’s uses of language and/or structure and/or form and effects on readers

Comment [XB12]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.2 Close analysis of detail to support interpretation .6.4 Insightful exploratory response to context(s) .6.5 Insightful exploration of a range of telling detail to support response to context(s)

Comment [XB13]: . 6.1 Insightful exploratory interpretation of ideas/themes 6.2 Close analysis of detail to support interpretation

Comment [XB14]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.2 Close analysis of detail to support interpretation .6.3 Evaluation of the writer’s uses of language and/or structure and/or form and effects on readers .6.4 Insightful exploratory response to context(s) .6.5 Insightful exploration of a range of telling detail to support response to context(s)

Comment [XB15]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.2 Close analysis of detail to support interpretation .6.3 Evaluation of the writer’s uses of language and/or structure and/or form and effects on readers

Comment [XB16]: 6.4 Insightful exploratory response to context(s) 6.5 Insightful exploration of a range of telling detail to support response to context(s)

both the emotional pain which he has undergone, and the social muteness that this has

caused. Indeed, though he may have a copy of the California civil code, it appears that the

only justice he can demand from others is his right to his own space - “he kept his distance,

and demanded that other people kept theirs”. Moreover, the meticulous and extensive focus

on the state of his possessions – “mauled”, “split”, “broken” and “drippy” suggest both the

state of his life and his dreams. Indeed, like his “used books”, perhaps he too, has been used.

This portrayal of Crooks is similar to that of Curley‟s wife who – like him – has been used,

isolated, and emasculated and, who also leaves a trail of bitterness behind her. The bitterness

of both characters is articulated through their words to Lennie – unsurprisingly, the weakest

character to inhabit the bunkhouse. Both Crooks and Curley‟s wife demand, in their own

way, for some recognition of their injustice – “S‟pose you didn‟t have nobody…s‟pose you

couldn‟t go into the bunk house….” Curley‟s wife‟s monologue to Lennie presents a similar

tone and sense of frustration – “Ain‟t I got a right to talk to nobody?” Their words echo that

of Steinbeck‟s and make clear to the reader their feelings about their social isolation and an

emphatic awareness of their own weakness. Steinbeck‟s use of Lennie in these chapters to act

as the sounding board is extremely revealing – the idea that these characters turn to Lennie,

who is as helpless as themselves, highlights the inevitability and extent of their defeat.

Indeed, they are unable to approach even Slim – the “prince of the ranch” with his god-like

authority - to empathise with their situation. Perhaps there is a suggestion here that the

stubbornly engrained perceptions and stereotypes of 1930‟s America were beyond even the

faculty of God.

Thus, Steinbeck‟s message looks beyond the concepts of racial or gender prejudice, to the

concept of the „lone man‟ and the inevitable fate which he must encounter in a society which

puts little trust in the one; hence, he weaves a theme of powerlessness and suppression –

embodied through the character of Crooks, along with Curley‟s wife - which, when

juxtaposed with that of Curley, further highlights the sense of hopelessness and inevitability

which is so prevalent in the pages of this book.

*****************************

Band 5 – Insightful exploratory response to task; insightful exploratory response to text; close

analysis of detail to support interpretation; evaluation of the writer’s uses of language and/or structure and/or form and effects on readers/audience; convincing/imaginative interpretation of ideas/themes Information is presented clearly and accurately.

Writing is fluent and focused. Syntax and spelling are used with a high degree of accuracy.

***********************

Comment [XB17]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.2 Close analysis of detail to support interpretation .6.3 Evaluation of the writer’s uses of language and/or structure and/or form and effects on readers .6.4 Insightful exploratory response to context(s)

Comment [XB18]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.2 Close analysis of detail to support interpretation

Comment [XB19]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.5 Insightful exploration of a range of telling detail to support response to context(s)

Comment [XB20]: . . 6.1 Insightful exploratory interpretation of ideas/themes .6.2 Close analysis of detail to support interpretation .6.4 Insightful exploratory response to context(s) 6.5 Insightful exploration of a range of telling detail to support response to context(s)

Comment [XB21]: . . 6.4 Insightful exploratory response to context(s) 6.5 Insightful exploration of a range of telling detail to support response to context(s)

Comment [XB22]: . .6.1 Insightful exploratory interpretation of ideas/themes .6.4 Insightful exploratory response to context(s)

.6.5 Insightful exploration of a range of telling detail to support response to context(s)

Unit 2 – Poetry Across Time (40%)

External examination 35% of the total GCSE marks

1 hour 15

mins 54 marks

Section A: Poetry cluster from the

Anthology 23% of the total GCSE marks

45 mins 36 marks

Section B: Responding to an unseen poem

12% of the total GCSE marks 30 mins 18 marks

Assessment Objectives (AOs) All specifications in English Literature must require students to demonstrate their

ability to:

AO1

respond to texts critically and imaginatively; select and evaluate relevant textual detail

to illustrate and support interpretations

AO2

explain how language, structure and form contribute to writers‟ presentation of ideas,

themes and settings

AO3

make comparisons and explain links between texts, evaluating writers‟ different ways

of expressing meaning and achieving effects

Assessment Objectives (AOs)

Comparative Poetry Conflict / Relationships

SECTION A – AQA Comparative Poetry

Conflict

NOTES & ANALYSIS:

Poetry TECHNIQUES & their EFFECTS

Techniques Definition General Effects Example

Lists A series of

things written

together in

sequence, with

or without

commas.

To increase pace and excitement. Blessing –

“…butts in, with pots,

brass, copper, aluminium,

plastic buckets, frantic

hands…”

Belfast Confetti –

“Nuts, bolts, nails, car-

keys.”

Oxymoron Two contrasting

words placed

side by side to

produce an

incongruous

effect or

contradiction.

To convey a sense of confusion or

ambivalence.

Havisham –

“Beloved sweetheart

bastard.”

Juxtaposition Two contrasting

ideas placed

together.

To convey contrast for clarity of meaning. Nothing‟s Changed -

“up-market haute-

cuisine” of the “whites

only inn” and “bunny

chows” of the “working

man’s café”.

Alliteration The repetition of

the same

consonant

sound.

To create a sound or an atmosphere. Nothing‟s Changed –

“…trouser cuffs, cans,

trodden on, crunch…”

Salome –

“…feel better for tea, dry

toast, no butter…”

Sibilance Hissing sound

characterised by

the alliteration

of the „s‟ sound.

To create a hissing sound to create

atmosphere or the sound of the

sea/breeze/waves.

Island Man –

“…sound of blue surf”

Rhetorical

questions

A question

asked solely to

produce an

effect, and not to

elicit a reply.

To convey a sense of helplessness, or

confidence depending on the scenario; to

provoke the reader to think about the

context.

Out of the Blue –

“Does anyone see a soul

worth saving?”


“My name? Where am I

coming from? Where am I

going?”

Onomatopoeia A word that

actually sounds

like the noise it

is trying to

recreate.

To recreate a sound and atmosphere

through an illusion of reality.

Havisham –

„…a red balloon bursting

in my face. Bang.”

Personification To give human

characteristics to

an inanimate

object

To humanise an object – give it a sense of

life or being.

Mametz Wood –

“The earth stands

sentinel”.

Charge of the light

brigade –

“The jaws of death…the

mouth of hell”.

Colour References to a

colour or

different colours

are sometimes

used in poem.

The use of colour can be used to express

emotion or to paint a picture of the context

or situation.

Come on, Come Back –

“…black as her mind.”

Presents from my aunts in

Pakistan –

“they sent me a salwar

kameez, peacock blue,

and another glistening

like an orange split

open.”

Short sentences 1, 2, or 3 word

sentences.

Short sentences are often used for impact

or shock. They are primarily effective at

the start of poems, or when used in

between long sentences.

Havisham –

“Spinster.”

Metaphor A figure of

speech when the

qualities of one

Metaphors help create a more powerful

picture of what is being described. This

The Yellow Palm –

“I saw a cruise missile, a

object are

applied to

another literally.

often helps to make a piece more emotive. slow and silver caravan,

on its slow and silver

mile…”


“…raining exclamation

marks…”

Simile A figure of

speech when an

object is likened

or compared to

something else.

Similes help create a more powerful

picture of what is being described. This

often helps to make a piece more emotive.

Bayonet Charge –

“Dropped like luxuries in

a yelling alarm.”

Mametz Wood –

“…like a wound working

a foreign body to the

surface of the skin.”

Rhyme When a part of a

word (generally

the last part) has

the same sound

as another word.

Rhyme is often used to create a positive,

song-like feel. However, this can also be

used in poems with a serious subject

matter to create a sense of irony. Rhyme

can be internal too.

Salome –

“…her innocent clatter,

Of cups and plates,

Her clearing of

clutter…”

Enjambment The running on

of the thought

from one line,

couplet, or

stanza to the

next without a

syntactical

break.

Enjambment can be used for a variety of

reasons – sometimes it is to create an

unnatural pause to allow the reader time to

think about what is being said. Sometimes

it is in order to break up ideas or to create

a dichotomy of thought.

Sometimes, it is to create a sense of on-

going dialogue. If there is no enjambment

a line or verse is described as end-stopped.

Havisham –

“…who did this

to me?”

Out of the Blue –

“Appalling

that others like me

should be wind-

milling…”

Caesura A break,

especially a

sense pause,

usually near the

middle of a

verse.

To create a sense of pause, for thought, for

assimilation of ideas, to portray context.

Mametz Wood – “…they

were told to walk, not

run”

http://dictionary.reference.com/browse/line

http://dictionary.reference.com/browse/break

http://dictionary.reference.com/browse/break

Complete the following chart

Conflict Poetry – Techniques & Effects

Flag

Technique Evidence Analysis

List The last line of each stanza

Personification “that brings a nation to its

knees”

Rhyme & Metre “breeze”, “knees”

Repetition “it‟s just a piece of cloth”

Short sentences “it‟s just a piece of cloth”

Rhetorical

questions

“What‟s that fluttering in

the breeze?”

Imperative verbs “Ask for a flag”

Out of the Blue

Colour “White cotton shirt”

List “shaking crumbs”;

“pegging out washing”

Personification “The heat behind me is

bullying, driving.”

Enjambment “appalling

That others like me

Should be…”

Rhyme/Metre “Waving…saving”

Repetition “waving, waving”

Short sentence “But tiring, tiring.”

Rhetorical

Question

“Do you see a soul worth

saving?”

Mametz Wood

Colour “Breaking blue in white”

List “shoulder blade, relic of a

finger, bird‟s egg of a

skull”

Enjambment “of what happened

Like a wound working..”

Structure 1st part – about the present

2nd part – about the

soldier‟s past

Caesura “Farmers found them” -

Negative diction “blown”; “absent”;

“macabre”

The Yellow Palm

Colour “Blood splattered on the

walls of the golden

mosque”

Juxtaposition “golden mosque” / “blood

on the walls”.

Imagery “A slow and silver caravan

on its slow and silver mile”

Enjambment “Two blind beggars

And into their hands…”

Rhyme /Metre “Pass…glass”

The Right Word

Colour “shadows”

List “terrorist…freedom

fighter…hostile

militant…”

Juxtaposition “is a terrorist…the child

steps in...”

Repetition “Outside” “door”

Short sentences “Outside your door”

Rhetorical

question

“Who‟s that lurking in the

shadows?”

At the Border

Colour “The autumn soil”;

“muddy homeland”

Juxtaposition 1st part – refers to the other

land (the one they are

leaving)

2nd part – refers to their

land (the land they are

crossing into).

Extended

metaphor

“chain of mountains”

Enjambement “Continued

Divided”

Repetition “mountain chain”

Caesura “We grabbed a drink”-

Belfast Confetti

Sound “rapid fire”; “stuttering”

List “Nuts, bolts, nails, car-

keys”

Extended

metaphor

References to punctuation

Enjambment “but it kept

Stuttering.”

Short sentences “My name?”

Caesura “I know this labyrinth so

well – Balaklava…”

Rhetorical

questions

“Who am I?” / “Where am

I going?”

Poppies

Colour The red of the poppies

List “Flattened, rolled, turned

into felt.”

Metaphor “You were away,

intoxicated”; “all my

words flattened….turned

into felt”.

Enjambment “graze my nose

Across the tip…”

Futility

Colour “Sun”

Juxtaposition “Cold” / “Warm”

Personification “The kind old sun will

know”

Enjambment “Sunbeams toil

To break earth‟s sleep at

all?”

Rhyme /Metre “Snow…now…Know”

Ceasura “Think how it wakes the

seeds” –

“-O what made fatuous…”

Rhetorical

question

“Was it for this the clay

grew tall?”

The Charge of

the Light Brigade

Sound “Volleyd and thunder‟d”

List “Canon to the left of then,

canon to the right of them”

Juxtaposition Juxtaposition of negative

& positive sides of war –

“Shatter‟d and

sunder‟d…Glory…noble”

Personification “The mouth of hell” /

“The jaws of death”

Enjambment “Into the valley of Death

Rode the six hundred.”

Rhyme / Metre “Theirs not to make reply,

Theirs not to reason why.”

Repetition / “Canon to the right of

anaphora them..”

“Into the mouth of…into

the jaws of…”

“Half a league, half a

league, half a league...”

Short sentences “Rode the six hundred”.

Caesura “All the world wonder‟d:”

Rhetorical

Question

“When can their glory

fade?”

Imperative verbs “Honour the charge they

made”

Bayonet Charge

Sound “Dazzled with rifle fire”

“Crackling air”

Colour “Green hedge”

“Flame”

Metaphor

Simile

Personification”

“Cold clockwork of the

stars…”

“numb as a smashed arm” /

Dropped like luxuries”

“smacked the belly out of

the air”

Enjambment “…hearing

Bullets smacking…” (line

4)

Caesura “running – raw”

“Out of the air” -

Rhetorical

Question

“Was he the hand pointing

that second?”

The Falling

Leaves

Sound “No wind whirled them

whistling to the sky”

Colour “Brown”; “clay”; “snow”;

“sky”

Extended

metaphor

“falling like snow on the

Flemish clay”

Rhyme /Metre “Lay…clay”

Repetition “snowflakes”

Short sentences “But thickly, silently.”

Alliteration “When no wind whirled

…whistling…”

Come on, Come

Back

Colour “White moonlight”; “Black

as her mind”

Juxtaposition “Black” / “white”

Short sentences “Come on, come back”

Repetition “Come on, come back”

Metaphor /

Simile/

Personification

“The pipe‟s wild notes”

“As black as her mind”

“icy-amorous embrace”

Rhetorical

questions

Next to of course

God, America, I

List “by gee, by gosh, by gum”

Enjambment “Beaut-

iful”

Short sentences “He spoke.”

Rhetorical

question

“Then shall the voice of

liberty be mute?”

Structure 1 whole uninterrupted

stanza, then a second verse

of 1 stanza, punctuated

Rhyme / Metre “worry…gory”

Hawk Roosting

List “foot…feather”

Personification “It took the whole of

Creation…”

Enjambment “…took the whole of

Creation

To produce my…”

Alliteration “Be gee, by gosh, by gum”

Diction “Be gee, by gosh, by gum”

Comparing Conflict Poetry

Exploring Techniques

Poem Diction Sound

(onomato

poeia /

alliteratio

n

Colour List Juxtaposit

ion/

oxymoron

Imagery

(metapho

r /

Simile /

personific

ation

Enjambm

ent

Structure

/ Layout

Rhyme/

Metre

Repetitio

n

Short

sentences RQ

Flag Imperati

ve verbs

Personific

ation

Out of the

Blue

Imperati

ve verbs

Imagery

Personific

ation

Mametz

Wood

Negative

diction –

shocking

Past &

present

The

Yellow

Palm

Juxtapos

ition of

positive

&

negative

diction

Juxtaposit

ion

Metaphor

/

personific

ation

The Right

Word

All about

words –

vocabula

ry

carefully

selected

for

effect

Shadow

Anaphora

At the

Border

Reference

to colour

Juxtaposit

ion Dichotom

y of the 2

lands –

poem in 2

halves

Belfast

Confetti

Extended

Metaphor

Poppies

Metaphor

Futility

Cold /

warm

Personific

ation of

the sun

The

Charge LB

Juxtapos

ition of

negative

&

positive

diction;

imperati

ve verbs

Personific

ation of

death &

hell

Repetitio

n &

anaphora

Bayonet

Charge

Metaphor

Relationships

Poetry – Relationships cluster summary

Poem Summary Themes Feelings Links to… Key quotes

„The

Manhunt‟

by Simon

Armitage

- The narrator is the wife of

a soldier who has come

home from war with

serious gunshot wounds.

- It is more difficult to see

and understand his mental

scars and the problems

these cause.

- Pain and

suffering.

- Time (the

father will

not be able

to protect

his son as

he grows

up).

- Caring

- Patience

- Pain

„Nettles‟ -

the suffering

of a loved

one

„Praise

Song‟ –

relationship

between

parent and

child

-„the parachute silk of his

punctured lung‟

- „I picture the scan,/the foetus

of metal‟

- „a sweating unexploded

mine/buried deep in his mind‟

- „I come close‟

„Hour‟ by

Carol Ann

Duffy

- Describes and hour spent

between the narrator and

her lover.

- The poet personifies time

as love‟s enemy.

- Love almost manages to

make time stand still.

- Strong

belief in

love

- Love

against

time.

- Fairy tale

love does

not last.

-

Cherishing

the

moment.

- Physical

pleasure.

- „To His

Coy

Mistress‟ –

time as the

enemy of

love

-„Sonnet

116‟ – time

and love,

personificati

on

- „Love‟s time‟s beggar‟

- „For thousands of seconds,

we kiss‟

-„Now. Time hates love,‟

-„Love spins gold, gold, gold

from straw‟

„In Paris

with You‟

by James

Fenton

-The narrator is upset about

love – he‟s split up with

someone and sees himself

as a victim.

-He‟s gone to Paris with

someone else, but still

seems unhappy.

- He doesn‟t want to go out

in the city – he‟d rather

stay in the hotel room.

- Negative

emotions

resulting

from a

break-up.

- Being

hurt by

love.

- Self pity

- Bitterness

- Humour

- Lust

-„To His

Coy

Mistress‟ –

narrator as

seducer;

humour

-„Sister

Maude‟ –

anger

-„I get tearful when I‟ve

downed a drink or two‟

-„I‟m a hostage‟

-„Don‟t talk to me of love‟

-„all points south‟

-

„Quickdraw‟

– being hurt

by someone

„Quickdraw

‟ by Carol

Ann Duffy

-The poem compares phone

calls and texts in a

relationship to a gun fight

in a western movie.

-The narrator always seems

to come off worst, and is

left hurt.

-What „finishes her off‟

isn‟t cruelty, but text

message kisses, which hit

her like bullets.

- Attitudes

towards

love.

- Being

hurt by

love.

- Hurt

-

Expectatio

n

- Tension

-„The

Farmer‟s

Bride‟ and

„In Paris

with You‟ –

hurt by love.

-„The

Manhunt‟ –

communicati

on.

-„like guns, slung from the

pockets of my hips‟

-„your voice a pellet/in my

ear‟

-„the silver bullets of your

kiss‟

-„high noon, calamity, hard

liquor/In the old Last Chance

saloon‟

„Ghazal‟ by

Mimi

Khalvati

-The narrator is talking

about intense feeling of

love.

-In each stanza, she creates

a new message to portray

love through imagery.

- Attitudes

towards

love

- Lust

- Love

poetry (the

ghazal

structure)

- Intense

love

-

Playfulnes

s

- Pleasure

„The

Farmer‟s

Bride‟ and

„Nettles‟ and

„Hour‟ –

natural

imagery

-„To His

Coy

Mistress‟

and „Hour‟ -

lust

„iron fist in the velvet glove‟

-„charmer, use your charm,

weave a spell and subdue me‟

-„don‟t hand/on my lips‟

-„I‟ll be twice the me‟

„Brothers‟

by Andrew

Forster

-The narrator remembers a

moment from childhood

when he and his older

brother had to look after

their younger brother.

-They are fed up with him,

but excited to be out on

their own.

-They send their younger

brother home to get the bus

fare, then run off, leaving

him behind.

- Family

relationshi

ps

- Sibling

relationshi

ps

-

Frustration

- Guilt

- Freedom

- Regret

-„Nettles‟ –

reflecting on

a childhood

incident as

an adult

-„Sister

Maude‟ – an

unhappy

event in a

sibling

relationship

„Saddled with you‟

-„spouting six-year old views‟

-„we must stroll‟

-„unable to close the distance‟

„Praise

Song for

my Mother‟

by Grace

Nichols

-The mum in the poet was

the whole world to her

child.

-The narrator compares her

mum to water and food –

vital for life.

-Also compares her mum to

moon and the sun (both

masculine and feminine

role in her life).

- Parental

love

- Being

prepared

for life

- Gratitude

- Joy

- Praise

-„Nettles‟ –

parent child

relationships

-„Ghazal‟ –

natural

imagery

-„You were water to me‟

-„deep and bold and

fathoming‟

-„replenishing replenishing‟

-„Go to your wide futures‟

„Sonnet

116‟ by

William

Shakespear

e

-Shakespeare is writing

about how constant true

love is.

-True love doesn‟t change

when circumstances

change.

-„He says that if what he

says isn‟t true, then he

never wrote anything and

nobody has ever been in

love. Since we know he

did write and people have

loved, he‟s saying his

words are true.

- Attitudes

towards

love

- True love

is not

fickle and

does not

change

over time

- Devotion

-

Constancy

- True love

-„To His

Coy

Mistress‟ –

the effects of

ageing on

love

-„The

Manhunt‟ –

constancy

and true love

„Time‟s fool‟

-„edge of doom‟

-„it is the star to every

wand‟ring bark‟

-„Admit impediments‟

„To His

Coy

Mistress‟

by Andrew

Marvell

-The narrator is telling the

woman that he loves that

she shouldn‟t play hard to

get – there isn‟t time.

-The poem is structured

into a three part argument -

the first part explaining

how much he would

worship her and what they

would do together if there

was time.

-The second part describes

how there is not time and

shows what will happen

when they grow old.

-The third part declares that

they must live for the

moment , make the most of

their youth.

- The

passage of

time

- Seduction

- Death

- Physical

desire

-

Impatience

- Urgency

-

Reluctance

-„Sonnet

116‟ – the

effects of

time and

death

-„Hour‟ and

„In Paris

with You‟ –

lust and

physical

love

-„Deserts of vast eternity‟

-„My vegetable love should

grow‟

-„A grave‟s a fine and pleasant

place‟

-„Now‟

-„like amorous birds of prey‟

„The

Farmer‟s

Bride‟ by

Charlotte

Mew

-The farmer has been

married for 3 years, but his

bride is still frightened of

him.

-He tells the story of how

the relationship went

wrong.

-He finds her rejection

almost unbearable. By the

end he seems to be

struggling to resist taking

her by force.

- Unhappy

love

-

Frustration

- Desire

- Fear

-„Hour‟ and

„In Paris

with You‟ –

love seen as

an intense

experience

-„To His

Coy

Mistress‟ –

frustrated

narrator

-„Shy as a leveret, swift as he‟

-„Straight and slight as a

young larch tree‟

-„poor maid‟

-„her hair, her hair‟

„Sister

Maude‟ by

Christina

Rossetti

-The poem‟s narrator has

kept her boyfriend a secret

from her parents but her

sister has told them about

him.

-The narrator is angry with

her sister for this and her

boyfriend‟s death.

-The narrator is also jealous

that her boyfriend may

have desired her sister.

- Intense

emotions

- Family

relationshi

ps

- Sibling

relationshi

ps

- Betrayal

- Jealousy

- Anger

-„Sonnet

116‟ –

intense

feelings

-„Brothers‟ –

family

relationships

-„comeliest corpse‟

-„Cold he lies, as cold as

stone/ With his clotted curls‟

-„shall get no sleep/ Either

early or late‟

-„Bide you with death and sin‟

„Nettles‟ by

Vernon

Scannell

-The narrator‟s son has

fallen in a bed of nettles

and is badly stung

-His father comforts him,

then cuts down the nettles.

However, they grow back

two weeks later

-The story shows how

parents can‟t always protect

their children from pain

-The poet uses an extended

military metaphor to

express the threat from the

nettles

- Feelings

about

loved ones

- Family

relationshi

ps

- Anger

- Revenge

-

Tenderness

-

Helplessne

ss

-„Born

Yesterday‟ –

the hopes

and fears

that adults

have for

children

-„Sister

Maude‟ –

anger;

family

relationships

-„regiment of spite‟

-„those green spears‟

-„blisters beaded‟

-„that fierce parade‟

„Born

Yesterday‟

by Philip

Larkin

-Larkin wrote this poem the

day after the birth of his

friend‟s daughter.

-He takes the fairy tale idea

of giving out wishes to a

new born, but his wish is

-Priorities

-Family

relationshi

-

Tenderness

- Scorn

-„Sonnet

116‟ – the

idea that

beauty is not

necessary

for real

-„Tightly-folded bud‟

-„May you be ordinary‟

not for great beauty or

exciting things – he wishes

for practical, useful talents

which he knows will help

her most to be happy (as

Larkin knows how hard it

is to be happy).

ps

-Happiness

-Surviving

life

- Realism

- Cynicism

love/happine

ss

-„Nettles‟ –

an adult‟s

hopes and

concerns for

a child

-„Hour‟ – the

fairy tale is

not

important

for love –

the simple

things count

far more

„Not ugly, not good-looking‟

-„skilled,/Vigilant,flexible,/

Unemphasised,enthralled/Catc

hing of happiness‟

Structuring a comparative essay

Introduction:


Names of writers



Paragraph 1:

Choose 1st technique in poem 1



Compare with poem 2, stating technique, providing quote and exploring

effect on reader / writer‟s attitudes.

Paragraph 2:

Choose 2nd

technique




effect on reader / writer‟s attitudes.

Paragraph 3:

Choose 3rd

technique




effect on reader / writer‟s attitudes

Conclusion:


reader.

PETAL

Opening Sentence of a comparative poetry essay

Both Nothing’s Changed and Not my business deal with the issue of inequality – a

powerful recurring theme in many of the poems form Different Cultures – highlighting

the prejudices which immobilise a society and its people, through the use of a number

of literary techniques, both structural and linguistic - juxtaposition being one of the

main devices employed, such as in the case of Nothing‟s Changed which categorically

outlines the differences between the “up-market haute cuisine” of the “white‟s only inn” and

the

“bunny chows” of the “working man‟s café”.

Comparison

Embedded quotes Writer‟s craft Personal interpretation

Writer‟s attitude



2F Mark Scheme Template: Section A

Mark Band 6

31-36 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, candidates demonstrate: 6.1 considered/qualified response to text

6.2 details linked to interpretation

6.3 appreciation/consideration of writers‟ uses of language and/or structure and/or form and

effects on readers

6.4 thoughtful consideration of ideas/themes

6.5 developed comparison in terms of ideas/themes and/or technique

6.6 thoughtful selection and consideration of material for comparison

Mark Band 5

25-30 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, candidates demonstrate: 5.1 sustained response to elements of text

5.2 effective use of details to support interpretation

5.3 explanation of effect(s) of writers‟ uses of language and/or structure and/or form and effects

on readers

5.4 understanding of ideas/themes /feelings/attitudes

5.5 sustained focus on similarities/differences in terms of ideas/themes and/or technique

5.6 selection of material for a range of comparisons

Mark Band 4

19-24 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, candidates demonstrate: 4.1 explained response to element(s) of text

4.2 details used to support a range of comments

4.3 identification of effect(s) of writers‟ choices of language and/or structure and/or form

intended/achieved

4.4 awareness of ideas/themes/feelings/attitudes

4.5 structured comments on similarities/differences in terms of ideas/themes and/or technique

4.6 selection of material to support structured comparative comment

Mark Band 3

13-18 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, candidates demonstrate: 3.1 supported response to text

3.2 comment(s) on details

3.3 awareness of writer making choice(s) of language and/or structure and/or form

3.4 generalisation(s) about ideas/themes/feelings/attitudes

3.5 some comments comparing ideas/themes and/or technique

3.6 selection of some details for comparison

Mark Band 2

7-12 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, candidates demonstrate: 2.1 some clear responses

2.2 range of details used

2.3 simple identification of method(s)

2.4 some range of explicit meanings given

2.5 simple linkage in terms of idea(s)/theme(s) and/or technique

2.6 selection of material for comparison

Mark Band 1

1-6 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

Candidates demonstrate: 1.1 simple response(s)

1.2 familiarity with text/reference to some details

1.3 reference to writers‟ method(s)

1.4 simple comment on meaning(s)

1.5 linkage, perhaps implicit, re idea or theme or method

1.6 selection of appropriate poem to compare

0 marks Nothing worthy of credit

(January 2013)

Conflict

1) Compare how the poets present someone being damaged by war in

‘Bayonet Charge’ and one other poem from ‘Conflict’. (36 marks)

Remember to compare:

*what the damage in the poems is like

*how the poets present the damage by the ways they write.

Indicative content

Examiners are encouraged to reward any valid interpretations. Answers might,

however, include some of the following:

AO1 – sweating , running, stumbling

- sense of questioning why he is there

– time standing still

– overcome by terror – all rational thought deserting him

AO2

of alliteration and sibilance

AO3

Some features of the poem chosen compared to:

maged & touched by war in The Yellow Palm, The Right Word

2) Compare how the poets present thoughts about those who have died

in ‘Poppies’ and one other poem from ‘Conflict’. (36 marks)


* what the thoughts are

*how the poets present these thoughts by the ways they write.

Indicative content



AO1

Narrative memory of soldier leaving to go to war

- clothing

AO2

– mother‟s point of view

AO3


Relationships

1) Compare how the poets present difficulties in a relationship in ‘The

Manhunt’ and in one other poem from Relationships.


what the difficulties in the relationships are

how the poets present these difficulties by the ways they write.

(36 marks)

Indicative content



AO1

AO2

Use of free verse and enjambment

AO3


t re relationship breakdown in Brothers

2) Compare how the poets present feelings for a person in ‘Born

Yesterday’ and in one other poem from Relationships.


ys they write. (36 marks)

Indicative content



AO1

tiveness

AO2:

AO3:

in Sonnet 43,Sonnet 116, Ghazal, Praise Song

Higher Questions:

2H Mark Scheme Template: Section A

Mark Band

6

31-36 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, students demonstrate: 6.1 insightful exploratory response to text

6.2 close analysis of detail to support interpretation

6.3 evaluation of writers‟ uses of language and/or structure and/or form and effects on

readers

6.4 convincing/imaginative interpretation of ideas/themes

6.5 evaluative comparison of ideas and/or meanings and/or techniques

6.6 evaluative selection of a range of telling details into comparison

Mark Band

5

25-30 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, students demonstrate: 5.1 exploratory response to text

5.2 analytical use of detail to support interpretation

5.3 analysis of writers‟ uses of language and/or structure and/or form and effects on readers

5.4 exploration of ideas/themes

5.5 analytical comparison of ideas and/or meanings and/or techniques

5.6 selection of a range of telling details as the basis for comparison

Mark Band

4

19-24 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, students demonstrate: 4.1 considered/qualified response to text

4.2 details linked to interpretation

4.3 appreciation/consideration of writers‟ uses of language and/or structure and/or form and

effects on readers

4.4 thoughtful consideration of ideas/themes

4.5 developed comparison of ideas and/or meanings and/or techniques

4.6 thoughtful selection and consideration of material for comparison

Mark Band

3

13-18 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, students demonstrate: 3.1 sustained response to elements of text

3.2 effective use of details to support interpretation

3.3 explanation of effect(s) of writers‟ uses of language and/or structure and/or form and

effects on readers

3.4 understanding of ideas/themes/feelings/attitudes

3.5 sustained focus on similarities/differences in ideas and/or meanings and/or techniques

3.6 selection of material for a range of comparison

Mark Band

2

7-12 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, students demonstrate: 2.1 explained response to element(s) of text

2.2 details used to support a range of comments

2.3 identification of effect(s) of writer‟s choices of language and/or structure and/or form

intended/achieved

2.4 awareness of ideas/themes/feelings/attitudes

2.5 structured comments on similarities/differences in ideas and/or meanings and/or

techniques

2.6 selection of material to support structured comparative comment

Mark Band

1

1-6 marks

(A01)

(A01)

(A02)

(A02)

(A03)

(A03)

In response to the task, students demonstrate: 1.1 supported response to text

1.2 comment(s) on detail(s)

1.3 awareness of writer making choice(s) of language and/or structure and/or form

1.4 generalisation(s) about ideas/themes/feelings/attitudes

1.5 some comments comparing ideas and/or meanings and/or techniques

1.6 selection of some details for comparison

0 marks Nothing worthy of credit

(January 2013)

1) Compare the ways poets show how conflict and war affect feelings about a place in ‘At the Border,1979’ (page 39) and in one other poem from Conflict. (36 marks)


however, include some of the following

A01

the more permanent reality of the land itself

d the adults

A02

direct speech

se of structural features including caesura, enjambment

A03 Some features of the poem chosen dealt with and compared to „At The Border, 1979‟, such

as:

n feelings about homes in e.g. „The Yellow Palm‟ or

„Belfast Confetti‟

in, e.g. Futility‟ or „Mametz Wood‟

2) Compare the methods poets use to present their points of view in

‘next to of course god america I’ (page 48) and in one other poem

from Conflict. (36 marks)

Indicative content


however, include some of the following

A01 patriotism and war

A02

tructural features such as use of sonnet form and punctuation for particular effect

A03 Some features of the poem chosen dealt with and compared to „next to of course god

america I‟, such as:

ht Word‟ or „At the Border, 1979‟

Relationships

1) Compare the methods poets use to explore ideas about time in „Hour‟

(page 51) and in one other poem from Relationships. (36 marks)


include some of the following

:

A01

A02

me and half-rhyme

A03

Some features of the poem chosen dealt with and compared to „Hour‟, such as:

ith You‟

2) Compare the methods poets use to present difficult relationships in

‘The Farmer’s Bride’ and in one other poem from Relationships.

(36 marks)



A01

A02 n monologue

syntax in final stanza

loquial language

A03 Some features of the poem chosen dealt with and compared to „The Farmer‟s Bride‟, such as:

ery to present relationships in „Ghazal‟ or „Praise Song for My Mother‟

Model Essay:

In what way do Nothing’s Changed and one other poem deal with the concept of inequality?

Both Nothing’s Changed and Not my business deal with the issue of inequality – a powerful recurring

theme in many of the poems form Different Cultures – highlighting the prejudices which immobilise a

society and its people, through the use of a number of literary techniques, both structural and

linguistic - juxtaposition being one of the main devices employed.

Contrast between black and white, rich and poor and the powerful and powerless are made transparent

in Nothing’s Changed which explores the implications of a divided society at the time of the apartheid

in South Africa. Though the poem draws light on the plight of the blacks on whose land the whites

“squat”, it does so from a biased perspective – here all whites appear to be responsible for the

inequality between the two groups. Not My Business, on the other hand, though dealing with the same

concept, does not expose the dichotomy that exists between the rich and poor, but that of the powerful

and powerless. It takes a very negative view of the controlling ruling class and the exploitative

authority of the government and their abuse of their own people. This is one point of difference

between the two poems – where one poem explores the abuse of power of one community over

another, the latter explores the issues which exist in one society and their mistreatment of their own

people.

The juxtaposition between the black and white communities is made clear by the use of language and

imagery in Nothing’s Changed. Between the “linen falls”, “single rose” and “upmarket haute-

cuisine” of the “whites only inn” and the “plastic tables top” and “bunny chows” of the black man‟s

café is a vast gulf inequality – inequality which gives rise to the feelings expressed by the poet in

stanza two – “the soft labouring of my lungs, and the hot, white, inwards turning anger of my eyes”.

The ambivalent use of the verb “squat” and the alliteration in stanza three “name flaring like a flag”

make clear the sense of injustice felt by the writer, the latter suggesting an unashamed boastfulness

not apt for a respectable element of society. Not My Business, on the contrary, employs irony rather

than direct expression of feeling in order to portray the injustice inflicted on the helpless and

powerless. The apparent indifference felt by the writer “as long as they don‟t take the yam from my

savouring mouth” subtly draws attention to the need for change in society‟s views of the individual

and of the ordinary „man‟ – they are, after all, those who keep society operating.

The juxtaposition between the two classes is further enhanced, in Nothing‟s Changed, by the use of

the symbolic glass panel of the white only restaurant – it cuts off not only a segment of society,

ironically, those who rightfully belong, but also the writer himself, while the restaurant itself rests

amongst “incipient Port Jackson trees” and “grass and weeds”. Thus, the personal voice of Africa is

very pronounced here and throughout the poem. While the imagery of the Port Jackson trees and

grass and weeds are representative of the land and of the indigenous population, the glass symbolises

the alien nature of the whites only restaurant and the hatred it brews amongst those outcast. Hence,

the physical imagery employed in the poem further helps to underline the extensive difference

between the two classes of society – a class system created, as in Not My Business, by an abusive

regime, or in Nothing’s Changed by the ruling and upper classes – those with the power and privilege

to establish both order and chaos and to rouse both respect and hatred.

Comment [MAB23]: 6.5 evaluative comparison of ideas and/or

meanings and/or techniques

Comment [MAB24]: 6.1 insightful exploratory response to text

6.5 evaluative comparison of ideas and/or


Comment [MAB25]: 6.

1 insightful exploratory response to text

6.4 convincing/imaginative interpretation of

ideas/themes

Comment [MAB26]: 6.2 close analysis of detail to support

interpretation


6.2 close analysis of detail to support

interpretation

6.3 evaluation of writers‟ uses of language

and/or structure and/or form and effects on

readers


ideas/themes

6.6 evaluative selection of a range of telling

details into comparison



interpretation



readers


ideas/themes






readers


ideas/themes






readers


ideas/themes





interpretation



readers


ideas/themes



Africa‟s fierce and unequivocal expression of hostility – “hands burn for a stone, a bomb”- is in stark

contrast to the apparent laid-back stoicism of Osundare‟s Not My Business. Though both perhaps are

just as effective in communicating the prevalent injustice and inequality amongst their societies, this

is yet another point of difference between the two poems.

In Not My Business, the use of repetition -“what business is it of mine, as long as they don‟t take the

yam from my savouring mouth”, is comparable to that of a chorus from a song, and again reinforces

the writer‟s view of the unjust society of which he is part; through a simple refrain he cunningly

condemns not only the corruption of the government, but also that of the individuals which make up

the society. The climactic end of the refrain following the third stanza draws the reader to an

expected and predictable conclusion. Though probing, he is discreet in his method as he encourages

the reader to consider their own actions in a similar context. Though no such technique is used in

Nothing’s Changed, structure is nonetheless an important factor in both poems as contrast is

expressed not only linguistically, but also visually portrayed through form and layout. Thus in

Nothing‟s Changed, the two juxtaposing stanzas appear in succession, exposing the depth of

indifference existing in the two communities – though physically side by side, the distance between

them is unbridgeable. Hence, the despondency and disappointment felt by the writer as expressed,

firstly in the title, and subsequently throughout the rest of the poem.

It is interesting to note that both poems use reference to food – the “haute-cuisine” of the whites only

restaurant compared to the “bunny chows” of the black man‟s café in Nohting’s Changed, and the

repeated reference to “yam” in Not My Business. This acts not only as a symbol of the differing

lifestyles identified in the former poem, but perhaps also to highlight the manipulative nature of a

tyrannical regime and the inevitable corruption of the working classes. Though this appears to draw

an extremely grim, dystopian view of society, Osundare nonetheless guides the reader to consider an

alternative viewpoint – one which focuses on the possibility for change and redemption through

questioning ourselves and the choices we make.

If this truly is the case, it can be argued that whereas one poem is more thought-provoking and

philosophical in nature, the other is a person‟s impassioned response to the treatment of himself and

his people; a bitter declaration of his own powerlessness to change all that is wrong in his society.

*****************

Comment [MAB32]: 6.5 evaluative comparison of ideas and/or




interpretation



readers


ideas/themes





interpretation



readers


ideas/themes





interpretation



readers


ideas/themes



SECTION B – AQA

This is the NON – COMPARATIVE part. You will be given

one poem to read and then about 25 minutes to write about in

detail. The poem will be about something straightforward.

Remember, as with the AQA poems, you will have to write

about TECHNIQUES, i.e. WRITER‟S CRAFT, and CLOSE

ANALYSIS is just as valid in this section as with the other.

The mark scheme for this is the same as the one for the AQA

poetry.

Unseen Poetry

Documents

GCSE English Literature - Bedford Free · PDF fileGCSE English Literature Revision Pack CONTENTS: TOP TIPS: Tips for how to answer essay questions for English Literature Unit 1 –