NEW RESOURCE combines rich context and analysis with carefully selected range of tasks that address all of the Matric IEB requirements.

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2 NEW RESOURCE combines rich context and analysis with carefully selected range of tasks that address all of the Matric IEB requirements. Historical and literary contexts Literary analysis Content, contextual and essay questions, as well as varied enrichment tasks Unique Act-based learning format Section on exam readiness Perforated rubrics Rigorously annotated edition of the text included Accompanying answers disc Enriching and challenging both educators and learners

3 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 TABLE OF CONTENTS Foreword...7 Guide to reading, understanding and analysing poetry...8 Guide to answering contextual poetry questions...11 RENAISSANCE SECTION Introduction to the Renaissance Period...13 Biography of William Shakespeare...13 Poem: When I do count the clock that tells the time - William Shakespeare...14 Analysis of When I do count the clock that tells the time...14 Questions on When I do count the clock that tells the time...15 Biography of John Milton...18 Poem: When I consider how my light is spent - John Milton...18 Analysis of When I consider how my light is spent...19 Questions on When I consider how my light is spent...20 RENAISSANCE ROMANTIC ROMANTIC SECTION Introduction to the Romantic Period...24 Biography of William Blake...24 Poem: The Tyger - William Blake...25 Analysis of The Tyger...26 Questions on The Tyger...27 Biography of Percy Bysshe Shelley...32 Poem: Ozymandias of Egypt - Percy Bysshe Shelley...33 Analysis of Ozymandias of Egypt...33 Questions on Ozymandias of Egypt...35 Biography of John Keats...39 Poem: Ode to Autumn - John Keats...39 Analysis of Ode to Autumn...40 Questions on Ode to Autumn...41 POST- SECTION Introduction to the Victorian and Gothic Periods...44 Biography of Emily Brontë...44 THE ENGLISH EXPERIENCE

4 THE COMPLETE IEB POETRY RESOURCE RENAISSANCE ROMANTIC Poem: Remembrance - Emily Brontë...45 Analysis of Remembrance...46 Questions on Remembrance...47 Biography of Matthew Arnold...50 Poem: Dover Beach - Matthew Arnold...50 Analysis of Dover Beach...51 Questions on Dover Beach...53 Biography of Gerard Manley Hopkins...57 Poem: Binsey Poplars - Gerard Manley Hopkins...58 Analysis of Binsey Poplars...59 Questions on Binsey Poplars...60 SECTION Introduction to the British Modernist Period...65 Biography of William Butler Yeats...65 Poem: The Song of Wandering Aengus - William Butler Yeats...66 Analysis of The Song of Wandering Aengus...67 Questions on The Song of Wandering Aengus...68 Biography of Cecil Day-Lewis...72 Poem: Will it be so again? - Cecil Day-Lewis...73 Analysis of Will it be so again?...73 Questions on Will it be so again?...75 POST- SECTION Introduction to the American Modernist Period...79 Biography of WH Auden...79 Poem: Refugee Blues - WH Auden...80 Analysis of Refugee Blues...81 Questions on Refugee Blues...82 Biography of Lawrence Ferlinghetti...85 Poem: Constantly Risking Absurdity - Lawrence Ferlinghetti...86 Analysis of Constantly Risking Absurdity...87 Questions on Constantly Risking Absurdity...88 Biography of Sylvia Plath...90 Poem: Mirror - Sylvia Plath...91 Analysis of Mirror...91 Questions on Mirror PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

5 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 SECTION Introduction to the South African Apartheid Period...96 Biography of Hugh Lewin...97 Poem: Touch - Hugh Lewin...97 Analysis of Touch...99 Questions on Touch POST- SECTION Introduction to the South African Post-Apartheid Period Biography of Tatamkhulu Afrika Poem: Trespasser - Tatamkhulu Afrika Analysis of Trespasser Questions on Trespasser Biography of Chris Mann Poem: Crossing over - Chris Mann Analysis of Crossing over Questions on Crossing over Biography of Chris van Wyk Poem: I have my Father s Voice - Chris van Wyk Analysis of I have my Father s Voice Questions on I have my Father s Voice RENAISSANCE ROMANTIC Getting to grips with the Unseen Poem: Some Guidelines Why a Poem...or a Cat? - Harriet Stovall Kelley George Gray - Edgar Lee Masters Two Thieves - Charl-Pierre Naudé Identity - Julio Noboa Polanco The Elephant Tree - Ian McCallum The Fear - Lily Allen VISUALS AND RUBRICS When I do count the clock that tells the time - William Shakespeare When I consider how my light is spent - John Milton The Tyger - William Blake Ozymandias of Egypt - Percy Bysshe Shelley Ode to Autumn - John Keats POST- THE ENGLISH EXPERIENCE

6 THE COMPLETE IEB POETRY RESOURCE RENAISSANCE ROMANTIC Remembrance - Emily Brontë Dover Beach - Matthew Arnold Binsey Poplars - Gerard Manley Hopkins The Song of Wandering Aengus - William Butler Yeats Will it be so again? - Cecil Day-Lewis Refugee Blues - WH Auden Constantly Risking Absurdity - Lawrence Ferlinghetti Mirror - Sylvia Plath Touch - Hugh Lewin Trespasser - Tatamkhulu Afrika Crossing over - Chris Mann I have my Father s Voice - Chris van Wyk ACKNOWLEDGEMENTS POST- 6 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

7 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 FOREWORD The infl uential Modernist poet TS Eliot once said Genuine poetry can communicate before it is understood. No doubt, he was referring to the emotional power of poems like William Blake s The Tyger or John Milton s sonnet When I consider how my light is spent. As true as this statement is, we at The English Experience recognise that to understand poetry, one must understand the context in which it was created. By providing a thorough background to the social, political and personal milieu of each poem in this resource, we hope to encourage in learners not only an understanding of poetry, but a love of the art form. RENAISSANCE USING THIS RESOURCE The Complete Poetry Resource includes the full text of each of the poems identifi ed by the IEB Matric syllabus. Each poem is accompanied by a concise biography of the poet, an in-depth analysis of the poem and a set of varied questions that challenge the learner to think about the text critically. To challenge the learner to engage further with the text by thinking laterally, we have included a Wild Card section. This section includes a longer, more creative and lateral question on the set poems, each of which is linked to a colour visual and accompanied by a comprehensive marking rubric. The poems are arranged into sections that illustrate the progression of English poetry through fi ve centuries, from the Renaissance period to South African post-apartheid poetry. So, for example, the fi rst section on the Renaissance period includes the poetry of William Shakespeare and John Milton. Each section begins with an introduction to the period that draws attention to some of the themes that are highlighted in the analyses. This structure will help learners to understand how English literature has developed over the last 500 years and how it has been infl uenced by the social and political climate of its time. With this in mind, we recommend working through this resource in chronological order. THE ENGLISH EXPERIENCE The English Experience is committed to combating the scarcity of genuinely fresh and complete IEB English educational resources. As such, in addition to detailed analyses of, and questions on, all 17 poems in the Matric syllabus, this resource contains a guide to reading, understanding and analysing poetry, and to answering contextual poetry questions. It also has a comprehensive unseen poetry section. It is our hope that this product will spark debate, encourage growth, offer personal enrichment and challenge both educator and student alike, while focusing on achieving exam readiness and success. Enjoy your journey through 500 years of English poetry. ROMANTIC POST- THE ENGLISH EXPERIENCE

8 THE COMPLETE IEB POETRY RESOURCE ROMANTICISM RENAISSANCE ROMANTIC Although the term romantic probably conjures up visions of fl owers and chocolates in your mind, it also denotes a literary, artistic, musical and philosophical movement of the late 18th and early 19th centuries. The movement took different forms in different parts of the world, but, at its heart, it elevated emotion and imagination over reason and the natural world over life in the city, a place poets tended to equate with greed and evil. The Romantic Movement was a reaction to two key trends in 18th century European history. The fi rst was the Age of Enlightenment, also known as the Age of Reason, during which a number of philosophies that replaced emotion and religion with reason and science, were born. The second was the Industrial Revolution, during which technological innovation led to rapid economic development and the growth of the city. Romanticism responded to these two key events by focusing on the individual, the common man, the power of the imagination and the emotional aspect of human experience. It also regarded the natural, unspoiled environment as having a regenerative and healing effect. These ideas are perhaps best expressed in the writings of good friends Samuel Taylor Coleridge and William Wordsworth. In I Wandered Lonely as a Cloud, for example, Wordsworth depicts nature as an antidote to his loneliness: I wandered lonely as a cloud / That fl oats on high o er vales and hills, / When all at once I saw a crowd, / A host, of golden daffodils... Other notable British Romantic poets include William Blake, Percy Bysshe Shelley, Lord Byron and John Keats. One of the most famous novels of the time (and one which is still read today) is Frankenstein, written by Mary Shelley. The novel examines human advancement and ambition, as exemplifi ed in the technological innovations of the Industrial Revolution, and suggests that these go against nature. European Romanticism heavily infl uenced the form of the movement in America. Writers like Edgar Allen Poe embraced Gothicism, a melodramatic offshoot of Romanticism as exemplifi ed in Emily Brontë s Wuthering Heights. Other American Romantic writers, such as Nathaniel Hawthorne, Walt Whitman and Emily Dickinson were attracted to the promise of individual spirituality, which marked a departure from the austerity of Calvinism. POST- WILLIAM BLAKE ( ) The Romantic poet and artist William Blake, might be described as embodying the spirit of the era. During his own lifetime, he was labelled an eccentric because of his unconventional ideas many of which were simply ahead of their time; for instance, Blake believed in the equality of all human beings, regardless of gender or race. The poet and artist was born in London in In his early years, he displayed a quick, inquisitive and creative mind, and so, at the age of 15, he was apprenticed to a professional engraver. When he completed his apprenticeship in 1779, Blake enrolled briefl y at the Royal Academy before fi nding work with a book publisher. During the rest of his career, Blake relied on independent commissions from poets and patrons to support his family while composing his own volumes of illustrated poetry; for example, in 1800 Blake and his wife moved to a village in West Sussex to illustrate the work of a poet named William Hayley while he simultaneously composed the epic poem Milton. 24 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

9 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 Blake believed fervently in the power of the imagination. Perhaps the best adjective for this feature of Blake s work is mythic as he often used religious and mythological themes in both his poetry and etchings. The most accessible and enduring examples of this are the Songs of Innocence, published in 1789, and the Songs of Experience, published in When Blake died in 1827, despite his relative commercial and critical success, he and his wife were virtually penniless. His work was rediscovered thirty years later by the biographer Alexander Gilchrist. Blake was then hailed as a genius as well as a mystic, a reputation which he holds to this day. THE TYGER (WILLIAM BLAKE) Tyger! Tyger! burning bright 1 In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies 5 Burnt the fi re of thine eyes? On what wings dare he aspire? What the hand dare seize the fi re? And what shoulder, & what art. Could twist the sinews of thy heart? 10 And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? what dread grasp 15 Dare its deadly terrors clasp? RENAISSANCE ROMANTIC POST- When the stars threw down their spears, And water d heaven with their tears, Did he smile his work to see? Did He who made the Lamb make thee? 20 Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry? THE ENGLISH EXPERIENCE

10 THE COMPLETE IEB POETRY RESOURCE RENAISSANCE ROMANTIC POST- ANALYSIS As has been discussed, the Renaissance represented a cultural and social revolution in Western thought. This revolution began when Copernicus claimed that the Earth was not the centre of the universe, an assertion that was regarded as heretical because a geocentric universe (which has the Earth and, by extension, humanity as its centre) was fundamental to many doctrines of the Roman Catholic Church. Questioning these doctrines led contemporary thinkers to challenge the Church s dominant role in the politics of the day. These formerly heretical ideas had taken hold of the European imagination by the late eighteenth century, when British poet William Blake and his fellow Romantics wrote. Many of these poets no longer subscribed to a formal or institutionalised religion, but recognised a vast spiritual power in the natural world and even in the depth of the human imagination. Both of these ideas are evident in Blake s powerful The Tyger, which was fi rst published in 1794 as part of the illustrated volume Songs of Experience. The Tyger poses a question that has intrigued scholars for centuries. Referring to a tiger, the speaker asks: What immortal hand or eye / Could frame thy fearful symmetry? (lines 3 4). Read literally, this question asks what type of deity could conceptualise a creature like the tiger. The speaker s basic assumption is that the nature of this beast could tell us something about the nature of its Creator, much as we expect a poem like this to tell us something about the poet. Read in isolation, the fi rst stanza is deceptively naive, for example, the description burning bright (line 1) has positive connotations of starlight, perhaps, or a cheerful bonfi re, and is used to refer to the orange of the tiger s coat. The only hint of the violent threat the tiger represents, is the adjective fearful (line 4). As the speaker s question and the metaphor of fi re are developed over the next three stanzas, the beast s capacity for violence becomes clear. In stanza two, the speaker wonders whether the fi re of the tiger s eyes comes from hell, the distant deeps or heaven, the skies (line 5). In stanza four, the speaker suggests that the tiger s brain was forged in a blacksmith s fi re. The tension of these lines is heightened by the repetition of the word what, a poetic device known as anaphora. The metaphor of fi re is effective because it refers to the colour of the tiger s coat. It is also effective because the nature of fi re is essentially contradictory. Fire can be both a creative element and a destructive force. It is the element at the centre of humankind s survival and development, as well as a force which can easily run out of control and burn down an entire city. This dichotomy is further complicated by the fact that fi re can purify and even create through destruction, as new vegetation grows after a veld fi re. The implicit contradiction of the metaphor is made explicit in the fi fth stanza. The speaker describes how the Creator smiles even as the heavens cry before asking: Did He who made the Lamb make thee? This variation on the question of the previous four stanzas refers to another poem written by Blake, titled The Lamb. This poem was published in the volume Songs of Innocence fi ve years before the publication of Songs of Experience. The Lamb is an almost child-like revelation of the beauty and innocence of the natural world, which (just as in this poem) is thought to reveal the nature of its Creator. In that poem, the speaker asks: Dost thou know who made thee? In light of this, the question posed by the speaker in The Tyger takes on a more sinister dimension. The speaker is asking 26 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

11 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 how to reconcile the innocent and violent aspects of the natural world, and therefore of this world s Creator. This in the question that has plagued scholars for centuries: how can good and evil exist in the same world? It is in light of the tension between the tiger s capacity for violence and the lamb s innocence, and the moral implications of this, that the last stanza repeats the lines of the fi rst stanza. While the fi rst stanza was deceptively naive, the last stanza is unsettling and threatening. There is a crucial difference in the last line of either stanza: in the fi rst stanza, the speaker asks What immortal hand or eye / Could frame thy fearful symmetry? (lines 3 4); in the last, he replaces the word could with dare (line 24). The last stanza might be described as angry or even accusing. The speaker seems to be asking what right the Creator has to create a world in which both violence and innocence, good and evil, exist. Some critics argue that, for this reason, the poem lacks resolution. It cannot give us an answer to the problem it poses; however, other critics argue that this last stanza holds a vital clue. The lines Tyger! Tyger! burning bright / In the forests of the night (lines 1 2) retain their initial beauty and power, and so the speaker might be suggesting that beauty and violence, good and evil, are intertwined and cannot be separated. This is the nature of a dichotomy. RENAISSANCE ROMANTIC QUESTIONS 1. Identify the Figure of Speech that is used in line 1 and explain its effectiveness. (3) 2. Represent the rhyme scheme of the poem (using the form ABCD). (2) POST- 3. Who is the speaker addressing in the poem? Justify your answer by quoting from the poem. (2) THE ENGLISH EXPERIENCE

12 THE COMPLETE IEB POETRY RESOURCE 4. Defi ne the verb dare in your own words, explaining why the poet has repeated it in lines 7, 8, 16 and 24. (3) RENAISSANCE ROMANTIC 5. Paraphrase stanza three. (4) 6. What does the lamb symbolise and why is this symbol important in the context of the poem? (4) POST- 7. a. Choose one of the references to fi re in the poem. Explain it in your own words stating whether you think the metaphorical usage is effective. Offer sound reasoning for your response. (5) 28 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

13 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE b. Consider your response to the previous question. In a well-constructed paragraph, explain how the extended metaphor of fi re develops the theme of the poem. (5) RENAISSANCE ROMANTIC 8. What effect is created by repeating the fi rst stanza of the poem at the end? (3) 9. a. Using your own words, explain what the speaker is explicitly asking in the poem. (3) POST- 9. b. Considering your answer to the previous question, explain what the speaker might be implying. (Note: there may be several answers to this question, not all of which have been covered in this analysis.) (3) THE ENGLISH EXPERIENCE

14 THE COMPLETE IEB POETRY RESOURCE RENAISSANCE ROMANTIC 10. Some more recent editions of this poem use the modern spelling of tiger ; others don t. Can you think of a good reason for retaining the archaic spelling of tyger? (2) 11. a. The Tyger and other poems by William Blake have infl uenced generations of musicians, from classical composers to rock bands. Why do you think this is? (3) 11. b. Did you appreciate the poem? Offer sound reasoning for your response. (3) POST- 12. Compare William Blake s The Tyger with The Horses by the Modernist Ted Hughes. (A copy of The Horses follows this question). Like The Tyger, The Horses uses simple but emotive language and rhythm to convey complex, even unsettling ideas about spirituality and one s relationship with the natural world. Write a paragraph discussing the different ways in which the two poets address their subject. (5) THE HORSES (TED HUGHES) I climbed through woods in the hour-before-dawn dark. 1 Evil air, a frost-making stillness, Not a leaf, not a bird, A world cast in frost. I came out above the wood Where my breath left tortuous statues in the iron light. 5 But the valleys were draining the darkness 30 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

15 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 Till the moorline blackening dregs of the brightening grey Halved the sky ahead. And I saw the horses: Huge in the dense grey ten together Megalith-still. They breathed, making no move, 10 With draped manes and tilted hind-hooves, Making no sound. RENAISSANCE I passed: not one snorted or jerked its head. Grey silent fragments Of a grey still world. 15 ROMANTIC I listened in emptiness on the moor-ridge. The curlew s tear turned its edge on the silence. Slowly detail leafed from the darkness. Then the sun Orange, red, red erupted. Silently, and splitting to its core tore and fl ung cloud, 20 Shook the gulf open, showed blue, And the big planets hanging I turned Stumbling in a fever of a dream, down towards The dark woods, from the kindling tops, 25 And came to the horses. There, still they stood, But now steaming, and glistening under the fl ow of light, Their draped stone manes, their tilted hind-hooves Stirring under a thaw while all around them 30 The frost showed its fi res. But still they made no sound. Not one snorted or stamped, Their hung heads patient as the horizons, High over valleys, in the red levelling rays POST- THE ENGLISH EXPERIENCE

16 THE COMPLETE IEB POETRY RESOURCE In din of the crowded streets, going among the years, the faces, 35 RENAISSANCE ROMANTIC May I still meet my memory in so lonely a place Between the streams and the red clouds, hearing curlews, Hearing the horizons endure. [50] POST- 32 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

17 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 TWO THIEVES (CHARL-PIERRE NAUDÉ) That was the day I lost everything I owned. 1 Cleaned out, ransacked, completely unexpected. By two strangers, a young woman and a little girl. There was a warning out on this latest tactic. They use innocents, then ambush you from behind. 5 I heard the soft, shy knocks at my front door. Like a Visitation, from the Other Side. Testing, of course, if someone is home I waited for the crowbar sounds, a bread knife in my hand. Until the laughter left, the crystal sacrament. 10 In a fl utter, like two pigeons from a silk bag. But I remained prepared. I still don t understand. I heeded the warning. I knew they would return. But none of this saved me from the terrible deception. I opened the door, the knife behind my back. 15 They ve almost given up hope, the woman said. Her daughter would like a leaf from my tree, because it s silver. I looked right past them for the danger Lurking behind, the reason for the decoy. They were poor, but crowned with smiles. 20 Ask God for a leaf, it s His tree, I said grumpily. Another man wanted to shoot us, the child said proudly; Oblivious to the fact that then she would be dead. I watched them walk away, cloaked in their music. Mother and daughter. With their miracle, their little leaf. 25 Nobody attacked me. Nothing else happened. Except that I lost my desire to own anything. And if you lose the desire, you lose everything. They robbed me blind, those two thieves. RENAISSANCE ROMANTIC POST- THE ENGLISH EXPERIENCE

18 THE COMPLETE IEB POETRY RESOURCE QUESTIONS 1. Explain why the opening line of the poem is arresting. (1) RENAISSANCE ROMANTIC 2. The fi rst three lines of this poem are all fragmented (incomplete) sentences. They are also all end-stopped. How does this affect the way the poet wants us to read the lines? (2) 3. What ploy was the speaker expecting the robbers to use? Was he prepared for it? Substantiate your answer. (3) POST- 4. What phrase in lines 1 to 10 subtly changes the reader s attitude to the robbers and why? (2) 5. Explain how the mother and child had robbed the poet of everything. (2) 134 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTION OF THE COPYRIGHT ACT (NO )

19 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE The title of the poem Two Thieves changes its meaning by the time we get to the last line: They robbed me blind, those two thieves. Explain. (2) OZYMANDIAS OF EGYPT (PERCY BYSSHE SHELLEY) I met a traveller from an antique land 1 Who said: Two vast and trunkless legs of stone Stand in the desert. Near them on the sand, Half sunk, a shattered visage lies, whose frown And wrinkled lip and sneer of cold command 5 Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them and the heart that fed. And on the pedestal these words appear: My name is Ozymandias, King of Kings: 10 Look on my works, ye mighty, and despair! Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare, The lone and level sands stretch far away. 7. Are there any similarities in the themes of these two poems or are they as different (regarding theme) as they are in style, tone and structure? (3) [15] RENAISSANCE ROMANTIC POST- THE ENGLISH EXPERIENCE

20 PRESCRIBED POEMS AND LEARNING MATERIALS FOR GRADE 12 THE COMPLETE IEB POETRY RESOURCE QUESTION RUBRIC DOVER BEACH - MATTHEW ARNOLD Name: Class: Date: ESSAY QUESTION In an essay of words, discuss the emotional state of the poet in Dover Beach comparing and contrasting it with the emotions expressed in Edvard Munch s famous painting The Scream alongside. RENAISSANCE ROMANTIC (Wikimedia Commons) CRITERIA INADEQUATE - ELEMENTARY ACHIEVEMENT MODERATE - ADEQUATE ACHIEVEMENT SUBSTANTIAL - MERITORIOUS ACHIEVEMENT OUTSTANDING ACHIEVEMENT LEVELS LEVEL 1 2 LEVEL 3 4 LEVEL 5 6 LEVEL 7 MARKS / FOCUS AND STRUCTURE Essay lacks cohesion. Too many random ideas that are not linked effectively. Several sections are not relevant. Essay is disjointed in some sections, but a general discussion of aspects of the topic emerges. Many ideas are discussed, but some detail is irrelevant. Ideas are mostly well linked, but one or two ideas are not sequenced logically. Essay discusses relevant ideas in great detail. Ideas progress logically and are exceptionally well linked. MARKS / LANGUAGE CONVENTIONS Bland, pedestrian diction and blunt, inappropriate tone. Grammatical, punctuation and spelling errors impede meaning. Diction and tone generally appropriate, but unsophisticated. Some serious grammatical, punctuation and spelling errors. Some highly effective diction and shifts in tone. Several grammatical errors, but generally a good command of punctuation, syntax and spelling. Masterful use of appropriate diction, subtle shifts in tone and very few grammatical errors. Excellent expression. MARKS / CONTENT Not enough detail provided. No or few links made between the poem and the visual. Mostly clichéd or predictable ideas. No insight. TOTAL MARKS: /25 Enough detail only provided in parts of the essay. Some analysis of the poem and visual. Some insights present. POST- Suffi cient detail given. Relevant analysis of the poem and visual. Interesting ideas and good links made, but essay not distinctive. Excellent, precise and varied selection of detail. Insightful, mature discussion of ideas. A deep understanding revealed in analysis of the visual and poem. THE ENGLISH EXPERIENCE

21 Comprehensive resources for Matric First Language English studies Learning Materials for Grade pages of analysis, notes and tasks addressing the novel from a literary perspective and tackling all the requirements of the Matric syllabus and portfolio Learner s Study Guide 96 pages of comprehensive notes on the novel, its author and essay writing Educator s Audio Disc Set 105 minutes of professional readings, lessons and listening comprehensions NEW RESOURCE combines rich context and analysis with carefully selected range of tasks that address all of the Matric IEB requirements. Historical and literary contexts Literary analysis Content, contextual and essay questions, as well as varied enrichment tasks Unique Act-based learning format Section on exam readiness Perforated rubrics Rigorously annotated edition of the text included Accompanying answers disc Enriching and challenging both educators and learners

22 A NEW WAY TO EXPERIENCE ENGLISH COMPLETE AND UP-TO-DATE PRODUCTS THAT COVER ALL ASPECTS OF THE SYLLABUS AND PORTFOLIO COMPREHENSIVE TOOLS FOCUSED ON ACHIEVING EXAM READINESS AND SUCCESS PRODUCTS DESIGNED TO SPARK DEBATE, ENCOURAGE GROWTH, OFFER PERSONAL ENRICHMENT AND CHALLENGE BOTH EDUCATOR AND LEARNER ALIKE TASKS DESIGNED TO APPEAL TO HIGH ORDER THINKING AND MEET THE LATERAL SHIFTS OF THE CURRENT MATRIC EXAMINATION STIMULATING GUEST LECTURES ON RESOURCE SETWORKS THAT OFFER INTERESTING PERSPECTIVES, FRESH INSIGHTS AND ARE GUARANTEED TO INSPIRE EVEN THE MOST RETICENT LEARNER FIND OUT MORE: TEL: +27 (0) FAX: +27 (0) , 9 TH AVENUE, HIGHLANDS NORTH, JOHANNESBURG, SOUTH AFRICA THE ENGLISH EXPERIENCE - FREEING EDUCATORS TO TEACH!