Prove It+: Poetry (Power & Conflict and Unseen)

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1 Points to remember: 1. You will be given a blank poem from the 15 studied in class and be asked to compare this to another poem from the cluster. e.g. Compare how poets present ideas about the effects of power in Ozymandias and in one other poem from Power and Conflict. (30 marks) 2. You will be given a blank unseen poem, one which you have not studied in class, and will be asked to answer the essay question provided, (24 marks). You will then be asked to compare this poem with another unseen poem, (8 marks). You are assessed for: AO1: maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations. (12 marks) AO2: analyse the language, form and structure used by a writer to create meanings and effects; use relevant subject terminology where appropriate. (12 marks) AO3: show understanding of the relationships between texts and the contexts in which they were written. (6 marks) AO4: use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation. (4 marks) The following tasks will help you prepare for the exam. 1. Create a comparative table linking the poems together through key themes. 2. For each poem explore its context: what was happening socially and historically during the time in which the poem was written and when the poet was alive. 3. Generate a list of all the poetic devices, their definitions and an example, then devise a game or revision question cards for your friends and family to quiz you. 4. Choose one quotation from each poem and analyse the language using PETER to reach a conclusion as to what is being communicated. 5. Explore the title of each poem, drawing inferences and reaching conclusions about the poem's tone and theme. 6. Choose one of the unseen poems attached and complete the following: STYLIST the poem, plot the poem's narrative (story), identify who the narrative voice, identify the audience and then conclude the poem's key theme or message. To develop this further, take your annotated poem to your teacher and ask them for an essay title. 7. You are now ready to answer a series of exam questions. Remember to: use PETER structure, refer to context and compare with another poem of your choice. 8. SA using mark scheme then get your teacher to check your mark.

2 Your revision checklist: Identify Form, Language and Structure for each poem. Identify and learn 2-3 key quotations for each poem. Learn a number of comparative connectives to use in your essays. Identify the key links between the poems. Choose 5 unseen poems and practise identifying poetic devices. Choose 5 unseen poems and practise using STYLIST techniques. Choose 5 unseen poems and practise identifying the form and structure. Exam Practice 1 Exam Practice 2 Exam Practice 3 Exam Practice 4 Exam Practice 5 Exam Practice 6 Create your own essay title for the Poetry and Conflict cluster. Create a mark scheme for this question and indicative content. Create your own essay title for the Unseen poetry comparison question. Create a mark scheme for this question and indicative content. R A G Exam Practice questions: 1. Compare how poets present ideas about the effects of power in Ozymandias and in one other poem from Power and Conflict. 2. Compare the ways poets present feelings about power in London and one other poem from Power and Conflict. 3. Compare how poets present attitudes to warfare in Bayonet Charge and in one other poem from Power and Conflict. 4. Compare the methods poets use to explore ideas about patriotism in The Charge of the Light Brigade and in one other poem from Power and Conflict. 5. Compare how poets present attitudes to personal power and identity in Tissue and in one other poem from Power and conflict. 6. Compare the ways poets present feelings about separation because of conflict in The Emigrée and one other poem from Power and Conflict.

3 Unseen Poems William Blake: A Poison Tree I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe: I told it not, my wrath did grow. And I watered it in fears, Night and morning with my tears; And I sunned it with smiles, And with soft deceitful wiles. And it grew both day and night, Till it bore an apple bright. And my foe beheld it shine. And he knew that it was mine, And into my garden stole When the night had veiled the pole; In the morning glad I see My foe outstretched beneath the tree. Thomas Hardy: The Voice Woman much missed, how you call to me, call to me, Saying that now you are not as you were When you had changed from the one who was all to me, But as at first, when our day was fair. Can it be you that I hear? Let me view you, then, Standing as when I drew near to the town Where you would wait for me: yes, as I knew you then, Even to the original air-blue gown! Or is it only the breeze in its listlessness Traveling across the wet mead to me here, You being ever dissolved to wan wistlessness, Heard no more again far or near? Thus I; faltering forward, Leaves around me falling, Wind oozing thin through the thorn from norward,

4 And the woman calling Christina Rossetti: A Birthday My heart is like a singing bird Whose nest is in a watered shoot; My heart is like an apple-tree Whose boughs are bent with thickset fruit; My heart is like a rainbow shell That paddles in a halcyon sea; My heart is gladder than all these Because my love is come to me. Raise me a dais of silk and down; Hang it with vair and purple dyes; Carve it in doves and pomegranates, And peacocks with a hundred eyes; Work it in gold and silver grapes, In leaves and silver fleurs-de-lys; Because the birthday of my life Is come, my love is come to me. Dorothy Parker: A Well-Worn Story In April, in April, My one love came along, And I ran the slope of my high hill To follow a thread of song. His eyes were hard as porphyry With looking on cruel lands; His voice went slipping over me Like terrible silver hands. Together we trod the secret lane And walked the muttering town. I wore my heart like a wet, red stain On the breast of a velvet gown. In April, in April, My love went whistling by, And I stumbled here to my high hill Along the way of a lie. Now what should I do in this place But sit and count the chimes,

5 And splash cold water on my face And spoil a page with rhymes? Brian Patten: In the Orchard After Midnight February s over in the orchard after midnight, Muffled up against the cold, whiskey on the table, Head back, staring skywards I raise a glass to him two months dead now The grass white, crunchy as sugar, His ghost, moth quiet, Steps out of nowhere and is beside me. Blue shirt open at neck, fawn slacks, sandals- No coat needed against this worldly frost- He smiles, takes a chair opposite, Falls through it, grimaces, nods OK, tries again. Not used to this being dead stuff, he says. Sits finally, breath smelling of ice and apples. Underfoot, violets turn mauve in the moonlight, Tendrils of river mist drift through him. Somewhere an owl takes out its oboe. I pour him one ghost glass after another We down the bottle who cares if we get smashed now? Celia s up in London can t see us. The stars are bubbling away nicely, he says. It s God s soup, spilt out across the heavens, I reply. We exchange banter, his ghost and I, the best of mates still.

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