Below is the link to the power points you have created. Go through them carefully. Most of them provide the level of detail on specific episodes in the text that you will need to succeed in your controlled assessment. Good Luck!
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/mice/
Friday, 21 January 2011
Thursday, 14 October 2010
Writing to Describe
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Writing%20to%20Describe.ppsx
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Writing%20to%20Describe%202.ppsx
(These are Powerpoint 2007 Shows - If your download has a .zip extension, change it to .ppsx)
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Writing%20to%20Describe.ppsx
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Writing%20to%20Describe%202.ppsx
(These are Powerpoint 2007 Shows - If your download has a .zip extension, change it to .ppsx)
Monday, 19 October 2009
A View from the Bridge by Arthur Miller
Paragraph Starts for essay on Catherine's role in the tragedy
Eddie Carbone is clearly the one most to blame for his own death. He is the one who is over-protective; for example he tells Catherine, who wants a job, “I don’t like that neighbourhood over there.” Because he is over-protective, Catherine has had to lead a very sheltered life, so the first attractive man that comes along, she falls instantly in love with him. Eddie is also very possessive. For example, …………………. .………………………………………………………………………………………………………………………………………………………………………………………………………………… . Another weakness of Eddie is that he will not admit……………………………..
…………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………….. Eddie is unwilling to compromise or “settle for half”. For example, ………………………………………………………………………………………………
…………………………………………………………………………………………………………………
Finally, it is Eddie who produces the knife at the end which kills him: “Eddie springs a knife into his hand.” The consequence of this, obviously, is that …………………………………………………………………….
Para. 2
However, Catherine clearly plays a role in Eddie Carbone’s fate because she is the object of his desire, even though it is not her fault she is.
Para. 3
Catherine could, however, be blamed for encouraging Eddie’s feelings. Beatrice points out to her that she has been behaving like a baby: “Don’t tell me you don’t know, you’re not a baby anymore.” Beatrice is telling her to grow up, stop behaving like a child. Because she has behaved like a baby, it has allowed………..
Beatrice also talks to her about the way she has dressed around Eddie: “You still walk………………….” Beatrice is telling her some of her behaviour is inappropriate given she is ……………………
Finally, she tells Catherine she has to leave with Rodolpho: “You’re a woman………………………………………” Because she hasn’t left, Eddie………………………………..
Paragraph 4
Her initial reaction to Rodolpho is also unhelpful for Eddie. As soon as she meets Rodolpho, Catherine seems excited and interested. She notices his appearance: “he’s practically blond”. She even asks if he is married: “………”. Later she praises his singing: “………”. All this happens in the first few minutes of their meeting. Eddie is immediately unhappy and jealous of the attention she gives Rodolpho: “……….”. Later in the play, at the end of Act One, after Eddie has humiliated her by sending her off to change her shoes, Catherine deliberately rebels against………”……………………….”. She has had enough of Eddie’s over-dominance. Eddie has to watch her dance. He is frustrated and angry so……
Paragraph 5
Aspects of her behaviour could be seen as more suitable for a wife or lover than for a niece. Just before the ‘kisses scene’ Catherine talks to Rodolpho and criticises Beatrice, She says she can tell how he feels: “………..”, she also tells Rodolpho how well she knows Eddie: “………………………………………………………..”. What this shows is that……………….
Paragraph 6
Finally in spite of Eddie’s opposition, Catherine pushes on with the relationship and her wedding. This in turn pushes Eddie to……………………..
Paragraph 7
The moment when she is initially alone with Rodolpho in the house for the first time is possibly the most important in the play. It starts when she wants to test out Eddie’s theory about the passport. Miller includes a lot of stage directions during the scene to make it very clear how he wants the actors to behave. At the start he asks for Catherine to say “(softly) Hold me”. Miller wants this to be a romantic moment, and for Catherine to show she has decided to commit herself to Rodolpho. Miller then wants to show that Rodolpho is loving and protective so the stage direction is “(clasping her to him)”. The fact that this is a major, emotional moment for Catherine is emphasised by Miller’s next direction: “(She is weeping)”. Rodolpho is then instructed…………………………
(THERE ARE 14 OTHER STAGE DIRECTIONS: MENTION AT LEAST 7 OF THEM, EMPHASISING WHAT MILLER IS TRYING TO SHOW BY INCLUDING HIS DIRECTIONS)
Eddie Carbone is clearly the one most to blame for his own death. He is the one who is over-protective; for example he tells Catherine, who wants a job, “I don’t like that neighbourhood over there.” Because he is over-protective, Catherine has had to lead a very sheltered life, so the first attractive man that comes along, she falls instantly in love with him. Eddie is also very possessive. For example, …………………. .………………………………………………………………………………………………………………………………………………………………………………………………………………… . Another weakness of Eddie is that he will not admit……………………………..
…………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………….. Eddie is unwilling to compromise or “settle for half”. For example, ………………………………………………………………………………………………
…………………………………………………………………………………………………………………
Finally, it is Eddie who produces the knife at the end which kills him: “Eddie springs a knife into his hand.” The consequence of this, obviously, is that …………………………………………………………………….
Para. 2
However, Catherine clearly plays a role in Eddie Carbone’s fate because she is the object of his desire, even though it is not her fault she is.
Para. 3
Catherine could, however, be blamed for encouraging Eddie’s feelings. Beatrice points out to her that she has been behaving like a baby: “Don’t tell me you don’t know, you’re not a baby anymore.” Beatrice is telling her to grow up, stop behaving like a child. Because she has behaved like a baby, it has allowed………..
Beatrice also talks to her about the way she has dressed around Eddie: “You still walk………………….” Beatrice is telling her some of her behaviour is inappropriate given she is ……………………
Finally, she tells Catherine she has to leave with Rodolpho: “You’re a woman………………………………………” Because she hasn’t left, Eddie………………………………..
Paragraph 4
Her initial reaction to Rodolpho is also unhelpful for Eddie. As soon as she meets Rodolpho, Catherine seems excited and interested. She notices his appearance: “he’s practically blond”. She even asks if he is married: “………”. Later she praises his singing: “………”. All this happens in the first few minutes of their meeting. Eddie is immediately unhappy and jealous of the attention she gives Rodolpho: “……….”. Later in the play, at the end of Act One, after Eddie has humiliated her by sending her off to change her shoes, Catherine deliberately rebels against………”……………………….”. She has had enough of Eddie’s over-dominance. Eddie has to watch her dance. He is frustrated and angry so……
Paragraph 5
Aspects of her behaviour could be seen as more suitable for a wife or lover than for a niece. Just before the ‘kisses scene’ Catherine talks to Rodolpho and criticises Beatrice, She says she can tell how he feels: “………..”, she also tells Rodolpho how well she knows Eddie: “………………………………………………………..”. What this shows is that……………….
Paragraph 6
Finally in spite of Eddie’s opposition, Catherine pushes on with the relationship and her wedding. This in turn pushes Eddie to……………………..
Paragraph 7
The moment when she is initially alone with Rodolpho in the house for the first time is possibly the most important in the play. It starts when she wants to test out Eddie’s theory about the passport. Miller includes a lot of stage directions during the scene to make it very clear how he wants the actors to behave. At the start he asks for Catherine to say “(softly) Hold me”. Miller wants this to be a romantic moment, and for Catherine to show she has decided to commit herself to Rodolpho. Miller then wants to show that Rodolpho is loving and protective so the stage direction is “(clasping her to him)”. The fact that this is a major, emotional moment for Catherine is emphasised by Miller’s next direction: “(She is weeping)”. Rodolpho is then instructed…………………………
(THERE ARE 14 OTHER STAGE DIRECTIONS: MENTION AT LEAST 7 OF THEM, EMPHASISING WHAT MILLER IS TRYING TO SHOW BY INCLUDING HIS DIRECTIONS)
Tuesday, 25 November 2008
Your next piece of coursework is one that will be entered for your English Literature coursework folder. It is worth 7.5% of your total Literature mark.
You have to compare and contrast a poem written before 1914, to another poem, preferably one written after 1914. All of you will be writing about Patrolling Barnegat by Walt Whitman, written in 1856. You will be given a booklet of other 'storm' poems by the likes of Ted Hughes, Sylvia Plath and Seamus Heaney. You will have to choose one of these poems to compare the Whitman poem to.
The basic structure of the essay will be:
1)Write an introduction in which you make some basic comparisons and contrasts
2)Write a detailed discussion of the first poem: go through it line by line commenting on the poet’s techniques and why they are used
3)Write a detailed discussion of the second poem: go through it line by line commenting on the poet’s techniques and why they are used but also now make a number of detailed points of comparison and contrast.
4)Conclude by saying which of the two poems you preferred and why.
You wil be working on Patrolling Barnegat in a pair and producing a class powerpoint on the poem. The link to this powerpoint is below:
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Year%2010%20notes%20on%20Patrolling%20Barnegat.pps
The link to your presentations on the other poems is below:
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Wind%20hugh%20and%20tom.pps
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/the%20storm%20-%20James%20&%20Robert.pps
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Wind%20hugh%20and%20tom.pps
Copies of the other poems follow below:
Wind
This house has been far out at sea all night,
The woods crashing through darkness, the booming hills,
Winds stampeding the fields under the window
Floundering black astride and blinding wet
Till day rose; then under an orange sky
The hills had new places, and wind wielded
Blade-light, luminous black and emerald,
Flexing like the lens of a mad eye.
At noon I scaled along the house-side as far as
The coal-house door. Once I looked up -
Through the brunt wind that dented the balls of my eyes
The tent of the hills drummed and strained its guyrope,
The fields quivering, the skyline a grimace,
At any second to bang and vanish with a flap;
The wind flung a magpie away and a black-
Back gull bent like an iron bar slowly. The house
Rang like some fine green goblet in the note
That any second would shatter it. Now deep
In chairs, in front of the great fire, we grip
Our hearts and cannot entertain book, thought,
Or each other. We watch the fire blazing,
And feel the roots of the house move, but sit on,
Seeing the window tremble to come in,
Hearing the stones cry out under the horizons.
Ted Hughes
The Sea
The sea is a hungry dog,
Giant and grey.
He rolls on the beach all day.
With his clashing teeth and shaggy jaws
Hour upon hour he gnaws
The rumbling, tumbling stones,
And 'Bones, bones, bones, bones! '
The giant sea-dog moans,
Licking his greasy paws.
And when the night wind roars
And the moon rocks in the stormy cloud,
He bounds to his feet and snuffs and sniffs,
Shaking his wet sides over the cliffs,
And howls and hollos long and loud.
But on quiet days in May or June,
When even the grasses on the dune
Play no more their reedy tune,
With his head between his paws
He lies on the sandy shores,
So quiet, so quiet, he scarcely snores.
James Reeves
Wuthering Heights
The horizons ring me like faggots,
Tilted and disparate, and always unstable.
Touched by a match, they might warm me,
And their fine lines singe
The air to orange
Before the distances they pin evaporate,
Weighting the pale sky with a soldier color.
But they only dissolve and dissolve
Like a series of promises, as I step forward.
There is no life higher than the grasstops
Or the hearts of sheep, and the wind
Pours by like destiny, bending
Everything in one direction.
I can feel it trying
To funnel my heat away.
If I pay the roots of the heather
Too close attention, they will invite me
To whiten my bones among them.
The sheep know where they are,
Browsing in their dirty wool-clouds,
Gray as the weather.
The black slots of their pupils take me in.
It is like being mailed into space,
A thin, silly message.
They stand about in grandmotherly disguise,
All wig curls and yellow teeth
And hard, marbly baas.
I come to wheel ruts, and water
Limpid as the solitudes
That flee through my fingers.
Hollow doorsteps go from grass to grass;
Lintel and sill have unhinged themselves.
Of people and the air only
Remembers a few odd syllables.
It rehearses them moaningly:
Black stone, black stone.
The sky leans on me, me, the one upright
Among all horizontals.
The grass is beating its head distractedly.
It is too delicate
For a life in such company;
Darkness terrifies it.
Now, in valleys narrow
And black as purses, the house lights
Gleam like small change.
Sylvia Plath
The Storm by Theodore Roethke
1
Against the stone breakwater,
Only an ominous lapping,
While the wind whines overhead,
Coming down from the mountain,
Whistling between the arbors, the winding terraces;
A thin whine of wires, a rattling and flapping of leaves,
And the small street-lamp swinging and slamming against
the lamp pole.
Where have the people gone?
There is one light on the mountain.
2
Along the sea-wall, a steady sloshing of the swell,
The waves not yet high, but even,
Coming closer and closer upon each other;
A fine fume of rain driving in from the sea,
Riddling the sand, like a wide spray of buckshot,
The wind from the sea and the wind from the mountain contending,
Flicking the foam from the whitecaps straight upward into the darkness.
A time to go home!--
And a child's dirty shift billows upward out of an alley,
A cat runs from the wind as we do,
Between the whitening trees, up Santa Lucia,
Where the heavy door unlocks,
And our breath comes more easy--
Then a crack of thunder, and the black rain runs over us, over
The flat-roofed houses, coming down in gusts, beating
The walls, the slatted windows, driving
The last watcher indoors, moving the cardplayers closer
To their cards, their anisette.
3
We creep to our bed, and its straw mattress.
We wait; we listen.
The storm lulls off, then redoubles,
Bending the trees half-way down to the ground,
Shaking loose the last wizened oranges in the orchard,
Flattening the limber carnations.
A spider eases himself down from a swaying light-bulb,
Running over the coverlet, down under the iron bedstead.
Water roars into the cistern.
We lie closer on the gritty pillow,
Breathing heavily, hoping--
For the great last leap of the wave over the breakwater,
The flat boom on the beach of the towering sea-swell,
The sudden shudder as the jutting sea-cliff collapses,
And the hurricane drives the dead straw into the living pine-tree.
Inversnaid
This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
A windpuff-bonnet of fawn-froth
Turns and twindles over the broth
Of a pool so pitchblack, fell-frowning,
It rounds and rounds despair to drowning.
Degged with dew, dappled with dew
Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.
What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.
Gerard Manley Hopkins
Words Description
darksome (line 1) mixture of 'dark' and 'handsome'
burn (line 1) small stream
coop (l. 3) "enclosed hollow" (definition from Hopkins' notebook)
comb (l. 3) rippling stretch of water
Flutes (l. 4) makes a fluted or frilled shape
windpuff-bonnet (l. 5) froth which sits on the water like a hat; or rides it like a sail (an older meaning of bonnet)
fawn (l. 5) combines 'yellowish-brown' and 'caressing'; also suggests faun, a god of the wilderness
twindles (l. 6) a mixture of 'twists', 'twitches' and 'dwindles'
fell-frowning (l. 7) frowning fiercely, and also reflecting the fell-side
rounds(l. 8) mixture of 'curves' and 'surrounds'; 'turns and answers back'; and 'whispers' (an obsolete meaning)
Degged (l. 9) sprinkled (Scots dialect)
groins (l. 10) curved edges
braes (l. 10) steep bank or hillside (Scots dialect)
heathpacks (l.11) 'heather clumps' + 'heath flocks'
flitches (l.11) mixture of flitches= 'hunk or side of meat' and flitches='flicks or streaks'
beadbonny (l. 12) beautiful (bonny) with beads
Robert Frost - Storm Fear
WHEN the wind works against us in the dark,
And pelts with snow
The lowest chamber window on the east,
And whispers with a sort of stifled bark,
The beast,
‘Come out! Come out!’--
It costs no inward struggle not to go,
Ah, no!
I count our strength,
Two and a child,
Those of us not asleep subdued to mark
How the cold creeps as the fire dies at length,--
How drifts are piled,
Dooryard and road ungraded,
Till even the comforting barn grows far away
And my heart owns a doubt
Whether ’tis in us to arise with day
And save ourselves unaided.
Storm on the Island
We are prepared: we build our houses squat,
Sink walls in rock and roof them with good slate.
The wizened earth had never troubled us
With hay, so as you can see, there are no stacks
Or stooks that can be lost. Nor are there trees
Which might prove company when it blows full
Blast: you know what I mean - leaves and branches
Can raise a chorus in a gale
So that you can listen to the thing you fear
Forgetting that it pummels your house too.
But there are no trees, no natural shelter.
You might think that the sea is company,
Exploding comfortably down on the cliffs
But no: when it begins, the flung spray hits
The very windows, spits like a tame cat
Turned savage. We just sit tight while wind dives
And strafes invisibly. Space is a salvo.
We are bombarded by the empty air.
Strange, it is a huge nothing that we fear.
Seamus Heaney
You have to compare and contrast a poem written before 1914, to another poem, preferably one written after 1914. All of you will be writing about Patrolling Barnegat by Walt Whitman, written in 1856. You will be given a booklet of other 'storm' poems by the likes of Ted Hughes, Sylvia Plath and Seamus Heaney. You will have to choose one of these poems to compare the Whitman poem to.
The basic structure of the essay will be:
1)Write an introduction in which you make some basic comparisons and contrasts
2)Write a detailed discussion of the first poem: go through it line by line commenting on the poet’s techniques and why they are used
3)Write a detailed discussion of the second poem: go through it line by line commenting on the poet’s techniques and why they are used but also now make a number of detailed points of comparison and contrast.
4)Conclude by saying which of the two poems you preferred and why.
You wil be working on Patrolling Barnegat in a pair and producing a class powerpoint on the poem. The link to this powerpoint is below:
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Year%2010%20notes%20on%20Patrolling%20Barnegat.pps
The link to your presentations on the other poems is below:
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Wind%20hugh%20and%20tom.pps
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/the%20storm%20-%20James%20&%20Robert.pps
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/Wind%20hugh%20and%20tom.pps
Copies of the other poems follow below:
Wind
This house has been far out at sea all night,
The woods crashing through darkness, the booming hills,
Winds stampeding the fields under the window
Floundering black astride and blinding wet
Till day rose; then under an orange sky
The hills had new places, and wind wielded
Blade-light, luminous black and emerald,
Flexing like the lens of a mad eye.
At noon I scaled along the house-side as far as
The coal-house door. Once I looked up -
Through the brunt wind that dented the balls of my eyes
The tent of the hills drummed and strained its guyrope,
The fields quivering, the skyline a grimace,
At any second to bang and vanish with a flap;
The wind flung a magpie away and a black-
Back gull bent like an iron bar slowly. The house
Rang like some fine green goblet in the note
That any second would shatter it. Now deep
In chairs, in front of the great fire, we grip
Our hearts and cannot entertain book, thought,
Or each other. We watch the fire blazing,
And feel the roots of the house move, but sit on,
Seeing the window tremble to come in,
Hearing the stones cry out under the horizons.
Ted Hughes
The Sea
The sea is a hungry dog,
Giant and grey.
He rolls on the beach all day.
With his clashing teeth and shaggy jaws
Hour upon hour he gnaws
The rumbling, tumbling stones,
And 'Bones, bones, bones, bones! '
The giant sea-dog moans,
Licking his greasy paws.
And when the night wind roars
And the moon rocks in the stormy cloud,
He bounds to his feet and snuffs and sniffs,
Shaking his wet sides over the cliffs,
And howls and hollos long and loud.
But on quiet days in May or June,
When even the grasses on the dune
Play no more their reedy tune,
With his head between his paws
He lies on the sandy shores,
So quiet, so quiet, he scarcely snores.
James Reeves
Wuthering Heights
The horizons ring me like faggots,
Tilted and disparate, and always unstable.
Touched by a match, they might warm me,
And their fine lines singe
The air to orange
Before the distances they pin evaporate,
Weighting the pale sky with a soldier color.
But they only dissolve and dissolve
Like a series of promises, as I step forward.
There is no life higher than the grasstops
Or the hearts of sheep, and the wind
Pours by like destiny, bending
Everything in one direction.
I can feel it trying
To funnel my heat away.
If I pay the roots of the heather
Too close attention, they will invite me
To whiten my bones among them.
The sheep know where they are,
Browsing in their dirty wool-clouds,
Gray as the weather.
The black slots of their pupils take me in.
It is like being mailed into space,
A thin, silly message.
They stand about in grandmotherly disguise,
All wig curls and yellow teeth
And hard, marbly baas.
I come to wheel ruts, and water
Limpid as the solitudes
That flee through my fingers.
Hollow doorsteps go from grass to grass;
Lintel and sill have unhinged themselves.
Of people and the air only
Remembers a few odd syllables.
It rehearses them moaningly:
Black stone, black stone.
The sky leans on me, me, the one upright
Among all horizontals.
The grass is beating its head distractedly.
It is too delicate
For a life in such company;
Darkness terrifies it.
Now, in valleys narrow
And black as purses, the house lights
Gleam like small change.
Sylvia Plath
The Storm by Theodore Roethke
1
Against the stone breakwater,
Only an ominous lapping,
While the wind whines overhead,
Coming down from the mountain,
Whistling between the arbors, the winding terraces;
A thin whine of wires, a rattling and flapping of leaves,
And the small street-lamp swinging and slamming against
the lamp pole.
Where have the people gone?
There is one light on the mountain.
2
Along the sea-wall, a steady sloshing of the swell,
The waves not yet high, but even,
Coming closer and closer upon each other;
A fine fume of rain driving in from the sea,
Riddling the sand, like a wide spray of buckshot,
The wind from the sea and the wind from the mountain contending,
Flicking the foam from the whitecaps straight upward into the darkness.
A time to go home!--
And a child's dirty shift billows upward out of an alley,
A cat runs from the wind as we do,
Between the whitening trees, up Santa Lucia,
Where the heavy door unlocks,
And our breath comes more easy--
Then a crack of thunder, and the black rain runs over us, over
The flat-roofed houses, coming down in gusts, beating
The walls, the slatted windows, driving
The last watcher indoors, moving the cardplayers closer
To their cards, their anisette.
3
We creep to our bed, and its straw mattress.
We wait; we listen.
The storm lulls off, then redoubles,
Bending the trees half-way down to the ground,
Shaking loose the last wizened oranges in the orchard,
Flattening the limber carnations.
A spider eases himself down from a swaying light-bulb,
Running over the coverlet, down under the iron bedstead.
Water roars into the cistern.
We lie closer on the gritty pillow,
Breathing heavily, hoping--
For the great last leap of the wave over the breakwater,
The flat boom on the beach of the towering sea-swell,
The sudden shudder as the jutting sea-cliff collapses,
And the hurricane drives the dead straw into the living pine-tree.
Inversnaid
This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
A windpuff-bonnet of fawn-froth
Turns and twindles over the broth
Of a pool so pitchblack, fell-frowning,
It rounds and rounds despair to drowning.
Degged with dew, dappled with dew
Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.
What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.
Gerard Manley Hopkins
Words Description
darksome (line 1) mixture of 'dark' and 'handsome'
burn (line 1) small stream
coop (l. 3) "enclosed hollow" (definition from Hopkins' notebook)
comb (l. 3) rippling stretch of water
Flutes (l. 4) makes a fluted or frilled shape
windpuff-bonnet (l. 5) froth which sits on the water like a hat; or rides it like a sail (an older meaning of bonnet)
fawn (l. 5) combines 'yellowish-brown' and 'caressing'; also suggests faun, a god of the wilderness
twindles (l. 6) a mixture of 'twists', 'twitches' and 'dwindles'
fell-frowning (l. 7) frowning fiercely, and also reflecting the fell-side
rounds(l. 8) mixture of 'curves' and 'surrounds'; 'turns and answers back'; and 'whispers' (an obsolete meaning)
Degged (l. 9) sprinkled (Scots dialect)
groins (l. 10) curved edges
braes (l. 10) steep bank or hillside (Scots dialect)
heathpacks (l.11) 'heather clumps' + 'heath flocks'
flitches (l.11) mixture of flitches= 'hunk or side of meat' and flitches='flicks or streaks'
beadbonny (l. 12) beautiful (bonny) with beads
Robert Frost - Storm Fear
WHEN the wind works against us in the dark,
And pelts with snow
The lowest chamber window on the east,
And whispers with a sort of stifled bark,
The beast,
‘Come out! Come out!’--
It costs no inward struggle not to go,
Ah, no!
I count our strength,
Two and a child,
Those of us not asleep subdued to mark
How the cold creeps as the fire dies at length,--
How drifts are piled,
Dooryard and road ungraded,
Till even the comforting barn grows far away
And my heart owns a doubt
Whether ’tis in us to arise with day
And save ourselves unaided.
Storm on the Island
We are prepared: we build our houses squat,
Sink walls in rock and roof them with good slate.
The wizened earth had never troubled us
With hay, so as you can see, there are no stacks
Or stooks that can be lost. Nor are there trees
Which might prove company when it blows full
Blast: you know what I mean - leaves and branches
Can raise a chorus in a gale
So that you can listen to the thing you fear
Forgetting that it pummels your house too.
But there are no trees, no natural shelter.
You might think that the sea is company,
Exploding comfortably down on the cliffs
But no: when it begins, the flung spray hits
The very windows, spits like a tame cat
Turned savage. We just sit tight while wind dives
And strafes invisibly. Space is a salvo.
We are bombarded by the empty air.
Strange, it is a huge nothing that we fear.
Seamus Heaney
Monday, 29 September 2008
Year 10 Coursework
YEAR TEN
Your first piece of coursework asks you to discuss how Shakespeare creates dramatic tension in the first half of Act Three of Romeo and Juliet.
It is an assignment that will be submitted for both your English GCSE and your English Literature GCSE.
If you are stuck for detailed ideas or were away when we looked at a section of the scene, you can find a PowerPoint version of the notes on the G drive under English and Media. It is in the Shakespeare folder, in the Romeo and Juliet folder, and the file is called Y10 Romeo Presentation. Or you can click on the link below:
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/y10%20romeo%20presentation.pps
Key Points to remember:
* You must write about the play as a work of drama, not a 'story'
* You must constantly refer to what Shakespeare does
* You must refer to the impact of his decisions/techniques on the audience
* Try to show the examiner that you are consistently addressing the question set: refer to the question set as you write
* Show that you know and understand what has happened in the play up to this point
* Show that you understand the characters Shakespeare has created, and comment on how typical or untypical they are in this scene.
Remember the five aspects Shakespeare can manipulate as a playwright to create dramatic tension:
1. Audience Expectation - the use of warnings in the play, the hints of trouble to come
Your first piece of coursework asks you to discuss how Shakespeare creates dramatic tension in the first half of Act Three of Romeo and Juliet.
It is an assignment that will be submitted for both your English GCSE and your English Literature GCSE.
If you are stuck for detailed ideas or were away when we looked at a section of the scene, you can find a PowerPoint version of the notes on the G drive under English and Media. It is in the Shakespeare folder, in the Romeo and Juliet folder, and the file is called Y10 Romeo Presentation. Or you can click on the link below:
http://www.redruth.cornwall.sch.uk/curriculum/english/dac/y10%20romeo%20presentation.pps
Key Points to remember:
* You must write about the play as a work of drama, not a 'story'
* You must constantly refer to what Shakespeare does
* You must refer to the impact of his decisions/techniques on the audience
* Try to show the examiner that you are consistently addressing the question set: refer to the question set as you write
* Show that you know and understand what has happened in the play up to this point
* Show that you understand the characters Shakespeare has created, and comment on how typical or untypical they are in this scene.
Remember the five aspects Shakespeare can manipulate as a playwright to create dramatic tension:
1. Audience Expectation - the use of warnings in the play, the hints of trouble to come
2. Audience Knowledge - he puts in motion, in this scene, characters that the audience already have a lot of awareness of; Tybalt, keen to fight in Act One, desperate to attack Romeo in the party scene; Mercutio, unstable and emotional before the party, cheeky and rude to the Nurse in Act Two, Benvolio, the peacemaker, already ineffectual at stopping a fight in Act One and here he goes again; Romeo, in love and, as such, dangerously out of touch with the conflict he has been encouraged, by Friar Lawrence, to believe he is helping to stop.
3. Entrances and Exits - look at how many there are, comment on the dramatic timing of these.
4. Actions - in this scene, there are many stage directions which indicate drmatic incidents, but also sometimes the words demand an accompanying action; think of the "Here's my fiddlestick" line.
5. Language - probably the most important thing to comment on. How does Shakespeare use it to create drama? Consider the contrasts between prose and verse, between lengthy speeches and short, between serious speeches and humorous ones. Consider the puns, the insults that occur. Consider the parallels and echoes in this scene: Mercutio's "O Romeo, Romeo...", the way Romeo and Tybalt start to use similar language to that used by Mercutio and Tybalt just before Mercutio's death.
Subscribe to:
Posts (Atom)
