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my bad xxx

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He new poet laureate, the wonderful Simon Armitage. Hurrah!

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 Grade 9 mock exam essay on Afternoons by Miri

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 Grade 9 mock exam essay on Afternoons by Miri

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AFTERNOONS - Mock GCSE timed essay by Miri.

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London Vs Living Space. A student essay from another school.

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London Vs Living Space. A student essay from another school.

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When you think it’s a good idea to revise with your mates..

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I love Ted Hughes

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Make posters like this yourself on Adobe spark App

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Philip Larkin context quotation

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Exam advice for Poetry Anthology Revision.

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Exam advice for Poetry Anthology Revision.

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BBC Bite Size on comparing poems- the hamburger idea is what we do. Look at some of the poems linked.

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BBC Bite Size on comparing poems- the hamburger idea is what we do. Look at some of the poems linked.

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An important aspect of analysing poems involves making comment on form, structure and language. For a reminder of how to approach this sort of analysis, read the study guide on .

When comparing the use of form, structure and language in two poems it's important to remember that the poets will have specifically chosen to write their poem in a particular way. They will have thought about how form, structure and language would suit their intended effect. It is particularly important that you think about ways in which form, structure and language link to meaning and effect.

Example question

Read the opening of these two poems and think about ways in which they are similar or different. Try to concentrate on their form, structure and language.

Example response

Just from the opening two lines of each poem, you can already see ways in which the poems work differently.

Which of the following responses do you think works best?

Byron uses a simile 'like a wolf on the fold' which shows how strong the army is. He compares it to a wolf attacking sheep. However, Wilfred Owen does not use a simile which makes his opening less powerful.

Both poets create a strong visual impression in the opening lines. Byron does this through the simile 'like a wolf on the fold', comparing the army to a wolf attacking helpless sheep and showing the army's power. Owen's use of 'merciless iced east winds' shows the bitter cold of the wind, and the image of it 'kniving' the soldiers shows its violence.

Example B is the strongest response. Although example A appreciates the power of Byron's opening, the understanding is weaker because it tries to match up the use of a simile too directly with Owen. Owen's opening is not powerful because it does not have a simile, the poet has just chosen a different approach.

Think about two poems you have read and focus specifically on comparing the ways in which their form, structure and language contribute to their meaning and effect.

Explore the study guide for 'The Destruction of Sennacherib' .

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Comparing poems - Eduqas - Revision 4 - GCSE English Literature - BBC Bitesize

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An important aspect of analysing poems involves making comment on form, structure and language. For a reminder of how to approach this sort of analysis, read the study guide on . When comparing the use of form, structure and language in two poems it's important to remember that the poets will have specifically chosen to write their poem in a particular way.

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Music Player for Google Drive is a simple and lightweight online music player for your audio files stored in Google Drive. It lets you open music files directly from Google Drive or from its own interface. Music Player for Google Drive offers: Playback of MP3 files, MP4, OGG (Audio), WAV, ACC (iTune's .m4a files), webm (Audio).

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Grade 9 Analysis of Dulce et Decorum Est by Wilfred Owen, His Most Famous Poem

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Simon Armitage: 'The Manhunt' - A* Analysis -  www.mrbruff.com

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William Blake was a radical visionary whose art and poetry challenged orthodoxy at every turn. Rajan Datar and guests discuss his life, work and legacy.

William Blake is now one of England's best-loved poets and artists, associated with the well-known poem "The Tyger" and the hymn "Jerusalem", regularly coined England's unofficial national anthem. But in his time he was an eighteenth century radical visionary who challenged the social order as well as political and religious orthodoxy at every turn. He was even tried for sedition.

Rajan Datar discusses his life, works and remarkable legacy with Blake experts Dr. Linda Freedman, Dr. Susan Matthews, Prof. Jason Whittaker and artist Michael Phillips.

Photo: 'Newton' by William Blake (Bettmann Collection)

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BBC World Service - The Forum, The life and works of William Blake

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William Blake was a radical visionary whose art and poetry challenged orthodoxy at every turn. Rajan Datar and guests discuss his life, work and legacy. William Blake is now one of England's best-loved poets and artists, associated with the well-known poem "The Tyger" and the hymn "Jerusalem", regularly coined England's unofficial national anthem.

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The Early Purges

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Blackberry Picking

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The poem describes a ramshackle living space, with its lack of 'straight lines' and beams 'balanced crookedly on supports'. Imtiaz Dharker has explained that the poem describes the slums of Mumbai, where people migrate from all over India in the hope of a better life. The slum areas are living spaces created out of all kinds of found materials: corrugated sheets, wooden beams and tarpaulin. In this poem she celebrates the existence of these living spaces as a miracle.

The lines of the buildings are slanting and unstable, balancing precariously between dangerous and 'miraculous'. The eggs in a basket that hang out 'over the dark edge' are an act of faith, not only because someone has so delicately placed them in such a ramshackle environment, but also because they contain new life. The eggs, like the buildings are miracles.

It may seem like an act of faith to live in one of these rough structures - a daring attempt to live in such a place. In this way the poem represents the fragility of human life and celebrates the way that faith brings boldness.

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BBC Bitesize - GCSE English Literature - Living Space by Imtiaz Dharker - Revision 1

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The poem describes a ramshackle living space, with its lack of 'straight lines' and beams 'balanced crookedly on supports'. Imtiaz Dharker has explained that the poem describes the slums of Mumbai, where people migrate from all over India in the hope of a better life.

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Mrs Gilbert's grade 9 lecture on Hawk Roosting

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Mrs Gilbert's grade 9 lecture on Hawk Roosting

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Grade 9 essay on Ozymandias and London By Lucia A. 

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Grade 9 essay on Ozymandias and London By Lucia A. 

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Grade 9.Ozymandias and London Comp essay

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Grade 9 Essay on Ozymandias & London By Mamen N. 

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Grade 9 Essay on Ozymandias & London By Mamen N. 

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Grade 9 Essay comparing Ozymandias to London Timed Essay.docx

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This is an introduction to the poem Hawk Roosting by Ted Hughes. If you would like to download this as a portable Prezi, please click on the link below. https://www.teacherspayteachers.com/Store/101frances For more lesson plans and articles visit my website by clicking on the link below http://www.101frances.com/

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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Simon Armitage: The Manhunt

Structure

The poem is made up of a series of couplets, mostly unrhymed. This creates a sense of fragmentation, which matches the feelings of the soldier's wife as she seeks to understand the man her husband has become.

The poem describes the phases of a wife's search for answers from her injured husband who has recently returned from a war zone. The poem ends when the search is brought to a close.

Language

The title puns on the idea of the 'manhunt', meaning literally a hunt to capture a man, often a criminal. Here the wife's search is for the husband she knew so well but who seems lost to her, metaphorically, after his experiences at war.

Many of the first lines of the couplets have prominent verbs, reflecting the activities of the wife as she conducts her "search". Words and phrases like "explore", "handle and hold", "mind and attend" are all references to careful treatment of her husband's injured body, as well as suggesting her patient care for his mental state.

The speaker refers to parts of the husband's body [ metaphorically, comparing them to inanimate objects rather than to living things. His jaw is a "blown hinge", suggesting that he is no longer open to her, perhaps unable to talk of his feelings and experiences. His collar bone is "damaged, porcelain", a metaphor metaphor: An expression used to describe and/or compare a subject/action/person by the way it feels or what it resembles - eg 'sea of troubles', and 'drowning in debt' are metaphors. ] that brings to mind something hard but also easily chipped and cold, a reminder of the "frozen river which ran through his face".

There are lots of sensual, loving verbs in the poem, reflecting the intimacy of husband and wife, and keen devotion from the wife hoping to heal her husband. The wife says that she is able to "climb the rungs of his broken ribs", a closely observed detail of her hands exploring the altered body of her husband. The idea of the ladder is reflective of the effort involved in the wife's gradual search for answers.

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Simon Armitage: The Manhunt The poem is made up of a series of couplets, mostly unrhymed. This creates a sense of fragmentation, which matches the feelings of the soldier's wife as she seeks to understand the man her husband has become.

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The Art of Poetry grade 8/9 level analysis

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The Art of Poetry grade 8/9 level analysis

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The Anthology - Quote Analysis, context and terms

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Start studying The Anthology - Quote Analysis, context and terms. Learn vocabulary, terms, and more with flashcards, games, and other study tools.

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Mini Guide for The Anthology -DHG Apr 2017 with BL.docx

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Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!

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The Art of Poetry Essays on The Romantics

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The Art of Poetry Essays on The Romantics

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Vocabulary to describe a writers/poets TONE

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Vocabulary to describe a writers/poets TONE

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Exemplar Poetry Mock exam essays. Death of a Naturalist & Ode to Autumn

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Exemplar Poetry Mock exam essays. Death of a Naturalist & Ode to Autumn

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Revision Video designed for students studying GCSE English Literature: EdExcel (exams from 2017). Paper 2: Section B (Poetry: Relationships) Created by R. Scott @ Bradon Forest School, Purton All images sourced from Google- no copyright infringement intended.

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Revision Video designed for students studying GCSE English Literature: Edexcel (exams from 2017). Paper 2: Section B (Poetry: Relationships) Created by R. Scott @ Bradon Forest School, Purton All images sourced from Google- no copyright infringement intended.

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Revision Video designed for students studying GCSE English Literature: EdExcel (exams from 2017). Paper 2: Section B (Poetry: Relationships) Created by R. Scott @ Bradon Forest School, Purton All images sourced from Google- no copyright infringement intended.

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The Active Voice, the Passive Voice, and Zombies

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It is, apparently, the most anthologised English poem. And if critical essays were apples, and the poem a tree, John Keats's ode, "To Autumn", would have toppled by now under the mass of its exegetical fruit.

As a fellow poet's lovingly intimate close reading, Seamus Heaney's Keats essay in his 1980 collection Preoccupations can't be bettered. But the more recent "it's not just about autumn" school has produced stimulating analysis - from Tom Paulin's high wire revisionist act in deciphering a call to armed revolution to a persuasive investigation of local politics and topology by the authors of a recent Review of English Studies article. Are there any unanswered questions left?

Like many readers, I've always linked the poem's story of rich fruition with Keats's superlatively productive "learning curve" in 1819, and puzzled no further. But then a belated reading of Helen Vendler's essay in The Odes of John Keats (1983) stopped me short. Vendler asserts that Autumn is a goddess, a Ceres with a touch of Milton's Eve and Spenser's Autumn. I'd always imagined him as male, so my first and primary question concerns identity: whom does Keats want us to see when he leads us into the grain store of the second stanza? God or goddess? Divinity, homespun allegorical figure, or weary agricultural labourer for Winchester's corn-farming "new rich"?

All of Keats's Odes abound in mythical beings. There are the three urn-figures of " Indolence" (Love, Ambition and Poesie), the eponymous " Psyche" and " Melancholy", the " light-winged Dryad" of "Nightingale", and the "marble men and maidens" in " Grecian Urn". Like Ambition and Poesie, the addressee of "To Autumn" may be allegorical, Keats taking his cues not only from Spenser's " Mutabilitie" cantos, but from Chatterton's " Ælla: A Tragicall Interlude", both of which feature a male Autumn.

A character "oft" seen at rest on the granary floor, or dozing on a furrow when he should be working, Autumn initially resembles neither a farm labourer nor a corn goddess. But if not a corn goddess, what about a wine god? A Bacchus-like being in hangover mode, or even Bacchus, ie Dionysus, himself?

Keats's Greek influence during this period was mediated through sculpture - the Elgin marbles and, especially, the bas-relief which probably suggested the "Ode on a Grecian Urn". This decorates the Sosibios vase, which Keats himself traced from an illustration and depicts a Bacchic procession. So the god of drunken orgy and self-sacrifice may well have lingered in the poet's mind as he worked on the series of Odes. In fact, before repudiating "Bacchus and his pards", he lavished some particularly sensuous description on wine-drinking in "Nightingale". But Keats would also have been aware of the discussion in Plato's Phaedrus, in which Dionysus and Apollo are described as two of the four enablers of Divine Madness (interestingly, Poetry and Love are the other two).

Originally a god of fruit and vegetation, Dionysus introduced the world to viniculture and presided over all things sappy, juicy and fecund. Such a god might aptly be termed the "close bosom friend of the maturing sun" - Apollo's fertility conspirator, no less. The plants named in the first stanza - apple trees and vines - both supply fruit for alcohol. If the poem is to be trusted, cottagers in the 19th century trained their vines to climb along the eaves of their thatched roofs, presumably sheltering the fruit and exposing it to sunlight. Any grapes probably wouldn't have been suitable for wine, but they could certainly have been made into grape jelly and other "dainties". Those laden vines may simply be a fantasy of Dionysian drapery. If not - and I hope not - the symbolism still holds.

The original Dionysus and Apollo are stepbrothers; brother-enemies, according to Rabelais. Dionysus is a raver, Apollo plays the lyre at concert-standard and bestows the gift of prophecy. One pours out words in spontaneous joy, the other intellectualises. In bringing Dionysus and Apollo together, Keats gives symbolic resolution to a personal, creative conflict. I'm not suggesting he was an alcoholic - poetry was his intoxicant. But now the young enthusiast who wrote "O for a life of Sensation rather than of Thought", and told John Taylor that poetry should "come as naturally as Leaves to a tree" (an image perhaps recalling the wine-god's penchant for foliage), attains a point in his own "maturing" where sensuous profusion and artistic control find perfect balance. "To Autumn" becomes a parable of its own making.

Those two faces of inspiration almost correspond to the two faces of autumn, a season that overlaps with both summer and winter. The first stanza ends with a Dionysian flow of inexhaustible abundance, with "more,/ And still more, later flowers for the bees" echoing the "More happy love! More happy, happy love!" of the "Grecian Urn". But now, Apollo warns, enough is enough. So in the last stanza, Keats forgoes rich fruit and honey-brimmed "clammy cells". The sun sets, the short-lived gnats wail, "the light wind lives or dies", the swallows prepare to migrate. If the mood is valedictory, the writing maintains, even increases, its high charge as it replaces the ecstasy of semi-mythical harvest with a fine-tuned naturalism that fuses "beauty" and "truth".

Even at the level of the rhyme scheme, there is an opening and closing, Romantic and Classical contrast. The 11 lines of each stanza begin with an ABAB-rhymed quatrain: the following sestet introduces a new pattern, with a run of three unrhymed words before the rhymes are picked up and symmetry is restored.

Not all of Autumn's behaviour suggests Dionysus. That "patient look" at the "cyder press" doesn't belong to any divinity: it belongs to a real person, probably female, who brews cider. And although Dionysus sports a wreath of vine-leaves, and Spenser's Autumn a crown of corn, Keats's vignette of the gleaner crossing the book with "laden head" similarly suggests women's work and strictly non-Elysian fields.

My answer to the question "Who is Autumn?" is that "he" starts off as a drowsy Dionysus, but evolves toward the human and loses his fixed identity. The figure is a shapeshifter, a male divinity at first, but androgynous in mortal form. Keats knows him well. He doesn't even use the word "Ode" in his poem's title, and the opening line of the invocation is so low-key it might be mistaken for description: "Season of mists and mellow fruitfulness ..." Autumn is Keats's own Daemon.

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap'd furrow sound asleep,
Drows'd with the fume of poppies, while thy hook
Spares the next swath and all its twinéd flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,-
While barréd clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.
Topics

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Poem of the week: To Autumn by John Keats

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It is, apparently, the most anthologised English poem. And if critical essays were apples, and the poem a tree, John Keats's ode, "To Autumn", would have toppled by now under the mass of its exegetical fruit. As a fellow poet's lovingly intimate close reading, Seamus Heaney's Keats essay in his 1980 collection Preoccupations can't be bettered.

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GCSE POETRY ANTHOLOGY COMPARISON QUESTION

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Which Power and Conflict Poems Compare Well

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Quizlet is a lightning fast way to learn vocabulary.

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A reading

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Emily Dickinson - As imperceptibly as Grief

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http://sanderlei.com.br/PT/Poesia/Poesia-Index Emily Dickinson - As imperceptibly as Grief As imperceptibly as Grief The Summer lapsed away- Too imperceptible at last To seem like Perfidy- A Quietness distilled As Twilight long begun, Or Nature spending with herself Sequestered Afternoon- The Dusk drew earlier in- The Morning foreign shone- A courteous, yet harrowing Grace, As Guest, that would be gone- And thus, without a Wing Or service of a Keel Our Summer made her light escape Into the Beautiful.

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A Reading

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Reading of Wife in London read by Richard Armitage.

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Analysis of 'The Soldier'

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10YJ flipped classroom exercise on Rupert Brooke's 1914 poem 'The Soldier'.

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Dulce et Decorum Est ANALYSIS by Wilfred Owen (Mr Salles)

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Anaylisng Mametz Wood for the AQA GCSE Literature exam using FLIRTS.

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"Afternoons" poem by Philip Larkin READ BY POET HIMSELF

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Summer is fading: The leaves fall in ones and twos From trees bordering The new recreation ground. In the hollows of afternoons Young mothers assemble At swing and sandpit Setting free their children.

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Be sure to revise all the Romantics really carefully.

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To Autumn revision video - analysis and notes

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Analysis for Y12 students studying for Edexcel literature on John Keats' poem 'To Autumn'. Brief analysis to supplement notes made in class.

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Revision Video designed for students studying GCSE English Literature: EdExcel (exams from 2017). Paper 2: Section B (Poetry: Relationships) Created by R. Scott @ Bradon Forest School, Purton All images sourced from Google- no copyright infringement intended.

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Analysis of 'Valentine' by Carol Ann Duffy

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Analysis of the poem 'Valentine' for GCSE English Literature.

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This is REALLY good

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This is an introduction to the poem Hawk Roosting by Ted Hughes. If you would like to download this as a portable Prezi, please click on the link below. https://www.teacherspayteachers.com/Store/101frances For more lesson plans and articles visit my website by clicking on the link below http://www.101frances.com/

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Revision video analysing Hawk Roosting using FLIRTS for the AQA English Literature GCSE.

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'Sonnet 43' by Elizabeth Barrett Browning - A* Analysis -  www.mrbruff.com

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William Blake: 'London' - Mr Bruff Analysis

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Look at this

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Seamus Heaney - 'Death of a Naturalist' - Annotation

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Watch This!

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Percy Shelley's 'Ozymandias': Mr Bruff Analysis

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Simon Armitage: 'The Manhunt' - A* Analysis -  www.mrbruff.com

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Buy my bargain revision guides: GCSE English Language guide for 2017/18 exams: http://www.mrbruff.com/mr-bruffs-guide-to-gcse-language or on Kindle http://www.amazon.co.uk/dp/B012DS1R1M GCSE English Literature guide for 2017/18 exams: http://www.mrbruff.com/mr-bruffs-guide-to-gcse-literature or on Kindle http://www.amazon.co.uk/dp/B012TQP2L4 'Mr Bruff's Guide to A' Level English Literature': http://www.mrbruff.com/mr-bruffs-guide-to-a-level-literature/ or get the Kindle edition at http://www.amazon.co.uk/dp/B011YZ8HUY 'Mr Bruff's Guide to Grammar': http://www.mrbruff.com/grammar/ or get the Kindle edition here: http://www.amazon.co.uk/dp/B00QFTI6PG 'Mr Bruff's Guide to 'An Inspector Calls'': http://mrbruff.com/product/mr-bruffs-guide-to-an-inspector-calls-ebook/ or on Kindle: http://www.amazon.co.uk/dp/B015ALK7QA 12 other guides at mrbruff.com too!

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Manhunt Simon Armitage Revision Video Miss Nelson

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Simon Armitage on his poem 'The Manhunt' | English Literature  – Simon Armitage: Writing Poems

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Simon Armitage analyses the themes and ideas behind 'The Manhunt' and considers the language it uses, accompanied by a reading of the poem. WARNING: Contains scenes some viewers may find upsetting. Subscribe for more English Literature clips from BBC Teach every Friday: https://bit.ly/BBCSubscribeTeach If you found this video helpful, give it a like.