# data[].attributes.attachment_link.title
Can We Uncover The Rural Origins Of William Shakespeare?

# data[].attributes.body
... AND .... https://youtu.be/AQiSzmvykL0?si=kOMZKuZF9t1VlSeS

# data[].attributes.attachment_link.title
A Midsummer Night's Dream - Act 1 Summary - Shakespeare Today Series

# data[].attributes.body
ppp

# data[].attributes.attachment_link.title
Greek Drama - CLIL - prof.ssa Silvia Pesetti

# data[].attributes.body
prf. Pesetti

# data[].attributes.attachment_caption
Exploring the Early Life of William Shakespeare

# data[].attributes.attachment_link.title
Exploring the Early Life of William Shakespeare

# data[].attributes.attachment_link.title
House of Tudor | Henry VIII & Elizabeth 1st | Learn about the Tudors | Horrible Histories

# data[].attributes.attachment_link.title
Why Shakespeare loved iambic pentameter - David T. Freeman and Gregory Taylor

# data[].attributes.attachment_caption
The Canterbury Tales, or, How Technology Changes The Way We Speak: The London History Show

# data[].attributes.attachment_link.title
The Canterbury Tales, or, How Technology Changes The Way We Speak: The London History Show

# data[].attributes.attachment_link.title
How Shakespeare Changed the English Language

# data[].attributes.body
Who tells the story?

One of the most important aspects of your analysis of literary texts is to explore the question of who the narrator is and what overall effect this has. You may think this is all about one character telling the story of the novel or short story, but it doesn’t apply only to prose works. Poets as far apart as, for example, Chaucer (Middle Ages), Browning (Victorian) and Duffy (contemporary) also create voices in the first person to express ideas, tell stories and create characterisations. Regarding drama, most plays are written in the form of dramatic dialogue and action without a story–teller, but even here we occasionally find narrators who speak directly to the audience and tell the story. An example of this is Michael who is a boy when he comments on the action of Dancing at Lughnasa by Brian Friel; or Tom in The Glass Menagerie by Tennessee Williams. These tellers of the tale have been created by the writer to do the job – they are not the writer him or herself. It is very important to remember too that Shakespeare never says anything in his plays: he has made different characters who do that. Students sometimes write: ‘Shakespeare says “Neither a borrower nor a lender be”, but of course it’s Polonius who says this when he is giving advice to his son in the play Hamlet. For all we know, Shakespeare the man may have had no problem with borrowing and lending money to his friends!

First person narrative

Students are often so engaged by the ideas in a text that they don’t pay enough attention to the methods used by the writer, one of the most important of which is the point of view or range of points of view created to present these ideas. You will be familiar with looking to see whether it is a first person narrative or a third person narrative – I and we, or he, she and they. (It is possible to write a whole narrative in the second person – you - but it’s uncommon and usually combined with the first person.) The writer can create a first person who may be limited in some way, perhaps by being a child who can’t see all the implications of events, like Leo in The Go-Between by L P Hartley, or a person who is emotionally repressed like Stevens in The Remains of the Day by Kazuo Ishiguro. The student has to pay careful attention to other evidence within the text to take in all the implications of these narrators’ accounts of events. Such a narrator may be called ‘unreliable’ and an example of this is Nick Carraway, the first person narrator of The Great Gatsby, whose view of Gatsby is a biased one. Sometimes a writer will use more than one first person narrator in separate sections of a novel so as to give different angles on events, for example The Collector by John Fowles which begins with the story of girl who is abducted and then switches to her kidnapper some way through the novel, then back to her. This gives unique insight into the mind of the character who is telling the story at that point, and may alter our sympathies and understanding somewhat. A recent novel How to be both by Ali Smith is made up of two discrete first person narratives from different eras that can be read in either order and, in fact, are published that way — half the printed books begin with one story, and half with the other. How they relate to each other depends on which you read first – a fascinating and innovative idea!

First person voices in poetry

Looking at poetry, more than 600 years ago Chaucer’s Canterbury Tales are all told by characters created by Chaucer to give insight into human nature and a wide range of themes. The Knight’s Tale is just the sort of story of chivalry, courtly love and fighting that suits the Knight ‘s character, but he’s not the most sensitive commentator and if we read carefully we can see that Chaucer reveals this to us through his choice of words. The Wife of Bath gives the robust and feisty views of a dominant and lively woman, through which we see much about the relationships between the genders in the Middle Ages. The Victorian poet Robert Browning’s well-known poem 'On My Last Duchess' uses a first person – the Duke - whom we find repulsive in his attitudes but the poet’s artistry allows us to see through this to what his poor wife, the last Duchess, was like and how she suffered, even though she is not the first person voice of the poem. We can say that Browning creates the persona of the Duke. Tennyson, another Victorian poet, works similarly with his well-known poem Ulysses, creating the persona of the old adventurer who doesn’t want to go quietly into old age. An ironic effect is created when we see both the personality of the character and the implications of his words.

Complex narrative structure – an example

Let’s take a well-known example of a complex narrative structure. Wuthering Heights by Emily Bronte. If you ask a student what it’s about, she will say it’s the love story of Catherine and Heathcliff and Heathcliff’s revenge, covering a couple of generations. It is told in the first person (‘I’) but the ‘I’ isn’t basically Catherine or her daughter or Heathcliff. So who has Bronte chosen to present this? Mr Lockwood, an outsider to the district, is the framing first person narrator who observes the family and their interactions, then he is told much of the back story by another first person narrator, Nelly Dean, the housekeeper. But Nelly often draws on first person accounts by other characters which she then tells Mr Lockwood. He too receives these accounts. They include letters, recounts of events and long soliloquy-like outpourings of thoughts and feelings in the present time of the novel and in the past. Neither Nelly nor Lockwood is a passionate person, both are quite conventional and conservative in their behaviour and outlook and it is these characters whom Bronte has chosen to tell her tale of passion and revenge and the constraints on women’s lives. The effect of this is to focus and highlight the story of Catherine and Heathcliff and the following generation to make it accessible to the reader and to give a range of points of view which can be biased as well as objective. Multiple possibilities and ambiguities are created. There are moments when Nelly intervenes in the action, too, so she is not just an objective observer. Your analysis of the effects created by the use of multiple narrators is vital here.

The omniscient narrator

Third person narrators are sometimes known as ‘omniscient ‘narrators – because they know everything and have created the world of the story (a little like a god, as they have the power over the life and death of the characters and their lives). However, it is possible for a story to be written in the third person (she, he, they) and still be focused upon one character showing their thoughts and feelings very closely. This is known as ‘focalization’ and it can be extremely effective – used, for example, by J M Coetzee in his novel Disgrace and by Jane Austen in Persuasion. It can allow the writer a measure of distance at the same time as a close involvement with her/his creation. He or she may use what is known as ‘free indirect discourse’ where although writing in the third person, the writer can move seamlessly into the thoughts and feelings of the character being explored. A very famous example of this can be found at the end of the last story in James Joyce’s short story collection Dubliners. The end of this story, called 'The Dead', is worth reading for the beauty of its prose anyway.

Your close reading and analysis can reveal the writer’s artistry and your written work will be enhanced as a result.

# data[].attributes.attachment_caption
What Was Life Actually Like In Ancient Roman London? | Life and Death Roman London

# data[].attributes.attachment_link.title
What Was Life Actually Like In Ancient Roman London? | Life and Death Roman London

# data[].attributes.attachment_link.title
Solving The Mystery Of Stonehenge With Dan Snow

# data[].attributes.attachment_caption
Othello | Watch for Free | National Theatre at Home | Full Performance

# data[].attributes.attachment_link.title
Othello | Watch for Free | National Theatre at Home | Full Performance

# data[].attributes.attachment_caption
'Romans, countrymen and lovers' Julius Caesar with Ben Whishaw

# data[].attributes.attachment_link.title
'Romans, countrymen and lovers' Julius Caesar with Ben Whishaw

# data[].attributes.attachment_caption
Damian Lewis as Antony in Julius Caesar: 'Friends, Romans, countrymen' | Shakespeare Solos

# data[].attributes.attachment_link.title
Damian Lewis as Antony in Julius Caesar: 'Friends, Romans, countrymen' | Shakespeare Solos

# data[].attributes.attachment_caption
Fake News: Fact & Fiction - Episode 6: How to be a critical thinker

# data[].attributes.attachment_link.title
Fake News: Fact & Fiction - Episode 6: How to be a critical thinker

# data[].attributes.attachment_caption
The Real History Behind England’s Greatest Historical Landmarks

# data[].attributes.attachment_link.title
The Real History Behind England’s Greatest Historical Landmarks

# data[].attributes.body
Vast neolithic circle of deep shafts found near Stonehenge

# data[].attributes.attachment_link.readable_text
A circle of deep shafts has been discovered near the world heritage site of Stonehenge, to the astonishment of archaeologists, who have described it as the largest prehistoric structure ever found in Britain.

Four thousand five hundred years ago, the Neolithic peoples who constructed Stonehenge, a masterpiece of engineering, also dug a series of shafts aligned to form a circle spanning 1.2 miles (2km) in diameter. The structure appears to have been a boundary guiding people to a sacred area because Durrington Walls, one of Britain's largest henge monuments, is located precisely at its centre. The site is 1.9 miles north-east of Stonehenge on Salisbury Plain, near Amesbury, Wiltshire.

Prof Vincent Gaffney, a leading archaeologist on the project, said: "This is an unprecedented find of major significance within the UK. Key researchers on Stonehenge and its landscape have been taken aback by the scale of the structure and the fact that it hadn't been discovered until now so close to Stonehenge."

interactive

The Durrington Shafts discovery, announced on Monday, is all the more extraordinary because it offers the first evidence that the early inhabitants of Britain, mainly farming communities, had developed a way to count. Constructing something of this size with such careful positioning of its features could only have been done by tracking hundreds of paces.

The shafts are vast, each more than 5 metres deep and 10 metres in diameter. Approximately 20 have been found and there may have been more than 30. About 40% of the circle is no longer available for study as a consequence of modern development.

Gaffney said: "The size of the shafts and circuit surrounding Durrington Walls is currently unique. It demonstrates the significance of Durrington Walls Henge, the complexity of the monumental structures within the Stonehenge landscape, and the capacity and desire of Neolithic communities to record their cosmological belief systems in ways, and at a scale, that we had never previously anticipated."

He added: "I can't emphasise enough the effort that would have gone in to digging such large shafts with tools of stone, wood and bone."

But then these are the same people who also built Stonehenge, dragging bluestones to the site from south-west Wales about 150 miles away.

While Stonehenge was positioned in relation to the solstices, or the extreme limits of the sun's movement, Gaffney said the newly discovered circular shape suggests a "huge cosmological statement and the need to inscribe it into the earth itself".

He added: "Stonehenge has a clear link to the seasons and the passage of time, through the summer solstice. But with the Durrington Shafts, it's not the passing of time, but the bounding by a circle of shafts which has cosmological significance."

The boundary may have guided people towards a sacred site within its centre or warned against entering it.

As the area around Stonehenge is among the world's most-studied archaeological landscapes, the discovery is all the more unexpected. Having filled naturally over millennia, the shafts - although enormous - had been dismissed as natural sinkholes and dew ponds. The latest technology - including geophysical prospection, ground-penetrating radar and magnetometry - showed them as geophysical anomalies and revealed their true significance.

Gaffney said: "We are starting to see things we could never see through standard archaeology, things we could not imagine."

Based at the University of Bradford, he is the co-principal investigator of the Stonehenge Hidden Landscape project, which has been surveying tens of kilometres of landscape across Salisbury Plain. Archaeologists are now joining the dots and seeing this massive pattern, he said.

Coring of the shafts has provided crucial radiocarbon dates to more than 4,500 years ago, making the boundary contemporary with both Stonehenge and Durrington Walls. The boundary also appears to have been laid out to include an earlier prehistoric monument, the Larkhill causewayed enclosure, built more than 1,500 years before the henge at Durrington.

Struck flint and unidentified bone fragments were recovered from the shafts, but archaeologists can only speculate how those features were once used.

Gaffney said: "What we're seeing is two massive monuments with their territories. Other archaeologists, including Michael Parker Pearson at University College London, have suggested that, while Stonehenge, with its standing stones, was an area for the dead, Durrington, with its wooden structures, was for the living."

He added that, while numerous ancient civilisations had counting systems, the evidence lies primarily in texts in various forms that they left behind. The planning involved in contracting a prehistoric structure of this size must have involved a tally or counting system, he believes. Positioning each shaft would have involved pacing more than 800 metres from the henge outwards.

The research has involved a consortium of archaeologists, led by the University of Bradford and including the universities of Birmingham and St Andrews, in an international collaboration with the Ludwig Boltzmann Institute for Archaeological Prospection and Virtual Archaeology at the University of Vienna.

Henry Chapman, professor of archaeology at Birmingham University, described it as "an incredible new monument", and Richard Bates, a geoscientist at St Andrews University, said it offered "an insight to the past that shows an even more complex society than we could ever imagine".

The consortium is publishing a scientific open-access paper in Internet Archaeology.

The discovery makes up for the cancellation of this year's summer solstice celebrations at Stonehenge - on 20 June - due to the ban on mass gatherings prompted by Covid-19. Archaeologists have another reason to rejoice after the discovery nearby of a giant Neolithic structure.
Topics

# data[].attributes.attachment_link.title
Vast neolithic circle of deep shafts found near Stonehenge

# data[].attributes.attachment_link.description
A circle of deep shafts has been discovered near the world heritage site of Stonehenge, to the astonishment of archaeologists, who have described it as the largest prehistoric structure ever found in Britain. Four thousand five hundred years ago, the Neolithic peoples who constructed Stonehenge, a masterpiece of engineering, also dug a series of shafts aligned to form a circle spanning 1.2 miles (2km) in diameter.

# data[].attributes.attachment_caption
Stonehenge was part of a multi-monument complex. Here's how it fit together

# data[].attributes.attachment_link.readable_text
Massive and mysterious, Stonehenge has stood for 4,500 years on Salisbury Plain. Located some 90 miles southwest of London, England, the world's most famous pre-historic monument forms just one piece of an intricate complex of ancient sites, many of which in 1986 were designated part of a UNESCO World Heritage site. Today, traffic whizzes by on the nearby A303, but the megaliths' presence makes it easy to step back thousands of years to a much slower time with much slower transportation.

Over the last two decades, archaeologists have made huge strides in piecing together these different elements of the landscape, their relationships to each other, and what they are revealing about the Neolithic people who built them. Armed with astronomical knowledge, engineering skills, and unmovable determination, their creations succeeded in capturing people's imaginations for millennia. (D ecision over Stonehenge Tunnel sparks controversy.)

Wizards and kings

Perhaps the most famous-and fantastic-explanation for Stonehenge's creation harkens back to Arthurian legend. The wizard Merlin allegedly transported the stones from Ireland according to Geoffrey of Monmouth's 12th-century chronicle of British kings. Another 12th-century writer, Henry of Huntingdon, described the monument as "[s]tones of remarkable size, raised up like gates, in such a way that gates seem to be placed on top of gates. And no one can work out how the stones were so skillfully lifted up to such a height or why they were erected there." The name Stonehenge was derived from the term Henry used to describe the monument: Stanenges, which is Anglo-Saxon for "stone gallows."

Theories over the stones and their purpose proliferated in the 17th century. English architect Inigo Jones was convinced that Stonehenge was a Roman temple built using the principals of classical architecture. Philosopher Walter Charleton disagreed with Jones and claimed that the Vikings had built it. Scholar John Aubrey made the first thorough assessment of the site-one of the world's first true archaeological explorations-and argued that ancient British Druids had erected the megaliths. Aubrey's work in the 1660s uncovered 56 holes in the ground, arranged just inside a circular earthwork surrounding the giant standing stones. Today they are called the Aubrey Holes in his honor, and modern scholars believe that wooden posts once stood in them.

Work continued into the 18th century, when the scholar William Stukeley identified the Avenue, a roughly two-mile lane that connects the Avon River with Stonehenge. Like Aubrey, Stukeley considered the stone circles to have been built by Druids.In the 19th century scholars began to consider a prehistoric provenance. Based on restoration work starting in 1900, William Gowland argued for a Late Neolithic or Early Bronze Age date for the creation of the complex, a proposal that has become the basis for today's scholarship.

Building blocks

The Stonehenge complex features many Neolithic siteslong the banks of the Avon River. Archaeologists believe the landscape was first regarded as special because retreating glaciers hollowed out furrows in the ground that, by coincidence, aligned with significant positions of the sun at the June and December solstices.

One of the first human-made features was the Greater Cursus, an earthwork begun around 3500 B.C. This massive trench that measures nearly two miles long and several hundred feet wide. Stukeley was the first to identify the feature, located about a half mile north of Stonehenge. The Greater Cursus's precise purpose is unknown, but scholars believe it had a ceremonial function. (These Scottish ruins predate Stonehenge.)

Work on the iconic stone circles began centuries after the Greater Cursus, around 3000 B.C. The earliest section was an outer circular earthwork, formed by a moat and two embankments on either side. The central horseshoe made of trilithons (two upright stones topped by a lintel) and the surrounding outer ring of stones were completed around 2500 B.C. These giant building blocks, called sarsens, are sandstone. Weighing around 25 tons each, they were quarried only about 20 miles from where they are today. The 80 smaller slabs of dolerite bluestone standing alongside them came from much farther away: western Wales, a distance of about a 140 miles.

Moving the stones

The first stones believed to be erected at Stonehenge also traveled the farthest to get there. Archaeologists discovered that the bluestones, each weighing around four tons, were brought to Stonehenge from the Preseli Hills of southwestern Wales-a journey of more than 140 miles by land. The theory was first proposed as early as the 1920s, and geological research undertaken in the 2000s has conclusively pinpointed the exact location of the quarries, called Carn Goedog and Craig Rhos-y-felin, where the stones were excavated.

Scholars are still debating how the bluestones actually got from Wales to the Salisbury Plain. One theory, now discredited, was that glaciers had borne the stones and deposited them in England; most scholars now agree that people transported them. The question of how, and whether by land or by water, remains to be answered. Some propose the stones could have been floated along the coastline and then up through waterways to reach the Avon River before being hauled to the Stonehenge site. Others believe the Welsh stones were loaded on to sleds and dragged overland, perhaps as a public display meant to impress. (From Angkor Wat to Stonehenge: Here's how ancient people moved giant stones.)

Scholars aren't certain why these particular stones were chosen for the site or why people went to such great effort to move them from Wales to England. Recent isotope analysis of human remains uncovered at Stonehenge indicated that people from the same region as the bluestones were buried on the Salisbury Plain, leading some to believe they may have been the workers who quarried and escorted the bluestones to their new home.

Complex connections

Archaeologists today regard Stonehenge and its environs as a "ritual landscape," a group of monuments positioned in a place that had ceremonial significance. The Avenue, constructed after 2500 B.C., is one of these elements that quite literally links sacred spaces together by connecting the standing stones to the Avon River. This lane is aligned to the sunset of the winter solstice and the sunrise of the summer solstice, which has aroused questions about how much celestial knowledge the Neolithic builders employed.

Other monuments connect to Stonehenge in both symbolic and physical ways. About two miles northeast of Stonehenge is Durrington Walls. It is itself a complex site that consists of the remains of a huge circular earthwork. Before the earthwork was built, archaeologists believe a large village occupied the site and may have housed both workers and pilgrims.

The full importance of Durrington Walls, has recently become clearer. In the early 2000s, the SRP found the remains of a Neolithic settlement there consisting of hundreds of dwellings. This village may have housed the people who built Stonehenge, as well as pilgrims who attended feasts, evidence of which has been found in the form of animal bones, mostly pigs (of the 8,500 specimens, swine outnumbered cattle ten to one).

Isotope analysis of the pig bones also shows that all were not locally raised; instead, they were brought by pig-roast attendees from all over Britain, including parts of Wales and Scotland. The food evidence supports the hypothesis that Stonehenge and its surrounding sites were ceremonial gathering places for the British world, not just the local population. This village would eventually be abandoned and a massive circular earthwork-the largest "henge" structure in Great Britain-was built on the site.

Recent finds-a series of pits about two feet deep-indicate that a massive timber structure once stood near Durrington Walls. Grouped together in an arc measuring more than a mile across, 20 pits have been excavated, and there are as many as 300 in total. Sturdy wood posts, perhaps as tall as 15 feet, once stood there, creating another iconic sight on the horizon of Salisbury Plain.

Earth, wood, and rock

South of Durrington Walls is Woodhenge, which was identified from above in a photograph taken by airplane pilot Gilbert Insall in 1925, one of the earliest discoveries in the field of aerial archaeology. Welsh-born archaeologist Maud Cunnington later excavated the site. Upon finishing in 1929, her team found that these rings were a series of holes in the ground that once held poles, some estimated to stand as high as 25 feet. Surrounded by an outer bank and ditch, the tall timbers were arranged in six rings and might have supported a thatched roof. At the center, Cunnington uncovered a burial containing the split skull of a child; she interpreted it to be a ritual sacrifice, but unfortunately the remains, taken off-site for study, were lost and unable to be examined further.

Another more recent discovery was found by the Stonehenge Riverside Project (SRP), co-directed by Mike Parker Pearson from the University of Sheffield (and funded in part by the National Geographic Society). In 2009 the SRP announced the finding of the West Amesbury Ring, also known as Bluestonehenge. Located at the end of the Avenue closest to the Avon River, this circular structure is believed to have once consisted of six-foot-tall standing stones. (High-tech mapping reveals hidden monuments Under Stonehenge.)

Heaven and earth

Archaeologists now believe that all of these structures were interrelated, connected by cultural relationships and spiritual meanings. The exact nature of the beliefs of the people who built these structures has, of course, been one of the principal questions asked for centuries. Between 2003 and 2009, the SRP undertook dozens of digs in the complex in an attempt to find more insight into the intentions of the builders.

What is clear is that Stonehenge and the surrounding structures all played parts in the rituals surrounding life and death. The SRP found that some 63 known cremations took place near Stonehenge, making it one of the biggest Neolithic cremation sites in Europe.

Parker Pearson's team analyzed the remains of dozens of cremated individuals found in one of the Aubrey Holes and discovered that many of the individuals were not born in the region. Their findings strengthened the theory that Stonehenge drew people from all over ancient England. Parker Pearson and his team believe the complex probably acted as an early, unifying force across the region, a role that Stonehenge itself continues to play today as it draws in visitors from all over the world.

The 20th-century astronomer Gerald S. Hawkins once described Stonehenge as a "Neolithic computer," with its massive stones deliberately placed to coordinate with heavenly events. The most famous solar alignment occurs on the solstices in June and December. Archaeologists believe that the Stonehenge complex was more than just a calendar and probably served several purposes over the years, including religious rites surrounding life and death. (Why summer solstice is one of the best times to visit Stonehenge.)

The SRP theorizes that Stonehenge served, among other things, as a center for ancestor worship, supported by the presence of cremated individuals. The SRP also explored the symbolic links between the massive stone rings and a similar wooden structure at Durrington Walls. The stone rings stood for the domain of the dead, and the wooden for that of the living, with the Avenue between them representing the connection between the two worlds.

# data[].attributes.attachment_link.title
Stonehenge was part of a multi-monument complex. Here's how it fit together

# data[].attributes.attachment_link.description
Massive and mysterious, Stonehenge has stood for 4,500 years on Salisbury Plain. Located some 90 miles southwest of London, England, the world's most famous pre-historic monument forms just one piece of an intricate complex of ancient sites, many of which in 1986 were designated part of a UNESCO World Heritage site.

# data[].attributes.attachment_link.readable_text
Prehistoric monument discovered

Learn language related to...

ancient discoveries

Need-to-know language

archaeologists - people who study prehistoric buildings and objects from a long time ago

shafts - long, narrow vertical or sloping passages

pits - holes or dips in the ground

oriented - positioned; arranged

ritualistic - connected to actions performed as part of a ceremony
Answer this...
Which famous prehistoric site does this new discovery lie close to?

Transcript

It's one of the world's most famous sights. Yet, so much about Stonehenge (in the UK) remains a mystery. But are we finally getting closer to understanding?

It's this site two miles away that archaeologists have been examining. An area known as Durrington Walls. Using ground-penetrating radar, they've been able to look deep into the earth and discovered what could be one of the UK's largest prehistoric sites.

A ring of around 20 shafts, dug more than 4,000 years ago, around the time Stonehenge was built nearby.

Dr Richard Bates, University of St Andrews
These are 20-metre diameter, at least five-metre deep - sometimes even deeper, we think, shafts or pits that have been dug into the chalk and are oriented in a kind of an arc both to the south and the north of Durrington Walls. The orientation of them, and the spacing of them, would suggest that they have some organised, ritualistic reason for being there.

The task for historians now is to work out how the newly discovered outer ring of pits is connected to Stonehenge itself.

The National Trust (a British charity which looks after historic places) - has described the find as 'astonishing'. What further secrets will it now reveal?

Did you get it?

Which famous prehistoric site does this new discovery lie close to?

It lies two miles from Stonehenge - a prehistoric stone circle in the UK.

# data[].attributes.attachment_link.title
BBC Learning English - Lingohack / Stonehenge: Second monument discovered

# data[].attributes.attachment_link.description
Prehistoric monument discovered ancient discoveries archaeologists - people who study prehistoric buildings and objects from a long time ago shafts - long, narrow vertical or sloping passages pits - holes or dips in the ground oriented - positioned; arranged ritualistic - connected to actions performed as part of a ceremony Answer this...

# data[].attributes.body
Through your eyes: 150 years of Stonehenge – in pictures

# data[].attributes.attachment_link.readable_text
Last year, to celebrate 100 years since Stonehenge was given to the nation, English Heritage asked the public to share their photographs of the monument. More than 1,000 pictures, taken from 1875 onwards, were sent in and 148 are now going on show at the site. "It's a fascinating look at the changing history of photography, posing, fashion, as well as Stonehenge," says Susan Greaney, senior historian for English Heritage. Some of the images are very poignant. One shows a girl next to her 20-year-old brother in military uniform. "Sadly, this was the last time she saw him as he was killed in a bombing raid the following year," says Greaney. "The images show what an enormous part Stonehenge plays in people's memories."
Your Stonehenge: 150 years of Personal Photos runs from 12 December to late August 2020

# data[].attributes.attachment_link.title
Through your eyes: 150 years of Stonehenge - in pictures

# data[].attributes.attachment_link.description
Last year, to celebrate 100 years since Stonehenge was given to the nation, English Heritage asked the public to share their photographs of the monument. More than 1,000 pictures, taken from 1875 onwards, were sent in and 148 are now going on show at the site.

# data[].attributes.attachment_caption
How did Claudius' Roman Army Conquer Britain in 43AD?

# data[].attributes.attachment_link.title
How did Claudius' Roman Army Conquer Britain in 43AD?

# data[].attributes.attachment_link.title
How 'Roman' was Roman-Britain? | Britannia 55BC to 69AD

# data[].attributes.attachment_link.title
The True Story of the First Viking Attack on England

# data[].attributes.attachment_link.title
Sue Takes on the Sutton Hoo Helmet | Curator's Corner S6 E5 #CuratorsCorner

# data[].attributes.attachment_caption
How Much Power Did the Catholic Church Have in the Middle Ages?

# data[].attributes.attachment_link.title
How Much Power Did the Catholic Church Have in the Middle Ages?

# data[].attributes.body
Method and madness: Branagh, Rylance and Rickman as Hamlet – in pictures

# data[].attributes.attachment_link.readable_text
In a new series, we delve into Guardian photographer Tristram Kenton's amazing archive of stage photos. This week: Hamlet, as played by actors including Damian Lewis, Paapa Essiedu and Michelle Terry

# data[].attributes.attachment_link.title
Method and madness: Hamlet played by Branagh, Rylance, Rickman and others - in pictures

# data[].attributes.attachment_link.description
In a new series, we delve into Guardian photographer Tristram Kenton's amazing archive of stage photos. This week: Hamlet, as played by actors including Damian Lewis, Paapa Essiedu and Michelle Terry

# data[].attributes.attachment_link.title
The Search For Alfred The Great | Full Episode | BBC Documentary

# data[].attributes.attachment_link.readable_text
All of the information you need about the play is divided into four sections: Story, Characters, Language and Staging.

Then each section has three different levels of information. Choose which level is right for you or simply move between them to find what you need. Here's a quick guide to help you get started with Twelfth Night.

Level 2 - More detailed information

Level 3 - In-depth study and analysis

Start with level 3 to find:

In STORY: Detailed scene-by-scene descriptions

In CHARACTERS: PEE grids on central characters

In LANGUAGE: Detailed breakdowns of themes and imagery

In STAGING: Information about performing the play yourself

# data[].attributes.attachment_link.title
Twelfth Night | Shakespeare Learning Zone | Royal Shakespeare Company

# data[].attributes.attachment_link.description
All the information you need about the play is here, from Story to Characters, Language to Performance, including videos and photos from our shows.

# data[].attributes.body
Sixth-form students use art to explore fake news

# data[].attributes.attachment_link.readable_text
"The Fake News exhibition highlights how young people feel about having to navigate the vast amount of news and information that is available in the modern world, and at the same time, to discern what is the truth," said Bill Watkin, chief executive of the SFCA.

# data[].attributes.attachment_link.title
Sixth-form students use art to explore fake news

# data[].attributes.attachment_link.description
"The Fake News exhibition highlights how young people feel about having to navigate the vast amount of news and information that is available in the modern world, and at the same time, to discern what is the truth," said Bill Watkin, chief executive of the SFCA.

# data[].attributes.attachment_link.title
Neuromarketing: How brands are getting your brain to buy more stuff

# data[].attributes.attachment_link.description
The importance of Magna Carta and the signing by King John in 1215.

# data[].attributes.attachment_link.title
Horrible Histories | Epic Magna Carta Rap Battle | CBBC

# data[].attributes.attachment_link.title
Magna Carta and the emergence of Parliament

# data[].attributes.attachment_link.title
Fake News Generator: Who starts viral misinformation?  - BBC News

# data[].attributes.body
British Museum to show how Thomas Becket’s murder shook Europe

# data[].attributes.attachment_link.readable_text
The murder of Thomas Becket in 1170, cut down inside Canterbury Cathedral by knights of King Henry II's retinue, sent shock waves throughout England and beyond - an act as scandalous, according to one of his successors as archbishop of Canterbury, Justin Welby, as the assassination of JFK or Martin Luther King.

The extent to which those ripples reverberated across Europe will be illustrated by a number of rare exhibits on display for the first time at the British Museum, as part of its forthcoming exhibition later this month about Becket, his murder and its powerful aftershocks.

"It is no exaggeration to say that this was the crime of the century," said Naomi Speakman, one of the co-curators of the exhibition. Becket was not only a senior churchman in his own right, but was highly connected to rulers and church figures across Europe, including the pope. And so when he died, she says, the outrage and veneration was swift and widespread.

"A key objective of ours was to take what is [often] thought of as an insular British story, and to refocus it and say, actually, this is a European story," said Lloyd de Beer, the other co-curator. "This murder happens on a European stage. And these objects speak to different elements of how that murder was received in those European countries."

Two of the most striking exhibits come from Sweden and Norway, where the cult of Saint Thomas of Canterbury quickly became established, though it would also spread across continental Europe and as far afield as Iceland and Sicily.

Among them is a dramatic font, made two decades after the killing, which depicts the murder in a series of vivid scenes - including, highly unusually, an image of the king giving his soldiers explicit instructions to kill Becket (in case of any doubt, the stonemason has included Henry's name).

For 850 years the font has stood in a simple rural parish church in the southern Swedish village of Lyngsjö, a building it is not thought to have left since its creation by a local 12th-century stonemason called Tove. "It is a very little village, and has been since the medieval time, and it hasn't been altered all that much during all of these centuries," said Heikka Ranta, the heritage officer for the diocese of Lund, in which the church is located.

While today's parishioners, still baptising their children in the ancient font, may not know much about Becket, according to Ranta ("we are not Anglicans and we are not so familiar with the English stories"), he was a wildly popular saint in the region in the years after his death, as illustrated by a gold reliquary box from Hedalen in Norway, which will also be leaving its home for the first time.

A reliquary casket showing the murder of Thomas Becket, made in Limoges, France, about 1180-1190. Photograph: Victoria and Albert Museum/PA

The box, in the shape of a church building mounted by two dragons' heads, depicts on one side the adoration of the Magi and the murder of Becket - a juxtaposition that illustrates the significance of the saint's martyrdom at the time. Its home is the spectacular Hedalen stave church, a highly ornate wooden building dating from the 12th century.

One "very cool" aspect of the casket, according to De Beer, is that it portrays both a broken tip of the sword and a portion of Becket's skull falling to the floor - as described in contemporary accounts of the murder. Both were preserved as relics and given their own chapels inside Canterbury Cathedral, which pilgrims could visit to seek the saint's blessing.

The exhibition will also include a number of other gold and enamel caskets made in Limoges in France to honour the saint - remarkably, almost 50 similar examples are still known, treasured by churches across Europe.

The reason for his popularity at that time also suggests a relevance today, De Beer said. "Why does Becket appear on this font in rural Sweden, 20 years after his death? Well, Becket represents this person who stands up to royal authority. He's an extremely attractive figure as a saint, and as a defender of the rights of the church, but as defender of the people against royal tyranny.

"One of the most enduring aspects of Becket today is his reputation as a rebel."

# data[].attributes.attachment_link.title
British Museum to show how Thomas Becket's murder shook Europe

# data[].attributes.attachment_link.description
The murder of Thomas Becket in 1170, cut down inside Canterbury Cathedral by knights of King Henry II's retinue, sent shock waves throughout England and beyond - an act as scandalous, according to one of his successors as archbishop of Canterbury, Justin Welby, as the assassination of JFK or Martin Luther King.

# data[].attributes.attachment_link.title
In Search of Medieval Britain - Episode 3

# data[].attributes.attachment_link.description
Pilgrimages are back in fashion. But given that we live in a largely secular society, why do people choose to still choose to follow these ancient routes?

# data[].attributes.body
timeline, doc Henry and Anne:

https://www.youtube.com/watch?v=N0aI6QWV97s&sns=em

# data[].attributes.attachment_link.title
The reign of Queen Elizabeth I - The Elizabethans overview - Edexcel - GCSE History Revision - Edexcel - BBC Bitesize

# data[].attributes.attachment_link.description
Learn about and revise the Elizbethans with this BBC Bitesize GCSE History (Edexcel) study guide.

# data[].attributes.attachment_link.title
Holbein's extraordinary 'Ambassadors' | National Gallery

# data[].attributes.body
on line resources

# data[].attributes.attachment_link.readable_text
Developed by the University of Cambridge, Write & Improve is a FREE tool that helps every learner to improve their English writing.

Choose from hundreds of tasks at all levels and start writing, or create your own tasks

Submit your writing and get a result linked to the international standard, the CEFR

Get automatic feedback on where your writing may need improvement

Make changes and check again to improve your writing

# data[].attributes.attachment_link.description
Write & Improve is a free service for learners of English to practise their written English. Submit your written work and receive feedback in seconds, covering spelling, vocabulary, grammar and general style.

# data[].attributes.attachment_link.title
Learn English with Alex: ALL my EngVid videos

# data[].attributes.attachment_link.description
Learn English with Alex! Clear English lessons for all levels. I cover grammar, vocabulary, idioms, IELTS, TOEFL, reading, slang, and more. Start improving y...

# data[].attributes.attachment_link.readable_text
1. 1

2. 2

3. 3

4. 4

5. 5

6. 6

7. Page 1of 6

By failing to prepare, you are preparing to fail. Benjamin Franklin

A writing plan should help you to work out what to include, and act as a way of remembering areas to focus on. For example, a timescale could be set for each part of the writing if the writing is to a specific deadline, such as in an exam.

Different methods of planning work for different people. Work out what works best for you.

1. 1

2. 2

3. 3

4. 4

5. 5

6. 6

7. Page 1of 6

# data[].attributes.attachment_link.title
Planning a structure - Planning - GCSE English Language Revision - Other - BBC Bitesize

# data[].attributes.attachment_link.description
1 2 3 4 5 6 Page 1of 6 By failing to prepare, you are preparing to fail. Benjamin Franklin A writing plan should help you to work out what to include, and act as a way of remembering areas to focus on.

# data[].attributes.attachment_link.readable_text
Deciding on the order of the text

Once you have planned out your ideas for a piece of writing, you need to work out the best order for your paragraphs so that your reader will follow and be interested in your writing. Refer back to the overall purpose of the writing and, with your audience always at the back of your mind, think about which order of paragraphs will help you to achieve that purpose.

When writing an article to inspire young people to follow their dreams, the following could be a rough plan of the paragraphs you could include:

Introduce the topic of the article and why it is important to the audience

Inspirational celebrities who have never given up

Examples of how life can be difficult at times

Ways of following our dreams in day-to-day life

A motivational summary to follow our dreams

The reasons why following a dream is important should go first. Your writing must be styled in a way that brings your reader to feel that your view applies to them. Then, to create a balance, examples of how life can be difficult can follow. Again, your reader needs to be able to relate to the situations you write about; the problems you mention will then be 'solved' by what follows in the next paragraph: ways of following your dreams in day-to-day life.

You may have a different order which would work - but you should be able to justify why that order would be most effective for your reader . In writing, the reader's response is very important.

# data[].attributes.attachment_link.title
Paragraphs - Organising information and ideas - GCSE English Language Revision - Other - BBC Bitesize

# data[].attributes.attachment_link.description
Once you have planned out your ideas for a piece of writing, you need to work out the best order for your paragraphs so that your reader will follow and be interested in your writing.

# data[].attributes.attachment_link.title
Mary Beard on the Armada Portrait of Elizabeth I

# data[].attributes.attachment_link.title
Kings and Queens of England & Britain - Historic UK

# data[].attributes.attachment_link.description
A full list of the Kings and Queens of England and Britain, with portraits and photos.

# data[].attributes.attachment_link.title
The Bloody Reign of The Stuarts | Game of Kings | Timeline

# data[].attributes.attachment_link.title
The Execution of Charles I: Killing a King

# data[].attributes.attachment_link.title
'Fate' in Romeo and Juliet: Key Quotes & Analysis

# data[].attributes.attachment_link.title
'Hate' in Romeo and Juliet: Key Quotes & Analysis

# data[].attributes.attachment_link.title
'Love' in Romeo and Juliet: Key Quotes & Analysis

# data[].attributes.attachment_link.title
'Death' in Romeo and Juliet: Key Quotes & Analysis

# data[].attributes.attachment_link.title
The 10 Most Important Quotes in Romeo and Juliet

# data[].attributes.attachment_link.title
Why should you read "Macbeth"? - Brendan Pelsue

# data[].attributes.attachment_link.title
Macbeth.  Compare and Contrast: Opening scenes from five adaptations.

# data[].attributes.body
photos

# data[].attributes.attachment_caption
BBC Learning English - Course: shakespeare / Unit 1 / Session 9 / Activity 1

# data[].attributes.body
what's done is done

# data[].attributes.attachment_link.readable_text
Narrator
It was a late summer's morning. William Shakespeare is at the market.

Will
A pound of plums, please, Mary.

Stallholder
Here you are Mr Will.

Will
Mary? You're not your usual happy self this fine morning.

Stallholder
I feel terrible, Mr Will. I did an awful thing to that Nell Butcher - she's had her eye on my George for ages. I've had enough. I put pepper all over her fruit pies. Oh Mr Will, poor Nellie's in so much trouble and it's my fault.

Stallholder
Lady Macbeth said that in your play, didn't she Mr Will?

Will
She did indeed Mary.

Stallholder
She was telling her husband that you can't change the past. You just have to forget about it and move on, even if it's really, really bad.

Will
And it was indeed very bad in my play, Mary. Macbeth murdered the King. And Lady Macbeth encouraged him.

Stallholder
No wonder he feels bad afterwards... I feel bad enough about the fruit pies...

Will
Macbeth feels very guilty. He has some terrible dreams. But Lady Macbeth doesn't feel the same. She tells Macbeth to forget his bad thoughts.

Stallholder
Say the lines, Mr Will.

Will
Very well Mary. Close your eyes and imagine: Macbeth is feeling bad about the people he killed. Lady Macbeth tells him that they are dead, so his guilty thoughts about them should die, too. He can't fix things, so he shouldn't think about them. These are her words:

Lady Macbeth
How now, my lord! Why do you keep alone,
Of sorriest fancies your companions making,
Using those thoughts which should indeed have died
With them they think on? Things without all remedy
Should be without regard. What's done is done.

Stallholder
So Mr Will, should I forget about the pepper and the pies...?

Will
Indeed you should, Mary. And forget about Nell Butcher too.

Stallholder
Hmmm... to forget, or not to forget: that is the question.

# data[].attributes.attachment_link.title
BBC Learning English - Course: shakespeare / Unit 1 / Session 9 / Activity 1

# data[].attributes.attachment_link.description
Narrator It was a late summer's morning. William Shakespeare is at the market. Will A pound of plums, please, Mary. Stallholder Here you are Mr Will. Will Mary? You're not your usual happy self this fine morning. Stallholder I feel terrible, Mr Will.

# data[].attributes.body
https://www.evernote.com/shard/s136/sh/829622c3-98dd-4a3a-945a-cadae52aacc0/7d40059312c90b9175c4b15f04698d33

# data[].attributes.attachment_link.title
Searching Romeo And Juliet Lessons | Tes Teach With Blendspace

# data[].attributes.attachment_link.description
Find resources on Romeo and Juliet for every grade to supplement your lessons, presentations, portfolios, and projects whether you're teaching or learning.

# data[].attributes.body
fromm bbc

# data[].attributes.attachment_link.title
Macbeth - GCSE English Literature Revision - AQA - BBC Bitesize

# data[].attributes.attachment_link.description
GCSE English Literature Macbeth learning resources for adults, children, parents and teachers.

# data[].attributes.attachment_link.title
BBC English Masterclass: Advanced Learner Mistakes

# data[].attributes.attachment_link.title
How to use linking words in English - BBC English Masterclass

# data[].attributes.attachment_link.title
How to use participle clauses - improve your grammar with English Masterclass from the BBC

# data[].attributes.attachment_link.title
Formal English and informal English - BBC English Masterclass

# data[].attributes.attachment_link.title
BBC Masterclass: Subject-Verb Agreement 1

# data[].attributes.attachment_link.title
BBC Masterclass: Subject Verb Agreement 2

# data[].attributes.attachment_link.title
BBC Masterclass: Subject Verb Agreement 3

# data[].attributes.attachment_link.title
Shakespeare Lives in Schools; Macbeth animation

# data[].attributes.attachment_link.description
Schools around the world celebrate Shakespeare Lives in schools day on Friday December 2nd 2016. Watch our crowd sourced Macbeth featuring schools from around the world, plus animations by Nick Hayes. Narrated by Fiona Shaw CBE. Subscribe to our channel for more: https://goo.gl/xs5AMi

# data[].attributes.attachment_link.readable_text
Flinn looks at Macbeth for your GCSE English Lit exam. In this episode, he will look at the ideas of ambition and fate as portrayed in Macbeth's character. Ideal for preparing your for GCSE English Lit exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.keywords[]
gcse english literature - macbeth ambition and fate

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: GCSE English Literature - Macbeth Ambition and Fate su Apple Podcasts

# data[].attributes.attachment_link.description
‎Flinn looks at Macbeth for your GCSE English Lit exam. In this episode, he will look at the ideas of ambition and fate as portrayed in Macbeth's character. Ideal for preparing your for GCSE English Lit exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.readable_text
Catherine looks at structure, meter and dramatic irony for your GCSE English Literature - Macbeth exam. In this episode, she will look at the different ways Shakespeare uses these literary techniques in Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.keywords[]
gcse english literature - macbeth - structure

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: GCSE English Literature - Macbeth - Structure, Meter & Dramatic Irony su Apple Podcasts

# data[].attributes.attachment_link.description
‎Catherine looks at structure, meter and dramatic irony for your GCSE English Literature - Macbeth exam. In this episode, she will look at the different ways Shakespeare uses these literary techniques in Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For mor...

# data[].attributes.attachment_link.readable_text
Catherine looks at power and ambition for your GCSE English Literature - Macbeth exam. In this episode, she will look at different ways power and ambition are explored in Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.keywords[]
gcse english literature - macbeth - power & ambition

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: GCSE English Literature - Macbeth - Power & Ambition su Apple Podcasts

# data[].attributes.attachment_link.description
‎Catherine looks at power and ambition for your GCSE English Literature - Macbeth exam. In this episode, she will look at different ways power and ambition are explored in Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For more info visit www.senecalearning....

# data[].attributes.attachment_link.readable_text
Catherine looks at politics and the monarchy for your GCSE English Literature - Macbeth exam. In this episode, she will look at King James I of England and his impact on England in the 1600s. Suitable for AQA, Edexcel, Eduqas and CIE exam boards. Ideal for preparing you for your GCSE English Literature exam.

Click here for the full course, or visit this link: http://bit.ly/2RXjdVp

# data[].attributes.attachment_link.keywords[]
macbeth: politics & monarchy👑 - gcse english literature revision

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: Macbeth: Politics & Monarchy👑 - GCSE English Literature Revision su Apple Podcasts

# data[].attributes.attachment_link.description
‎Catherine looks at politics and the monarchy for your GCSE English Literature - Macbeth exam. In this episode, she will look at King James I of England and his impact on England in the 1600s. Suitable for AQA, Edexcel, Eduqas and CIE exam boards. Ideal for preparing you for your GCSE English Literat...

# data[].attributes.attachment_link.readable_text
Flinn looks at Lady Macbeth for your GCSE English Literature - Macbeth exam. In this episode, he will look at how she is portrayed as masculine and ruthless in the play. Ideal for preparing you for your for GCSE English Literature exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.keywords[]
gcse english literature - macbeth - lady macbeth as masculine and ruthless

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: GCSE English Literature - Macbeth - Lady Macbeth as Masculine and Ruthless su Apple Podcasts

# data[].attributes.attachment_link.description
‎Flinn looks at Lady Macbeth for your GCSE English Literature - Macbeth exam. In this episode, he will look at how she is portrayed as masculine and ruthless in the play. Ideal for preparing you for your for GCSE English Literature exam. For more info visit www.senecalearning.com/blog/gcse-english-li...

# data[].attributes.attachment_link.readable_text
Catherine looks at the themes of madness and blood for your GCSE English Literature - Macbeth exam. In this episode, she will look at the different ways that madness and blood are explored in Shakespeare's Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.keywords[]
gcse english literature - macbeth - madness & blood

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: GCSE English Literature - Macbeth - Madness & Blood su Apple Podcasts

# data[].attributes.attachment_link.description
‎Catherine looks at the themes of madness and blood for your GCSE English Literature - Macbeth exam. In this episode, she will look at the different ways that madness and blood are explored in Shakespeare's Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For...

# data[].attributes.attachment_link.readable_text
Catherine looks at the supernatural and gender for your GCSE English Literature - Macbeth exam. In this episode, she will look at views on witches and witchcraft, as well as gender, in the early 1600s. Ideal for preparing your for GCSE English Literature exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.keywords[]
gcse english literature - macbeth - supernatural & gender

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: GCSE English Literature - Macbeth - Supernatural & Gender su Apple Podcasts

# data[].attributes.attachment_link.description
‎Catherine looks at the supernatural and gender for your GCSE English Literature - Macbeth exam. In this episode, she will look at views on witches and witchcraft, as well as gender, in the early 1600s. Ideal for preparing your for GCSE English Literature exam. For more info visit www.senecalearning....

# data[].attributes.attachment_link.readable_text
Catherine looks at the theme of the supernatural for your GCSE English Literature - Macbeth exam. In this episode, she will look at different ways the supernatural is explored in Shakespeare's Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For more info visit www.senecalearning.com/blog/gcse-english-literature-revision

# data[].attributes.attachment_link.keywords[]
gcse english literature - macbeth - the supernatural

# data[].attributes.attachment_link.keywords[]
revise - gcse english literature revision

# data[].attributes.attachment_link.title
‎Revise - GCSE English Literature Revision: GCSE English Literature - Macbeth - The Supernatural su Apple Podcasts

# data[].attributes.attachment_link.description
‎Catherine looks at the theme of the supernatural for your GCSE English Literature - Macbeth exam. In this episode, she will look at different ways the supernatural is explored in Shakespeare's Macbeth, including key quotes. Ideal for preparing your for GCSE English Literature exam. For more info vis...

# data[].attributes.body
Well....

# data[].attributes.attachment_link.title
Never off their books of Sonnets! - Upstart Crow: Episode 4 Preview - BBC Two