|
Hint
|
|
Answer
|
|
A POISON
|
|
TREE
|
|
Very simple rhyme scheme made up of ___ ___
|
|
rhyming couplets
|
|
___ rhyme scheme
|
|
AABB
|
|
Creates a regular beat, makes it sound childlike like a ___ ___. Emphasises the moral message
|
|
nursery rhyme
|
|
First stanza introduces the ___ message of the poem.
|
|
moral
|
|
Following stanzas introduce develop the ___ ___ of the tree as it grows
|
|
extended metaphor
|
|
The final stanza provides the poem's ___. Implied that the poet's building anger has led to the foe's death
|
|
climax
|
|
Uses ___ to emphasise moral message. Compares time where anger was spoken about to time where it was repressed to show consequences of repressing emotions
|
|
contrasts
|
|
___ language - speaker's anger is described using metaphor of a tree, which grew naturally with sun and water
|
|
natural/nature
|
|
Repetition - ___ of 'and' is used at the start of many lines
|
|
anaphora
|
|
Creates urgency and reflects constant ___ of speaker's anger
|
|
growth/development/escalation
|
|
THE DESTRUCTION OF
|
|
SENNACHERIB
|
|
____ rhyme scheme
|
|
AABB
|
|
Written in ___ ___ which drive the poem forward and reflect quick defeat of Assyrians
|
|
rhyming couplets
|
|
Regular rhythm might remind reader of ___ horses
|
|
galloping
|
|
Told in ___ order
|
|
chronological
|
|
First stanza describes glory of army. ___ on line 7 begins to describe defeat
|
|
Volta
|
|
Poet compares things to ___
|
|
nature
|
|
Shows Sennacherib's violence by comparing him to a ___
|
|
wolf
|
|
Compares defeat of Assyrians to changing ___ to make it seem natural and inevitable
|
|
seasons
|
|
Second stanza uses the same format in the first two lines and second two, but ___ the seasons
|
|
juxtaposes/contrasts
|
|
Does not compare the rider to anything nature-related, ___ individual soldiers
|
|
dehumanising
|
|
Repetition - ___ of 'and' creates momentum and inevitability
|
|
anaphora
|
|
Language is often beautiful and creates a sense of ___ which gives the poem an eerie tone
|
|
calm
|
|
Emphasises how ___'s power is effortless compared to big displays of power by Assyrians
|
|
God
|
|
Adjectives with ___ prefixes like "unsmote" show the passivity of the soldiers
|
|
negative
|
|
EXTRACT FROM THE
|
|
PRELUDE
|
|
___ ___ perspective. Sounds personal and describes turning point in Wordsworths's life
|
|
First person
|
|
Uses ___ verse
|
|
blank
|
|
This is ___ verse in iambic pentameter
|
|
unrhymed
|
|
Sounds serious and important, but also like ___ speech
|
|
natural
|
|
___ main sections in the extract. In the first, the tone is light and carefree
|
|
Three
|
|
___ when mountain appears. Tone becomes darker and more fearful
|
|
Volta
|
|
Final section: speaker reflects on how experience ___ him
|
|
changed/altered/affected
|
|
Beautiful language: begins with pretty, pastoral images of ___
|
|
nature
|
|
Dramatic language: initial glimpse of threatening language becomes more intense after the ___ appears
|
|
mountain
|
|
Fearful: far less confident at end of extract. Troubled by what he's witnessed. Experience has a ___ effect on him
|
|
lasting/haunting/lingering
|
|
Sexual language: could relate to Wordsworth losing his ___
|
|
virginity
|
|
THE MAN HE
|
|
KILLED
|
|
Speech from a single character: ___ ___
|
|
dramatic monologue
|
|
Regular metre and ___ rhyme scheme
|
|
ABAB
|
|
Make the poem ___, contrasting with the dark subject matter
|
|
conversational/casual/informal
|
|
The longer third line of each stanza is a feature of ___ ___ (often used in hymns)
|
|
short meter
|
|
1st, 2nd and 4th lines: iambic ___. 3rd line: iambic ___.
|
|
trimeter tetrameter
|
|
Has a ___ structure which reflects speaker's though process as he replays memories of the war
|
|
cyclical
|
|
The bar in the final stanza links to the ancient inn in the first, suggesting that the speaker's ___ is ongoing
|
|
trauma
|
|
___ language: informal language and slang suggest that the speaker is an ordinary, working-class man
|
|
Colloquial
|
|
Shows how the working class were ___ and contrasts with the harrowing themes of war and death
|
|
exploited
|
|
Speaker has an almost childlike ___
|
|
innocence
|
|
Matter-of-fact, unemotional language describes killing the man. Highlights the ___ nature of war
|
|
impersonal
|
|
(Also why no ___ are given in the poem)
|
|
names
|
|
Repetition and ___ create hesitance. Speaker is questioning his actions (and, by extension, the war)
|
|
caesurae
|
|
Contrasts the final paragraph where the exclamation "Yes" suggest's he's come to a ___
|
|
conclusion
|
|
COUSIN
|
|
KATE
|
|
___ rhyme scheme
|
|
ABCB
|
|
It's a ___ ___ addressed to the speaker's cousin
|
|
dramatic monologue
|
|
The speaker is ___ as her opinions of Kate are coloured by resentment
|
|
unreliable
|
|
In ___ order
|
|
chronological
|
|
The lord is the ___ of many sentences and is doing things to the women
|
|
subject
|
|
Shows their relative passivity. Rossetti reinforces this by likening women to ___ - which, to the lord, they are
|
|
objects
|
|
In the second stanza, ___ is used to describe how the lord seduced and abandoned the speaker
|
|
anaphora
|
|
A significant number of lines in the poem start with ___ to present the lord as the most important figure in the narrative. Also shows Kate's passiveness in 3rd stanza
|
|
he
|
|
Poem contrasts ___ with ___
|
|
innocence corruption
|
|
HALF
|
|
CASTE
|
|
No regular ___ ___
|
|
rhyme scheme
|
|
Some rhymes and ___ are used to create a sense of rhythm
|
|
pararhymes
|
|
Use of ___ and lack of standard punctuation provide a sense of urgency
|
|
enjambment
|
|
First half of poem compares being ___ ___ to great art and natural weather
|
|
mixed race
|
|
Second half exaggerates the idea that the speaker is half a person, to expose the ridiculousness of the term ___-___. Final lines invite reader to reconsider using the term
|
|
half caste
|
|
Metaphor: Being mixed race is compared to art. Suggests combinations make things beautiful rather than ___
|
|
incomplete
|
|
Guyanese ___ is used to show how mixing things creates powerful poetry
|
|
dialect
|
|
Poem is ___ to highlight the absurdity of the term
|
|
humorous
|
|
EXPO
|
|
SURE
|
|
Written in present tense using first person ___
|
|
plural
|
|
___ voice shows shared experience of the soldiers
|
|
Collective/shared
|
|
Regular ___ rhyme scheme to reflect monotony
|
|
ABBAC
|
|
Often rhymes are ___ like "snow" and "renew"
|
|
pararhymes
|
|
This offers no comfort or satisfaction: rhymes are ___ and convey the men's confusion and fading energy
|
|
dissonant/incomplete/unsatisfying
|
|
Each stanza ends with a ___ line, leaving gap that mirrors lack of activity/hope for men
|
|
half
|
|
Has ___ stanzas but no real progression
|
|
8
|
|
Last stanza ends with same words as first one: "___ ___ ___"
|
|
But nothing happens
|
|
Shows monotony of life in trenches and ___ of change. Even death alters nothing
|
|
absence/lack
|
|
___ ___ ask why the men are exposed to such conditions
|
|
Rhetorical questions
|
|
___ is personified as the real enemy in the war
|
|
Nature/weather
|
|
___ imagery reminds the reader of the men's pain, bad weather, lack of hope
|
|
Bleak
|
|
Assonance, onomatopoeia and carefully chosen verbs add to bleak mood and make descriptions vivid and ___
|
|
depressing/sad/miserable/melancholic
|
|
THE CHARGE OF THE LIGHT
|
|
BRIGADE
|
|
Narrated in ___ ___ making it seem like a story
|
|
third person
|
|
___ rhythm creates fast pace and imitates the cavalry's advance and energy of the battle
|
|
Regular/relentless
|
|
Rhyming ___ and ___ drive poem forward, but momentum is broken by unrhymed lines. Mirrors stumbling horses/falling soldiers
|
|
couplets triplets
|
|
Lack of regular rhyme scheme resembles ___ of war
|
|
chaos
|
|
The story is told ___
|
|
chronologically
|
|
___ creates sense of impending doom and inevitability
|
|
Repetition
|
|
Repetition of "___ ___" reinforces the mass destruction of the war
|
|
six hundred
|
|
Adverbs and verbs like "boldly" and "charging" seem ___
|
|
heroic
|
|
Respectful language shows that the speaker feels the soldiers should be ___
|
|
admired/honoured/remembered
|
|
Violence: powerful verbs & adjectives give sense of violence in the battle. Sounds are often ___
|
|
plosive
|
|
Punctuation also adds to the sense of ___. Poem has noisy atmosphere
|
|
chaos
|
|
CAT
|
|
RIN
|
|
Free ___, with no regular rhythm or rhyme
|
|
verse
|
|
Makes emotion feel authentic. ___ also helps imitate flowing thoughts and reflects the 'rope of love' - persisting link between the pair
|
|
Enjambment
|
|
Punctuation and ___ show cracks in relationship
|
|
caesurae
|
|
Two ___ - the daughter's birth and a later argument - are compared
|
|
confrontations/arguments/conflicts
|
|
Relationship presented as challenging. Birth described as "___ ___" and mother still fighting daughter off later in life
|
|
fierce confrontation
|
|
No ___ to the conflict
|
|
resolution/conclusion/end
|
|
Rope binds pair together. "___ ___" suggests plentiful supply of maternal love, but also suggests that daughter's love is buried
|
|
heart's pool
|
|
WAR
|
|
PHOTOGRAPHER
|
|
___ ___ reveals thoughts and events in natural style
|
|
free verse
|
|
Mirrors interest in truth because words are not dressed up in ___
|
|
rhyme
|
|
Varying stanza/line lengths reflect ___ of frames
|
|
flexibility
|
|
___ structure: begins and ends by exploring flexibility of frames and boundaries
|
|
cyclical
|
|
This is initially reassuring, but becomes menacing (how easy it is to ignore ___)
|
|
suffering
|
|
Contrasts highlight ___ and ___, eg. Ascot girls vs small girl. Connects the girls, while emphasising a huge difference in their experiences.
|
|
similarities differences
|
|
Powerful descriptions of warzones force reader to confront the ___
|
|
truth
|
|
Pleasant descriptions of the girl and her baby in the ___ of the photo contrast reality
|
|
caption
|
|
BELFAST
|
|
CONFETTI
|
|
___ line lengths, incomplete sentences and enjambment reflect a lack of clarity in the speaker's thoughts
|
|
Varying/differing
|
|
Starts ___ ___ ___ and has no real conclusion
|
|
in media res
|
|
1st stanza is past tense, second is present. Shift creates sense of ___
|
|
immediacy
|
|
Also shows how trauma is ___. Speaker can't come to terms with what they saw
|
|
ongoing
|
|
Imagery of ___, and frequent use of violent vocabulary reinforces impression of devastation
|
|
fragmentation
|
|
___ usually shows structure. By scattering it throughout poem, loss of control is conveyed
|
|
punctuation
|
|
Weapon. It brings terror instead of ___
|
|
order
|
|
THE CLASS
|
|
GAME
|
|
"I" vs "you" emphasises ___ division
|
|
class
|
|
Mostly in ___ ___ but some are pararhymes
|
|
rhyming couplets
|
|
Reflects speaker's belief that formal langage/conventions are unnecessary and that they're proud of their ___
|
|
heritage/culture/identity/class
|
|
One sided ___ and ___ structure. Speaker asks questions, responds with even more questions
|
|
question answer
|
|
After each repetition of "___ ___ ___ ___ ___ ___ ___ ___" the speaker asks about different elements of their identity
|
|
How can you tell what class I'm from?
|
|
The final change to "I'm proud of the class that I come from" provides a clear ___
|
|
conclusion/ending
|
|
___ gives the speaker authenticity and makes the poem personal
|
|
Dialect
|
|
___ language/working class slang make the poem conversational. Reinforces speaker's pride in their class
|
|
Colloquial/informal
|
|
___ such as 'patio' and 'yard' emphasise the triviality of the divide
|
|
Contrasts
|
|
POP
|
|
PIES
|
|
___ person narrative
|
|
First
|
|
Provides strong impression of the mother's ___
|
|
emotions/feelings
|
|
No ___ rhyme/rhythm - sounds like thoughts/memories
|
|
regular
|
|
Long sentences and ___ also provide this impression
|
|
enjambment
|
|
Poem is ___ but the time frame is ambiguous
|
|
chronological
|
|
Memories of the son's ___ are mingled with those of him leaving home
|
|
childhood
|
|
Mother's ___ from her son shown in the ways she can't touch or hear him
|
|
distance/separation
|
|
She touches other things and listens for his voice "___ ___ ___" but can't replace the person
|
|
on the wind
|
|
War imagery and mentions of the war memorial convey violence, and perhaps the son's ___
|
|
death
|
|
Images of war are juxtaposed with ___ images of family life
|
|
domestic
|
|
NO
|
|
PROBLEM
|
|
___ person makes it personal
|
|
first
|
|
___ rhyme scheme looks at new part of problem every 4 lines
|
|
ABCB
|
|
More conventional to use ___ but 2 stanzas of different lengths reflects speaker's message that they're more than what's expected of them
|
|
quatrains
|
|
1st stanza is how speaker's been affected by racial ___
|
|
stereotypes
|
|
2nd looks to the future and hopes for ___
|
|
change/progress
|
|
___ ___ ___ dialect - words are spelt as they're spoken
|
|
Phonetic Caribbean English
|
|
Reflects pride and authenticity in ___
|
|
culture/heritage/identity/ethnicity
|
|
Language of ___ creates sympathetic response
|
|
victimisation
|
|
Speaker repeatedly demonstrates that they're more complex than stereotypes expected of them - language of ___
|
|
defiance
|
|
Last line is ___ to create more authenticity and encourage the reader to reflect on using that argument as an excuse
|
|
humorous
|
|
WHAT WERE THEY
|
|
LIKE?
|
|
Unusual ___ and ___ form
|
|
question answer
|
|
Not immediately recognisable as ___ ___
|
|
free verse
|
|
May reflect how ___ is also not recognisable
|
|
Vietnam
|
|
___ and questions create ponderous pauses
|
|
caesurae
|
|
How to read it is ___, mirroring the poem's unease
|
|
ambiguous
|
|
Peaceful, ___ imagery contrasts with war
|
|
idyllic
|
|
Consequences of war are described vividly to ___ to reader
|
|
shock
|
|
The speaker is ___ and respectful
|
|
formal
|
|
However, they have an ___/sarcastic undertone. They are repressing the true extent of their feelings about the war
|
|
insincere
|