English Year 7

Transition booklet

Name:

This booklet will help you prepare for your return to school. Make sure you read it carefully and complete all activities.

WW1 Poetry:

Glossary Key Definitions:

Key term

Definition

Example

language:

The writer’s choice of words and phrases and their impact.

When analysing poetry consider the effect of specific words.

structure:

The arrangement of a poem. When analysing poetry this could include repetition, punctuation, line/stanza length or the number and order of stanzas

The structure of a poem refers to the way it is presented to the reader. This could include technical things such as the line length and stanza format. Or it could include the flow of the words used and ideas conveyed. Line length shows the reader how it should be read.

form:

Some poems adopt specific forms/type of text e.g. sonnets or narrative poems

A poetic form just refers to a type of poem that follows a particular set of rules, whether it be the number of lines, the length or number of stanzas, rhyme scheme, subject matter.

context:

The circumstances that form the setting for an event, statement, or idea. The background.

Knowing about these things can give us an insight into the poet’s intentions and purpose in writing a poem.

Subject terminology:

imagery – visually descriptive or figurative language, especially in a literary work. it helps you to imagine what is being described

analyse - examine something methodically and in detail, typically in order to explain and interpret it

technique - a way of carrying out a particular task. language devices are techniques which allow the writer to covey meaning (e.g. metaphors)

inference - an interpretation which goes beyond the literal information given

deduction - an understanding based on the evidence

personification - the attribution of a personal nature or human characteristics to something non-human

rhythm - the beat and movement of language (rise and fall, repetition and variation, change of pitch, mix of syllables, melody of words)

rhyme - words that sound alike, especially words that end in the same sound

stanza - group of lines in a poem that make up a single unit; like a paragraph in prose

free verse - poetry that does not rhyme or have a regular rhythm

alliteration – close repetition of consonant sounds, especially initial consonant sounds

assonance – close repetition of vowel sounds

refrain - a repeated line within a poem, similar to the chorus of a song

Task One:

World War 1 began on July 28, 1914. The conflict lasted four years, three months, ending in 1918. There were two sides in the war. The Triple Ententes (also known as The Allies) were Britain, France, Ireland and Russia. The Central Powers were Germany and Austria-Hungary. World War 1 has many different names. It was called The Great War, the World War, the War to End all Wars, World War 1, WW1, the War of the Nations and more. America joined World War I on April 6, 1917. Over 8 million soldiers died in World War 1, and another 21 million injured. A staggering 65 million soldiers were mobilized during the war. The armistice on November 11, 1918 ended the fighting, but it took another six months to negotiate peace before the Treaty of Versailles could be prepared.

Poem and Poets, we studied in Term 4 summaries:

Jessie Pope – Who’s for the Game?

A pro war poem that conveys positive attitudes towards war by comparing it to a sporting game.

Edna St Vincent Mally – Conscientious Objector

The persona of the poem is anti-war; they refuse to help “Death” in his efforts to kill people.

John McCrae – In Flanders Field

Speaker portrays his feelings about the death of a fellow soldier friend.

Wilfred Owen – Dulce Et Decorum Est

Depicts the helplessness of soldiers caught in a gas attack.

Rupert Brooke – The Soldier

Reflects the proud English spirit that led to many men enlisting in the early stages of conflict in WW1.

Ivor Gurney – The Target

The poem is concentrated around the battlefield and the traumatizing choices one must make while representing their country.

Wilfred Owen – Mental Cases

Reflects upon the horrific consequences of war; describes war-torn men suffering from shell shock.

Siegfried Sassoon – Suicide in the Trenches

A poem which criticises the loneliness, health conditions, patriotism and lack of resources soldiers face whilst in the trenches.

Wilfred Owen – Anthem for Doomed Youth

A poem about the waste of many young men in WW1. The poem as a whole is about how to conduct the funeral of a soldier who has died in battle.

Wilfred Gibson – Air Raid

Describes the fear and terror of an air raid attack, focusing on the thoughts and feelings of a family.

Siegfried Sassoon – Attack

Conveys the harshness and realness of war, particularly insightful as Sassoon fought on the front line himself.

Wilfred Owen – Arms and the Boy

About a young, inexperienced solider. However, the boy isn’t made for war.

Gilbert Frankau – The Deserter

Recounts the last moments of a soldier who is killed for “deserting” or abandoning during the war.

May Wedderburn Cannan – August 1914

An unnamed girl prays for the safety of a solider at war; shows the inevitability of death in the war.

Sir Henry Newbolt – Vitai Lampada

In the panic of battle, a soldier is stirred to heroic action by his schoolboy memories.

Task Two:

Who’s for the game? By Jessie Pope

Who’s for the game, the biggest that’s played, The red crashing game of a fight? Who’ll grip and tackle the job unafraid? And who thinks he’d rather sit tight? Who’ll toe the line for the signal to ‘Go!’? Who’ll give his country a hand? Who wants a turn to himself in the show? And who wants a seat in the stand? Who knows it won’t be a picnic – not much- Yet eagerly shoulders a gun? Who would much rather come back with a crutch Than lie low and be out of the fun? Come along, lads – But you’ll come on all right – For there’s only one course to pursue, Your country is up to her neck in a fight, And she’s looking and calling for you.

What emotions is Pope trying to provoke?

Who would this poem’s intended audience be? Why?

What images are created? Why?

How would these help the war effort?

Task Three:

What is a narrator?

Name the five senses.

What does the E stand for in AFORREST?

Who does this weather represent in Macbeth?

Simile or metaphor? The rain fell down like a river.

Task Four:

Ivor Gurney

28 August 1890 - 26 December 1937

Enlisted as a private soldier in February 1915

He was wounded in the shoulder in 1917 but returned to battle when recovered

In 1918, affected by shell shock, he had a breakdown and was discharged from the army

He suffered from mental illness for the rest of his life; he was hospitalised from 1922 until his death.

‘The Target’ by Ivor Gurney

Read the poem. Write a summary of each verse in the speech bubble next to it.

I shot him, and it had to be

One of us 'Twas him or me.

'Couldn't be helped' and none can blame

Me, for you would do the same

My mother, she can't sleep for fear

Of what might be a-happening here

To me. Perhaps it might be best

To die, and set her fears at rest

For worst is worst, and worry's done.

Perhaps he was the only son. . .

Yet God keeps still, and does not say

A word of guidance anyway.

Well, if they get me, first I'll find

That boy, and tell him all my mind,

And see who felt the bullet worst,

And ask his pardon, if I durst.

All's a tangle. Here's my job.

A man might rave, or shout, or sob;

And God He takes no sort of heed.

This is a bloody mess indeed.

Term Definition

hyperbole

hyperbole is an exaggeration that is created to emphasize a point or bring out a sense of humour

metaphor

when you say something is something else, but you know it can’t be. “she is a star!”

simile

when you compare two things using ‘as’ or ‘like’. “as brave as a lion

oxymoron

when two words are placed together with opposite meanings

emotive language

language used to create a particular emotion in the reader

figurative language

language that’s intended to create an image, association, or other effect in the mind of the listener or reader

personification

personification is a type of figurative language that gives human characteristics to non-living

imagery

when something is described in way that appeals to our senses

structure

the way that the poem is arranged/organised

sibilance

a repeated ‘s’, ’sh’ or ‘z’ sound

semantic field

a group of words in the poem that are all about the same thing/idea

enjambment

when one line runs into another without a pause

juxtaposition

when two contrasting ideas are placed together to highlight their differences

Task Five:

Write five sentences using the words in the definition.

A) Hyperbole. - I have a million things to do this weekend.

1)______________________________________________________________________

2)______________________________________________________________________

3) ______________________________________________________________________

4)______________________________________________________________________

5)______________________________________________________________________

Task six:

Match the key word to the definition.

Key word:

Definition:

armchair war supporter

This is Latin for ‘it is right and proper to die for one’s country’.

pacifist

Pits where soldiers would work and live during the war.

trench

Someone who believes that war and violence are unjustifiable.

propaganda

Someone who supports the war from back home but doesn’t have to experience it themselves.

Dulce et Decorum est pro patria mori

Bias information used by those in power to persuade people.

nationalist

This term was used to describe the post-traumatic stress faced by many of the soldiers when they returned from the war.

shell shock

A person who feels very strongly about their own country over others.

Oliver Twist, by Charlies Dickens

Glossary Key Definitions:

Word

Definition

villains

a bad person in a story, who harms other people or breaks the law to get what they want

victims

a person who has come to feel helpless and passive in the face of misfortune or ill-treatment

vulnerable

if someone is vulnerable they are in a situation where they could be easily harmed

corrupt

someone is ‘corrupt’ if they use their power in a dishonest or illegal way in order to make life better for themselves

naïve

someone is naïve if they don’t have experience of how complicated life can be and therefore trust people too much

orphan

an orphan is a child whose parents are dead

moral

a moral is a message that is conveyed or a lesson to be learned from a story or event

workhouse

a place where people who

couldn’t support themselves were sent to live and work

society

the people who live in a certain area-the public

brutal

very violent or cruel

OLIVER TWIST BOOK SYNOPSIS

The classic story of a young boy who seeks his fortune on the streets of London. After Oliver Twist asks nasty Mr Bumble for more food, he has to flee the workhouse for the streets of London. Here he meets the Artful Dodger, who leads him to Fagin and his gang of pickpockets. When a thieving mission goes wrong, Oliver narrowly avoids prison and finds himself in the care of kind Mr Brownlow. However, Fagin and the brutal Bill Sikes go in search of the young orphan, determined to drag him back.

Oliver grows up in the workhouse, so you are going to learn some information about workhouses and life for the poor in Victorian times.

Read the following and then answer the questions in full sentences.

The Workhouse

The word ‘workhouse' would send shudder down the spine of any honest 19th century worker; it signified the end of the line for the poor. The forbidding workhouse is one of the strongest impressions of Victorian England. Charles Dickens painted the best-known picture of it in his Oliver Twist, but even the great novelist's vivid descriptions of the repressive, soul-destroying workhouse regime.

These were almost like prisons, with bare walls, hard beds, and little food. Family members were made to separate from each other and could never meet as long as they were in the workhouse.

On entering the workhouse, you put into different categories: The "impotent poor" were those unable to look after themselves, like the very old, the very young, the sick, crippled, unmarried mothers, the blind and insane. The "able bodied poor" were those who had no work and therefore did not have any money to live on.

On arriving at the workhouse, paupers had to stripped, bathed, their hair was washed and cut short; they were issued with a workhouse uniform. Their belongings, taken away from them.

No inmate could leave the workhouse except permanently. Sadly, many of those admitted died in the workhouse because of the terrible conditions. Even worse, some workhouse children who were born inside never saw the outside world.

While in the workhouse, you had to work; this was made to be hard and tedious and was an essential part of the workhouse regime. Local landowners and others who contributed to the upkeep of the inmates wanted conditions to be harsh as they resented giving money to the "undeserving poor".

Breakfast was at 5.00am, inmates began work after prayers; you could only stop for lunch, dinner, and prayers, they went to bed at eight.

The Victorians believed that religion would help the poor to overcome their "laziness, fecklessness and drunkenness". Even school lessons for children revolved around the Bible.

People ended-up in the workhouse for a variety of reasons. Usually, it was because they were too poor, old or ill to support themselves. This may have resulted from such things as a lack of work during periods of high unemployment, or someone having no family willing or able to provide care for them when they became elderly or sick. Families often disowned unmarried pregnant women and the workhouse was the only place they could go during and after the birth of their child.

The workhouse did not spend much on food, and inmates were made to eat the rotting marrow from the animal bones they were breaking to sell as fertiliser. Food was eaten by hands, as there was no cutlery, there was only water to drink.

The poor diet, contaminated water supplies, and unclean and overcrowded conditions led to illness and disease. The most common of these being measles, ophthalmic, small pox, dysentery, scarlet and typhus fever, and cholera.

Discipline was used to control inmates who were often noisy and violent. Fighting was common, especially in the women’s yard. Punishment was used regularly, even for the smallest of offences. Men were even punished for trying to talk to their wives and even children were scolded for playing.

Task one

Answer the following questions on what you have just read; remember to write in full sentences, using effective punctuation.

1) Why were people divided into categories when they entered the ‘workhouse’?

2) Why do you think the workhouses were like prisons?

3) What type of illness did the workhouse inmates get? What caused these?

4) Why did the inmates each their food with their hands?

5) Why would someone end up in places like the workhouse?

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Task two:

Question: Explain why life was so hard for people in the Victorian period. Try to use quotations from the passage to support your work.

Model answer:

Life for the Victorians was very difficult, especially if you did not have any paid work and had to go into the workhouse. It says in the extract ‘Their belongings, taken away from them.’ In other words, if you were poor and had to go into the workhouse you could not take any personal possession with you. More specifically, the words ‘personal possessions’ show that people could not even have their own clothes and had to wear a workhouse uniform. This would take away a person’s identity and make them feel less human.

Your turn (at least two paragraphs) …

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Task four:

In a little town in England, there was a workhouse, and into the workhouse and this world of sorrow and trouble was born Oliver Twist. The pale face of a young woman was raised feebly from the pillow, and a faint voice feebly articulated the words: ‘Let me see the child and die.’ The surgeon deposited it in her arms. The patient imprinted her cold white lips passionately on its forehead, gazed wildly around, shuddered, fell back – and died.

or the next eight years, Oliver was the victim of poverty. He was brought up hungry, alongside twenty or thirty other juvenile offenders against the poor laws, who grew up without much food or clothing. Oliver Twist’s ninth birthday found him a very pale, thin child, somewhat small in height, and decidedly thin about the waist. But nature or inheritance had implanted a sturdy spirit in Oliver’s chest.

Dickens uses Juxtaposition to show differences in the classes whereby: workhouse thin

Mr Bumble (who is in charge) well fed.

Now, Mr Bumble the beadle was a fat and angry man. He came in to the workhouse and bellowed: ‘The child Oliver Twist is nine years old today. Despite all our supernatural efforts, we have never been able to discover who is his father, or what was his mother’s name or status.’ Mrs Mann, the lady of the house, retorted in astonishment: ‘How comes he to have any name at all, then?’ The beadle drew himself with great pride, and said, ‘I invented it.’ ‘You, Mr Bumble!’ ‘I, Mrs Mann. We name our orphans in alphabetical order. The last was a S, -‐Swubble, I named him. This was a T, -‐Twist, I named him. The next will be Unwin, the next Vilkins. I have got names ready made to the end of the alphabet, and all the way through it again, when we come to Z. Fetch Oliver Twist at once.’

Once fetched, Mr Bumble gave him a tap on the head with his cane, and another on the back to make him lively, and conducted him to a large white room, where eight or ten fat gentlemen were sitting round a table, headed by a particularly fat gentleman with a very round, red face. ‘Bow to the board,’ said Mr Bumble.

At nine, Oliver is too old to stay in the orphanage, so Mr. Bumble comes to get him and take him back to the workhouse where he was born

Oliver brushed away two or three tears that were lingering in his eyes, not knowing what a board was, and seeing no board but the table, luckily bowed to that. ‘What’s your name, boy?’ said the fat gentleman. Oliver was frightened at the sight of so many gentlemen, which made him tremble and answer in a very small and hesitating voice; whereupon a gentleman in a white waistcoat said he was a fool. ‘Boy,’ said the fat gentleman, ‘listen to me. You know you’re an orphan, I suppose?’ ‘What’s that, sir?’ inquired poor Oliver.

‘The boy is a fool – I thought he was,’ said the gentleman in the white waistcoat. ‘I hope you say your prayers every night – and pray for the people who feed you and take of you – like a Christian.’ And off he was sent.

Oliver Twist and his companions suffered the tortures of slow starvation. At last, they got so wild with hunger that one boy, who was tall for his age, hinted darkly to his companions that unless he had a bit more per day, he was afraid he would eat the boy who slept next to him, who happened to be a weakly youth of tender age. He had a wild, hungry eye: and the boys believed him. Lots were cast for who should walk up to the master after supper that evening and ask for more, and it fell to Oliver Twist.

Gruel- thin liquid food of oatmeal or other meal boiled in milk or water

The room in which the boys were fed, was a large stone hall, with a copper pot at one end: out of which thin, watery gruel was ladled at mealtimes. Grace was said; gruel was served out; the gruel disappeared; the boys nudged Oliver. Child as he was, he was desperate with hunger, and reckless with misery. He rose, and advancing to the master, basin and spoon in hand, and said, alarmed at his own nerve: ‘Please sir, I want some more.’

The master was a fat, healthy man: but he turned very pale. He gazed in stupefied astonishment on the small young rebel for some seconds, then clung for support to the copper pot. The assistants were paralysed with wonder, the boys with fear. ‘What!’ said the master at length, in a faint voice.

‘Please, sir,’ replied Oliver, ‘I want some more.’

The master aimed a blow at Oliver’s head with the ladle; pinioned his arms and shrieked aloud for the beadle. Mr Bumble rushed into the board in great excitement and addressed the fat gentleman: ‘I beg your pardon, sir! Oliver Twist has asked for more!’

There was a general start. Horror was depicted on every face.

‘For more!’ said the fat gentleman. ‘Compose yourself, Bumble, and answer me directly. Do I understand that he asked for more, after he had eaten the supper allotted?’ ‘He did, sir.’ ‘That boy will be hung,’ said the gentleman in the white waistcoat. ‘I know that boy will be hung.’

Nobody challenged this opinion. Oliver was ordered into confinement. A bill the next morning was pasted on the outside gate, offering a reward and five pounds to anybody who would take Oliver Twist off the parish. ‘I was never more convinced of anything in my life,’ said the gentleman in the white waistcoat, ‘I was never more convinced of anything in my life, than I am that that boy will come to be hung.’

Answer the following questions on what you have just read; remember to write in full sentences, using effective punctuation.

1) Why was Oliver living in the orphanage?

2) Why did the gentleman from the board say that Oliver was a fool?

3) What image is created by use Juxtaposition of Oliver and Mr Bumble?

4) Why do you think that Oliver was asked if he said his prayers? (Hint: the Victorians thought religion would help the poor)

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Task five:

Key words:

misanthropic – unsociable or dislikes other people.

zoomorphism – giving non-animal objects or beings animal-like qualities.

Zoomorphism

James got out of bed slowly.

James slithered out of bed.

Suggests that James is moving slowly, and perhaps sleepily, like a snake.

Already 20 minutes late, Ella ran to school.

Already 20 minutes late, Ella flew to school.

Reference to flying shows that Ella is moving fast, comparable to a bird.

Your turn… rewrite the sentences below using your own examples of zoomorphism

Dani shouted angrily at her mum.

Ben ate his sandwich hungrily.

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Task six:

Read extract – Mr Fang

The magistrate’s office was a sort of wooden pen where Oliver was deposited, trembling. Behind a bar, at the upper end, sat Mr Fang. Mr Fang was a long-‐backed, stiff-‐necked, middle-‐aged man, with a stern, flushed face, who was in the habit of drinking rather more than was good for him. The old gentleman bowed respectfully and handed his over his business card. Now Mr Fang was in a temper, and looked up with an angry scowl.

‘Who are you?’ said Mr Fang.

The old gentleman pointed to his card, and said, ‘that is my name and address, sir.’

‘Officer!’ said Mr Fang, tossing the card contemptuously away. ‘Who is this fellow?’

‘My name, sir,’ said the old gentleman, ‘is Mr Brownlow.’

‘Officer!’ snarled Mr Fang, ‘what’s this fellow charged with?’

‘He’s not charged at all, sir,’ replied the police officer. ‘He appears against the boy, your worship.’

‘Appears against the boy, does he?’ said Mr Fang, surveying Mr Brownlow contemptuously from head to foot.

‘Swear him in!’

‘Before I am sworn, I must beg to say one word –‘

‘Hold your tongue, sir!’ snapped Mr Fang.

‘I will not, sir!’ replied the old gentleman.

‘Hold your tongue this instant, or I’ll have you turned out of the office!’ said Mr Fang. ‘You're an insolent, impertinent, impudent fellow. How dare you bully a magistrate!’

‘What!’ exclaimed the old gentleman, reddening.

‘Swear this man!’ said Fang to the clerk. ‘I’ll not hear another word. Swear him!’

Mr Brownlow’s indignation was greatly aroused; but he suppressed his feelings and was sworn at once.

‘Now,’ said Fang, ‘what’s the charge against this boy? What have you got to say, sir?’

‘I was standing at a book-‐stall –‘

‘Hold your tongue, sir,’ said Mr Fang. ‘Policeman! Where’s the policeman? Swear this man. Now, what’s this?’ The policeman related how he had searched Oliver, and found nothing on his person.

‘Are there any witnesses?’ inquired Mr Fang.

‘None, your worship,’ replied the policeman.

Mr Fang sat still for some minutes, then turning to the prosecutor, said in a towering passion: ‘Well, do you mean to state what your complaint against this boy is, man, or do you not? You have been sworn. If you

stand there, refusing to give evidence, I’ll punish you for disrespect; I will. Now, what’s your name, you young scoundrel?’ Oliver tried to reply, but his tongue failed him. He was deadly pale, and the whole place seemed turning round and round. ‘What’s your name, you hardened scoundrel?’ demanded Fang. ‘Officer, what’s his name?’ He bent over Oliver, and repeated the inquiry; but finding him really incapable of understanding the question; and knowing that his not replying would only infuriate the magistrate the more, and add to the severity of his sentence; he hazarded a guess.

‘He says his name’s Tom White, your worship,’ said the police officer.

‘Has he any parents?’ asked Fang.

‘He says they died in infancy, your worship,’ replied the police officer.

‘Oh! Yes, I dare say!’ sneered Mr Fang. ‘Come, none of your tricks here, you young vagabond.’

‘No, I think he really is ill, your worship.’

‘Stuff and nonsense!’ said Mr Fang. ‘Don't try to make a fool of me.’ At which point, Oliver fainted.

‘I knew he was shamming,’ said Fang, as if this was proof. ‘Let him lie there: he’ll soon tire of that.’

‘How do you propose to deal with the case, sir?’ inquired the clerk in a low voice.

‘Summarily,’ replied Mr Fang. ‘He stands committed for three months -‐ hard labour. Clear the court.’

‘Stop, stop! Don't take him away! For heaven’s sake stop a moment!’

‘What is this? Who is this? Turn this man out. Clear the court!’

‘I will speak!’ cried the man, ‘I will not be turned out. I saw it all. I keep the bookstall. You must hear me.’

‘Swear the man,’ growled Mr Fang. ‘Now, man, what have you got to say?’

‘This,’ said the man, ‘I saw three boys: two others and this here: loitering while this gentleman was reading. The robbery was committed by another boy; this boy was perfectly amazed by it.’

‘Why didn't you come here before?’ snapped Mr Fang.

‘I hadn’t a soul to mind my shop,’ replied the bookseller. ‘I could get nobody, til five minutes ago, and I’ve run all the way here.’

‘The prosecutor was reading, was he?’ snarled Fang.

‘Yes,’ replied the man, ‘The very book he has in his hand.’

‘Oh, that book, eh?’ sneered Fang. ‘Is it paid for?’

‘Dear me, I forgot all about it!’ exclaimed the old gentleman, innocently.

‘A nice person to prefer a charge against a poor boy! I consider, sir, that you have obtained possession of that book under suspicious circumstances; and you may think yourself very fortunate that the owner of the property declines to prosecute. The boy is discharged. Clear the court!’ said Fang, with an effort to look humane.

‘Damn me!’ cried the old gentleman, ‘Damn me!’

‘Clear the court! Officers, do you hear? Clear the court!’

Mr Brownlow was conveyed out in indignation and rage. He reached the yard; and his passion vanished in a moment. Little Oliver Twist lay on his back on the pavement, with his shirt unbuttoned, and his temples bathed with water; his face a deadly white; and a cold tremble convulsing his whole frame.

‘Poor boy, poor boy!’ said Mr. Brownlow, bending over him. ‘Call a coach, somebody, pray. Directly!’

‘I’ll help the poor boy. Call a coach, somebody! Dear me, I have this unhappy book still.’ And, carrying little Oliver and the book, away the coach drove.

Look at the words used to describe Mr Fang

“growled” Animals growl to threaten other animals.

“snarled” When animals snarl, they show their teeth to warn other animals of the

strength of their bite

“snapped” Animals snap their teeth to warn others animals that they will attack.

“fang” An animal uses its fangs to kill, bite, poison or attack its enemy.

1) What do these words suggest about his character?

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2) What might Dickens have wanted the reader to think about Mr Fang?

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Task 7:

There are 10 commas missing from this extract. Can you put them in the right places?

She hastily dressed herself and looking fearfully around as if despite the sleeping drugs she expected to feel the pressure of Sikes’ heavy hand on her shoulder; then stooping softly over the bed she kissed the robber’s lips opening and closing the room door with noiseless touch hurried from the house.

Nancy’s life had been squandered in the streets and among the noisesome stews and dens of London but there was spirit left in her still.

Gothic Conventions

What is Gothic literature?

In the most general terms, Gothic literature can be defined as writing that employs dark and picturesque scenery, startling and melodramatic narrative devices, and an overall atmosphere of exoticism, mystery, fear, and dread.

Recap: What does GO MASSIVE stand for?

Group of three, onomatopoeia, metaphor, alliteration, senses, simile, varied vocabulary, imagery, emotive language.

What is meant by genre? A style or category. Everything within the category shares similar characteristics.

Task 1:

Describe this setting in as much detail as possible keeping in mind that we are working on the Gothic genre. Use GO MASSIVE to help you. Be as Gothic as you can.

Can you include these in your writing?

· setting and locations

· wild and remote places

· dark and gloomy settings

· graveyards, tombs, mausoleums

· old, ruined, isolated places

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Task 2:

Match up the language device to the definition

language device

definition

group of three

comparing two things by saying one thing is the other thing

example: the castle gates were hungry jaws, waiting for them to enter

onomatopoeia

the same sound being used at the start of successive words

example: the towering trees appeared to tremble in the turbulent weather

metaphor

language that evokes the 5 senses – sight, sound, smell, touch and taste

example: the air smelt like smoke and he could taste the bitter fumes as he walked

alliteration

a word that sounds like its meaning

example: the windows creaked in the storm

senses

words and phrases that are ambitious and exciting

example: two fearless travellers, traversed the abandoned cemetery

simile

words that make the reader feel a strong emotion

example: his fangs were dripping with spittle. the bloodthirsty wolf snarled and leap into the air, towards me. my heart stopped with fear

imagery

three words or phrases used to describe something

example: the wooded forest seemed dangerous, vast and unexplored.

vocabulary

language that evokes the 5 senses – sight, sound, smell, touch and taste

example: the air smelt like smoke and he could taste the bitter fumes as he walked

vocabulary

words that put a clear picture in the reader’s mind.

example: his eyes narrowed with suspicion, their grey-green colour was flecked with amber and a shadowy darkness encircled his lashes.

emotive language

words and phrases that are ambitious and exciting

example: two fearless travellers, traversed the abandoned cemetery

Task three:

Key words:

genre: - a style or category of art, music or literature

pathetic fallacy: - when a writer uses human feelings and responses to inanimate things, animals or the weather especially in art and literature

atmosphere: - the tone or mood of a place, situation, or creative work

What is pathetic fallacy?

Pathetic fallacy is when a writer uses the weather / nature and setting to send signals to the reader.

Look at the following images – what signals do you think a film maker is trying to send to his audience with these scenes?

For example, a hot day suggests that thing are about to heat up – either into violence or passion!

A dark, misty night suggests that something “scary” is about to happen

A calm sea and sky suggest calm in the film – often the calm before the storm!

Using pathetic fallacy – what is being suggested with this setting?

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Task four:

Underline the nouns in each of these sentences:

1.The boy played his iPod in class.

2.When she arrived home, her mother screamed.

3.Granny wrestled with a cage fighter.

4.He put a slug in his sister’s handbag.

5.Is there a good film at the cinema?

6.I want an iPhone and a puppy for my birthday.

7.My brother eats bagels for breakfast.

8.The headmaster had a detention slip in his pocket.

Now underline the verbs in each of these sentences:

1.Megan munched marshmallows after school.

2.The man shook his fist in anger.

3.We all ran to the shops when we heard about the sale.

4.My uncle scored 5 goals in the away match.

5.I peeled and ate the orange.

6.The girls skipped class and ended up in detention.

7.We were overjoyed with our English exam results.

Task five:

Grammar:

1)Look at the statements and then attempt the questions that follow.

When Julie went training, she runs on a treadmill.

Why is this sentence incorrect?

___________________________________________________________________________

Rewrite the sentence with the mistake corrected.

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2)Look at the statements below and circle the grammatical mistakes.

Their will be lesson today at 11:00. The students need to bring they’re text books.

3)Put a circle around the correct grammatical sentence

She doesn’t/ don’t know when her lesson will start

3) Look at the passage below and identify the grammatical errors (three)

Jennifer loved her English lesson it was simply the bestest. When the lesson started she will do well. Their was homework to hand in, but she had forgot to bring it.

Task six:

This is an extract from a short story. The narrator has murdered an old man and hidden his body under the floorboards. The Tell-Tale Heart: Edgar Allan Poe

I then took up three planks from the flooring of the chamber and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye – not even his – could have detected anything wrong. There was nothing to wash out – no stain of any kind – no bloodspot whatever. I had been too wary for that. A tub had caught all – ha! ha!

When I had made an end of these labours, it was four o’clock – still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

I smiled, for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search – search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.

The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct: it continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness – until, at length, I found that the noise was not within my ears.

No doubt I now grew very pale; but I talked more fluently, and with a heightened voice. Yet the sound increased – and what could I do? It was a low, dull, quick sound – much such a sound as a watch makes when enveloped in cotton. I gasped for breath – and yet the officers heard it not. I talked more quickly – more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men – but the noise steadily increased. Oh God! what could I do? I foamed – I raved – I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder – louder – louder! And still the men chatted pleasantly and smiled. Was it possible they heard not? Almighty God! – no, no! They heard! – they suspected! – they knew! – they were making a mockery of my horror! – this I thought, and this, I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now – again! – hark! louder! louder! louder! louder!

“Villains!” I shrieked, “dissemble no more! I admit the deed! – tear up the planks! here, here! – It is the beating of his hideous heart!”

Using a dictionary or the internet, write out the meanings of each of the following words. Each has been used in ‘The Tell Tale Heart’. Prove your understanding by using them in a sentence of your own.

Word:

Meaning:

Sentence:

scantlings

deputed

bade

derision

vehemently

Answer the following questions, based on the text you have just read: Remember to write in full sentences

1. Where does the Narrator hide the old man’s body?

______________________________________________________________________________________________________________________________________________________

2. What time did the officer arrive?

______________________________________________________________________________________________________________________________________________________

3. Was the narrator nervous at first?

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4.Did the officers suspect anything?

______________________________________________________________________________________________________________________________________________________

5.Where was the noise coming from?

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6.Does the noise get louder or quieter?

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7.What was the ‘noise’?

______________________________________________________________________________________________________________________________________________________

8.What does the narrator do at the end of the story?

______________________________________________________________________________________________________________________________________________________

9.Can the other people in the room really hear the noise?

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Key Words:

vocabulary: _ the words a person knows and uses.

senses: - the processes through which we receive information about the world around us – sight, sound, hearing, touch, taste and smell.

appropriate: - suitable or proper in the circumstances.

Task seven:

Whose apostrophe is it anyway?

This is one of the trickier rules of English, but once you get the hang of it, it’s dead easy. This task looks at how we use apostrophes to show ownership of something. Look at the example below. Think of the apostrophe as an arrow, pointing to the person who the object belongs to.

· Rooney’s goal won it for England.

The goal belongs to Rooney as the apostrophe points to him.

· The boys’ toilets are always filthy.

The toilets belong to the boys at the apostrophe points to them. Notice how we don’t add another ‘s’?

Now, use the examples of people below and write a sentence for each of them showing us what they own. For example:

· Westlife’s songs are rubbish.

· The brides’ dresses are beautiful.

1)Steven Gerrard ______________________________________________________________________________________________________________________________________________________

2)The ladies

_____________________________________________________________________________________________________________________________________________________

3)Children

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Task eight:

Five Senses: hearing, seeing, smelling, touching, tasting.

Read the following extract:

1. Underline/highlight all the senses can you find in this Gothic text?

2. Why did the author include these senses in his description?

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3. Which words do you feel have a strong impact on the reader? Why?

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Task nine:

What are similes?

A simile compares two things using the words like or as.

For example:

The snow was as white as the clouds in the sky.

The snow was like silver beads on my coat.

What are super similes?

Similes are used to emphasise some quality about the object described.

Here are a few similes from famous writers:

· “Brief as the lightning in the collied night.” (Shakespeare)

· ‘Bats hanging upside down like rows of disgusting old rags.’ (D.H Lawrence)

· “His face was deathly pale, and the lines of it were hard like drawn wires.” (Bram Stoker)

Use similes to complete these sentences:

1)Nathaniel ran like…._____________________________________________________

2)The owl soared as high as….______________________________________________

3)The path wound through the hills like…_____________________________________

4)The trees towered above me like…________________________________________

5)The wind howled as loudly as …___________________________________________

Task ten:

What are metaphors?

Like a simile, a metaphor is a comparison of one item with another. However instead of saying that something is ‘like’, ‘of’ or ‘as’ something else a metaphor says that it is something else.

Confused? Don’t be.

Instead of writing, ‘the path wound its way through the hills like a snake’ (SIMILE)

You could write: ‘The path snaked its way through the hills’ (METAPHOR)

In a metaphor one thing is said to be another but it is not literally true.

Task eleven:

Can you find any metaphors in this extract of ‘The Highwayman’?

Task twelve:

“The wind was a torrent of darkness among the gusty trees,

The moon was a ghostly galleon tossed upon cloudy seas,

The road was a ribbon of moonlight over the purple moor,

And the highwayman came riding— Riding—riding—

The highwayman came riding, up to the old inn-door.”

1)Choose 'they're', 'there' or 'their' to complete each sentence

There refers to a place.

Their means belonging to them

There is a contraction of they are

a ______________ going on holiday tomorrow.

b Dad parked the car over ______________.

c Sam and Jack did well in ______________ exams.

d ______________ are 30 students in our class.

e ______________ are many clouds in the sky today.

f Mum and Dad snore when ______________ asleep.

g Mr. and Mrs. Green have a shed in ______________ garden.