Poetry Book Year 10

8/12/2019 Poetry Book Year 10

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Aspects of Power

Poetry

Year 10 Poetry Booklet

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What are you being assessed on in the PoetryControlled Assessment?

!plore how power is shown in at least two of the poems

from the anthology"You should consider:

the character who the poet creates and their personality

how the poet uses language and structure help show power over

others

different interpretations of how a word or phrase could be read.

what we can learn about the position of men and women in that

time from the poems.

#his tests your ability to$ Read and understand texts.

Develop and sustain interpretations of writers ideas and

perspectives.

Explain and evaluate how writers use linguistic, grammatical,

structural and presentational features to achieve effects andengage and influence the reader.

nderstand texts in their social, cultural and historical contexts.

What makes Band %?

sustained and developed interpretations of texts

engagement with writers ideas and attitudes and provide

perceptive interpretations using precisely selected supportingtextual detail

analysis of aspects of language and structure in convincing detail

convincing connections between the texts and their contexts.

&ow should you write it?!hen you are writing about a text, use this techni"ue to help youstructure your paragraphs:

Point' explain a way that power is shown.(idence'find a short "uote from the poems to support what you aresaying.

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#echni)ue# try to use a technical term or say what type of word is beingused.

!plain'explain in as much detail as possible how power is shown,what personality traits this "uote reveals about the spea$er% how they

see others% what else a word could mean or infer.*elate'lin$ this to the time in which it was written and what this tells usabout the position of men and women% explain what influenced the poetto write this% or lin$ it to the next poem.

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+,ymandias

&meta traveller froman anti"ue land

!hosaid:'wo vastand trun$less legs ofstone

(tandin thedesert.)ear them on thesand,

*alfsun$, a shatterd visage lies,whose frown

+ndwrin$led lip and sneer ofcold command

'ell thatitssculptor well those passions read

!hich yetsurvive, stampd on these lifeless things,

'hehand thatmoc$d them and theheart thatfed%

+ndon thepedestal these words appear:

-y name is /ymandias, $ing of$ings:

0oo$ on my wor$s, ye -ighty,and despair1

)othing beside remains. Round thedecay

fthatcolossal wrec$, boundless and bare,

'helone and level sands stretchfaraway.

2ER3Y 4Y((*E (*E00EY

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#he *i(er -od

&may be smelly and &may be old,

Rough in my pebbles, reedy in my pools,

4utwhere my fishfloatby &bless theirswimming

+nd&li$e thepeople tobathe in me,especially women.

4ut&can drown thefools

!hobathe tooclose totheweir,contrary torules.

+ndtheyta$ea long timedrowning

+s&throw them up now and thenin thespiritofclowning.

*i yih,yippity#yap, merrily &flow,

&may be an old foulriver but&have plenty ofgo.

nce there was a lady who was toobold

(hebathed in me by thetallblac$ cliffwhere thewater runs cold,

(o&brought her down here

'o be my beautifuldear.

hwill she staywithme will she stay

'hisbeautifullady,or will she go away5

(helies in my beautifuldeep river bed withmany a weed

'o hold her,and many a waving reed.

hwho would guess whata beautifulwhite facelies there

!aiting forme tosmooth and wash away thefear

(heloo$s atme with.*i yih,do notlether

6o.'here is no one on earth who does notforgether

)ow.'hey say &am a foolish old smelly river

4uttheydo not$now ofmy wide original bed

!here thelady waits,withher golden sleepy head.

&fshe wishes togo &will notforgive her.

('E7&E (-&'*

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.y /ast uchess

Ferrara

'hats my lastDuchess painted on thewall,

0oo$ing as ifshe were alive. &call

'hatpiece a wonder,now:8r92andolfs hands

!or$ed busily a day,and there she stands.

!illtplease you sitand loo$ ather5 &said

8r92andolf by design, fornever read

(trangers li$e you thatpictured countenance,

'hedepth and passion ofitsearnest glance,

4uttomyself theyturned since none putsby

'hecurtain &have drawn foryou,but&;

+ndseemed as theywould as$ me,iftheydurst,

*ow such a glance came there%so,notthefirst

+reyou toturnand as$ thus.(ir,twas not

*er husbands presence only,called thatspot

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rblush, atleast.(hethan$ed men, = good1 butthan$ed

(omehow = &$now nothow = as ifshe ran$ed

-y giftofa nine#hundred#years#old name

!ithanybodys gift.!hod stoop toblame

'hissortoftrifling5Even had you s$ill

&nspeech = which &have not;= toma$e your will

>uiteclear tosuch an one,and say,?ustthis

rthatin you disgusts me%here you miss,

rthere exceed themar$ = and ifshe let

*erself be lessoned so,nor plainly set

*er witstoyours, forsooth,and made excuse,

= Eenthenwould be some stooping%and &choose)ever tostoop.hsir,she smiled, no doubt,

!heneer &passed her%butwho passed without

-uch thesame smile5 'hisgrew% &gave commands%

'hen all smiles stopped together.'here she stands

+sifalive. !illtplease you rise5 !ell meet

'hecompany below,then.&repeat,

'he3ount your masters $nown munificence

&sample warrant thatno


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Porphyrias /o(er

'*E rain set early in to#night,

'he sullen wind was soon awa$e,

&t tore the elm#tops down for spite,

+nd did its worst to vex the la$e:

& listen@d with heart fit to brea$.

!hen glided in 2orphyria% straight

(he shut the cold out and the storm,

+nd $neel@d and made the cheerless grate

4la/e up, and all the cottage warm%

!hich done, she rose, and from her form

!ithdrew the dripping cloa$ and shawl,

+nd laid her soil@d gloves by, untied

*er hat and let the damp hair fall,

+nd, last, she sat down by my side

+nd call@d me. !hen no voice replied,

(he put my arm about her waist, +nd made her smooth white shoulder bare,

+nd all her yellow hair displaced,

+nd, stooping, made my chee$ lie there,

+nd spread, o@er all, her yellow hair,

-urmuring how she loved meAshe

'oo wea$, for all her heart@s endeavour,

'o set its struggling passion free 8rom pride, and vainer ties dissever,

+nd give herself to me for ever.

4ut passion sometimes would prevail,

)or could to#night@s gay feast restrain

+ sudden thought of one so pale

8or love of her, and all in vain:

(o, she was come through wind and rain.

4e sure & loo$@d up at her eyes

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*appy and proud% at last & $new

2orphyria worshipp@d me% surprise

-ade my heart swell, and still it grew

!hile & debated what to do.

'hat moment she was mine, mine, fair,

2erfectly pure and good: & found

+ thing to do, and all her hair

&n one long yellow string & wound

'hree times her little throat around,

+nd strangled her. )o pain felt she%

& am "uite sure she felt no pain.

+s a shut bud that holds a bee, & warily oped her lids: again

0augh@d the blue eyes without a stain.

+nd & untighten@d next the tress

+bout her nec$% her chee$ once more

4lush@d bright beneath my burning $iss:

& propp@d her head up as before,

nly, this time my shoulder bore

*er head, which droops upon it still:

'he smiling rosy little head,

(o glad it has its utmost will,

'hat all it scorn@d at once is fled,

+nd &, its love, am gain@d instead1

2orphyria@s love: she guess@d not how

*er darling one wish would be heard.

+nd thus we sit together now,

+nd all night long we have not stirr@d,

+nd yet 6od has not said a word1

R4ER' 4R!)&)6

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Cousin 2ate

& was a cottage maiden

*ardened by sun and air,

3ontented with my cottage mates,

)ot mindful & was fair.

!hy did a great lord find me out,

+nd praise my flaxen hair5

!hy did a great lord find me out

'o fill my heart with care5

*e lured me to his palace home##

!oe@s me for


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)ow which of us has tenderer heart5

You had the stronger wing.

cousin Bate, my love was true,

Your love was writ in sand:

&f he had fooled not me but you,

&f you stood where & stand,

*e@d not have won me with his love

)or bought me with his land%

& would have spit into his face

+nd not have ta$en his hand.

Yet &@ve a gift you have not got,

+nd seem not li$e to get:

8or all your clothes and wedding#ring

&@ve little doubt you fret.

-y fair#haired son, my shame, my pride,

3ling closer, closer yet:

Your father would give lands for one

'o wear his coronet.

3*R&('&)+ R(E''&

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Poetic e(ices

.atch the following de(ices with their definitions and an e!ample"

Alliteration 'he use of words which imitatesound the ansaphone $eptscreaming

Assonance language that evo$es sensoryimages

2rayed for it so hard&@ve dar$ greenpebbles for eyes

3magery Repetition of same sounds streaming through avelvet s$y

.etaphor repetition of vowel sound )obody hurt you.)obody turned off thelight

+nomatopoeia comparison of unli$e thingsmade without using li$e or as;

-y living laughing love

Personification Repeating of words, phrases,lines, or stan/as

4ang, boom

*epetition 3omparison using CasC or Cli$eC mystery disguised within

*hyme + figure of speech whichendows inanimate ob


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Background information

+,ymandius

(helleys willingness to challenge the accepted order of things and "uestion thosepeople who were in power. +s a member of the Romantic movement, a common

theme in his wor$ is the tendency for art and literature to outlast = and thereforecon"uer = transitory power% a proponent perhaps of the pen is mightier than thesword.

/ymandias is the ancient 6ree$ name for Rameses &&, probably the best $nownand most powerful of the Egyptian pharaohs, who was responsible for an enormousamount of building wor$s, including temples, monuments and cities.

+s a sonnet, it has only fourteen lines, but in this limited space, (helley explores anumber of issues with enduring relevance. C/ymandiasC explores the "uestion ofwhat happens to tyrant $ings, and to despotic world leaders more generally. +s weall $now, nothing lasts forever% that means even the very worst political leaders = nomatter how much they boast = all die at some point. &f (helley were writing thispoem now, he might ta$e as his sub


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circumstances in F. 0ucre/ia was a -edici= part of a family that was becomingone of the most powerful and wealthy in Europe at the time. During 0ucre/iaslifetime, however, the -edici were


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&t was the middle class who established the ideal way to behave. -arriage was themost respected institution for the individual. 8or the male, marriage meantpossession as well as a guarantee of descent transmission of an estate byinheritance in the descending line;. 8or the female, this was supposedly her idealstate too, due to her arguably natural desire to care for her husband. 'he status ofan individual relying entirely on economic factors and women were disallowed to

progress far within education or the wor$place. 'his meant that they depended ontheir fathers up until marriage, then their husbands, meaning that marriage played alarge role in signifying a woman@s respectability

*owever, it was motherhood that confirmed that the woman had secured her placein the realm of womanly virtue and fulfillment. (ince early in the Mth century,motherhood was no longer simply a reproductive function. &t was also a means ofemotional maternal fulfillment for women. + woman unable to bear a child, orchildren was assumed to be inade"uate and a failure. &ndeed, a childless marriedwoman was a figure to be pitied.

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Poems Conte!t$!hat canwe learnabout theposition ofmen andNor

women5!hat timeis this setin5

Attitudes$!hatemotionsandattitudesare being

expressed5!hichwords showthis5

5tructure$!hat typeof poem isit5 !hat doyou noticeabout how

its puttogether5

#hemes$!hat arethe ideasand issuesexplored inthe poem5

+ny"uotes5

/anguage$!hat poetictechni"uesare used5+nyinteresting

choices ofwords toshowpower5

ffect$!hatimpact dothey wantto have onthe reader5

/ymandius

-y 0astDuchess

'he River6od

2orphyria

s 0over

3ousinBate

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Documents

Poetry Book Year 10