Crash Course In Everything English

The Exam•Two exams:

Paper 1 = 2hr 15 Paper 2 = 1hr 30

•Paper 1: Answer all the questions Extract based – requires you to analyse both a

seen and unseen passage Descriptive writing component Argument component

•Paper 2: One passage based question and one other

question of your choice Analysis is key

Grammar and language •Study of how Authors use grammar and structure to convey themes and how we can analyse this

•Use of grammar to truncate sentences and to build suspense

•Use of Enjambment/caesura in poetry

Custody of the Pumpkin; P.G. Wodehouse:'Oh, yes. Oh, yes, yes-yes. Oh, rather. It's dashed important. Yes - not to put too fine a point upon it - most dashed important. I say, guv'nor, are you in fair good form to stand a bit of a shock?'

A ghastly thought rushed into Lord Emsworth's mind. Freddie's mysterious arrival -his strange manner - his odd hesitation and uneasiness - could it mean" -? He clutched the young man's arm feverishly.

'Frederick! Speak! Tell me! Have the cats got at it?'

A Red Red Rose by Robert Burns

O my Luve is like a red, red rose

   That’s newly sprung in June;

O my Luve is like the melody

   That’s sweetly played in tune.

So fair art thou, my bonnie lass,

   So deep in luve am I;

And I will luve thee still, my dear,

   Till a’ the seas gang dry.

Till a’ the seas gang dry, my dear,

   And the rocks melt wi’ the sun;

I will love thee still, my dear,

   While the sands o’ life shall run.

And fare thee weel, my only luve!

   And fare thee weel awhile!

And I will come again, my luve,

   though it were ten thousand mile.

Petrach’s Canzoneire Love, Nature, and the lovely humble soul,

This phoenix with golden plumageIf Virgil and Homer had seen that sun

Sighing before the famous tombKindly Sun, that only branch I love,

My ship, full of oblivion, sailsA pure white hind appeared to meJust as eternal life is seeing God,

Let us stop, Love, to see our glory,I feed my mind on such noble food,

Metaphor’s, Similes and Analogies

•Simile – Comparison of two things/situations to one another for dramatic effect e.g. brave as a lion – direct comparison often involving indicator words for example “as” or “like”.•An Analogy is a direct comparison of two situations which are similar to one another usually used more in arguments. Unlike a simile where the two situations are not often alike an analogy would draw implicit parallels between the two•Metaphor: this is the hardest one – a metaphor is not a simile or analogy as instead of having a comparison a situation is described figuratively through its replacement by another. This is equally not to be confused with symbolism which involves the implications of an objects figurative connotations.

Wife of Bath’s Prologue by Chaucer

And listen what a sharp word, too, was said Beside a well by Jesus, God and man,

In a reproof of the Samaritan: 'Now you have had five husbands,' Jesus said,

'But he who has you now, I say instead, Is not your husband.' That he said, no doubt,

But what he meant I haven't figured out;For I must ask, why is it the fifth man

Wasn't husband to the Samaritan? How many men was she allowed to wed?

In all my years I've never heard it said Exactly how this number is defined

Wife of Bath’s Prologue By Chaucer

If she looks foul, then you declare that she Will lust for every fellow she may see,

Leap on him like a spaniel in a trice Until she finds the man who'll pay her price.

You say that men can't keep a castle wall That's swarmed upon as long, that it will fall.

For they'd have killed me had the beans been spilt. Who comes first to the mill is first to grind;

Wife of Bath’s Prologue By Chaucer

So We’ll Go No More A-Roving; Lord ByronSo, we'll go no more a-roving

So late into the night, Though the heart be still as loving, And the moon be still as bright.

For the sword outwears its sheath,

And the soul wears out the breast, And the heart must pause to breathe,

And love itself have rest.

Though the night was made for loving, And the day returns too soon,

Yet we'll go no more a-roving By the light of the moon.

Yet we'll go no more a-roving, By the light of the moon.

The Flower Fed Buffaloes The flower-fed buffaloes of the spring In the days of long ago,

Ranged where the locomotives singAnd the prairie flowers lie low:—The tossing, blooming, perfumed

grass

Is swept away by the wheat,Wheels and wheels and wheels spin

byIn the spring that still is sweet.

But the flower-fed buffaloes of the spring

Left us, long ago.

They gore no more, they bellow no more,

They trundle around the hills no more:—

With the Blackfeet, lying low,With the Pawnees, lying low,

Lying low.

Conditional and Imperative Language•Conditional Language is used both in argument and creative writing – implies something as a hypothetical – it is not evidently the case•Imperative Language is used to state facts. Within arguments it is essential in highlighting the strength of an argument or point whereas in Creative writing it is most often used in the formation of a power dynamic •Conditional Language: should, suppose, might, would, could, may etc…•Imperative: Will, Must, Do, Shall etc…

The Custody of the Pumpkin 'You'll excuse us, Angus,' said Mr Donaldson. 'High time you and I had a little chat,

Lord Emsworth.'

Lord Emsworth was about to speak, when he caught the other's eye; It was a

strong, keen, level grey eye, with a curious forcefulness about it that made him feel

strangely inferior. There is every reason to suppose that Mr Donaldson had subscribed

for years to those personality courses advertised in the magazines which guarantee to

impart to the pupil who takes ten correspondence lessons the ability to look the boss in

the eye and make him wilt. Mr Donaldson Looked Lord Emsworth in the eye, and Lord

Emsworth wilted.

'How do you do?' he said weakly.

'Now listen, Lord Emsworth,'

Arguments; A. F.O.R.E.S.T.

•Anecdotes•Facts•Opinions•Repetition•Emotive language•Statistics •Triplets - Argue/Persuade/Advise•Rhetorical Questions •Analogies

Arguments; Ingredients•A number of views and opinions, both for and against a subject.•Well structured points progressing in a logical order. •A convincing and logical approach.•Language appropriate to the audience (i.e. are you writing to a politician or to a group of teenagers?).•Use of counter argument (you could state that... However this is clearly not the case because...).•Tone appropriate for your audience.•Evidence (this can be made up to support your views).

Arguments; Connectives•Firstly •Secondly•Nevertheless•Moreover•In addition•In conclusion•Furthermore •Ultimately

Arguments; Structure:•Your best results will probably be a four against four structure.•1st section: Demonstrate your line of argument and argue your main points.•2nd section: Show that there is at least some counter-argument – the more controversial a topic, the greater the strength of these arguments will be. •3rd section: Rebuff the counter argument.

Sojourner Truth; Ain’t I A Woman

Well, children, where there is so much racket there must be something out of kilter. I think that 'twixt the negroes of the South and the women at the North, all talking about rights, the white men will be in a fix pretty soon. But what's all this here talking about?That man over there says that women need to be helped into carriages, and lifted over ditches, and to have the best place everywhere. Nobody ever helps me into carriages, or over mud-puddles, or gives me any best place! And ain't I a woman? Look at me! Look at my arm! I have ploughed and planted, and gathered into barns, and no man could head me! And ain't I a woman? I could work as much and eat as much as a man - when I could get it - and bear the lash as well! And ain't I a woman? I have borne thirteen children, and seen most all sold off to slavery, and when I cried out with my mother's grief, none but Jesus heard me! And ain't I a woman?

Then they talk about this thing in the head; what's this they call it? [member of audience whispers, "intellect"] That's it, honey. What's that got to do with women's rights or negroes' rights? If my cup won't hold but a pint, and yours holds a quart, wouldn't you be mean not to let me have my little half measure full?

Then that little man in black there, he says women can't have as much rights as men, 'cause Christ wasn't a woman! Where did your Christ come from? Where did your Christ come from? From God and a woman! Man had nothing to do with Him.

If the first woman God ever made was strong enough to turn the world upside down all alone, these women together ought to be able to turn it back , and get it right side up again! And now they is asking to do it, the men better let them.

Obliged to you for hearing me, and now old Sojourner ain't got nothing more to say.

Arguments; Classic Examples

"Whether we turn to the declarations of the past, or to the professions of the present, the conduct of the nation seems equally hideous and revolting. America is false to the past, false to the present, and solemnly binds herself to be false to the future.“

Frederick Douglas

"Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! — I know not what course others may take; but as for me, give me liberty or give me death!“

Patrick Henry

Poetry Technique; Type of Foot (metre)

Iambic: Da, Dum (unstressed then stressed)Trochaic: Dum, Da (Stressed then unstressedSpondaic: Dum Dum (Stressed and then stressed again)Anapestic: Da Da Dum (unstressed, unstressed, stressedDactylic: Dum Da Da (Stressed, unstressed, unstressed)Amphibrachic: Da Dum Da (unstressed, stressed, unstressed)Pyrrhic: Da Da (unstressed, unstressed)

Poetry Technique; Number of Feet (metre)•Monometer: One foot•Dimeter: Two feet• Trimeter: Three feet• Tetrameter: Four Feet•Pentameter: Five Feet•Hexameter: Six Feet•Heptameter: Seven Feet•Octameter: eight feet

Tyger Tyger William BlakeWhat the hammer? what the chain? 

In what furnace was thy brain? 

What the anvil? what dread grasp 

Dare its deadly terrors clasp? 

When the stars threw down their spears, 

And watered heaven with their tears, 

Did he smile his work to see? 

Did he who made the Lamb make thee? 

Tyger! Tyger! burning bright 

In the forests of the night, 

What immortal hand or eye 

Dare frame thy fearful symmetry? 

Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare sieze the fire? 

And what shoulder, & what art. Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? 

Holy Sonnet XIV; John Donne

Batter my heart, three-person'd God ; for youAs yet but knock ; breathe, shine, and seek to mend ;That I may rise, and stand, o'erthrow me, and bendYour force, to break, blow, burn, and make me new.I, like an usurp'd town, to another due,Labour to admit you, but O, to no end.Reason, your viceroy in me, me should defend,But is captived, and proves weak or untrue.Yet dearly I love you, and would be loved fain,But am betroth'd unto your enemy ;Divorce me, untie, or break that knot again,Take me to you, imprison me, for I,Except you enthrall me, never shall be free,Nor ever chaste, except you ravish me. 

Poetry Techniques; Rhyme Scheme

Petrarchan sonnet: "ABBA ABBA CDE CDE" Petrachan sonnet (2nd Variation): "ABBA ABBA CDC DCD“Shakespearean sonnet: "ABAB CDCD EFEF GG“Alternate rhyme: ABAB CDCD EFEF GHGH...Rhyming Couplets: AABBCCBallad: "ABCB" or “ABAB”

The Thorn; William WordsworthThere is a thorn; it looks so old,  In truth you'd find it hard to say,How it could ever have been young,It looks so old and grey.   Not higher than a two years' child  It stands erect this aged thorn;   No leaves it has, no thorny points;   It is a mass of knotted joints,   A wretched thing forlorn.  It stands erect, and like a stone   With lichens it is overgrown.

Soleasi Nel Mio Cor; Petrach

She ruled in beauty o'er this heart of mine,A noble lady in a humble home,

And now her time for heavenly bliss has come,'Tis I am mortal proved, and she divine.

The soul that all its blessings must resign,And love whose light no more on earth finds room,

Might rend the rocks with pity for their doom,Yet none their sorrows can in words enshrine;They weep within my heart; and ears are deafSave mine alone, and I am crushed with care,

And naught remains to me save mournful breath.Assuredly but dust and shade we are,Assuredly desire is blind and brief,

Assuredly its hope but ends in death.

Sonnet 50; ShakespeareHow heavy do I journey on the way,

When what I seek, my weary travel's end,Doth teach that ease and that repose to say,

'Thus far the miles are measured from thy friend!'The beast that bears me, tired with my woe,Plods dully on, to bear that weight in me,As if by some instinct the wretch did know

His rider lov'd not speed being made from thee.The bloody spur cannot provoke him on,

That sometimes anger thrusts into his hide,Which heavily he answers with a groan,

More sharp to me than spurring to his side;   For that same groan doth put this in my mind,

   My grief lies onward, and my joy behind.

Poetry Technique; Why Are They Important

Stresses Certain words or phrases

The Semantic Field

Prose Technique•Structure: How The way it is written contributes to the desired effects the author wishes to impart on the reader• Imagery: The deliberate metaphors, similes, symbols etc. used by the author to convey certain messages implicitly to the reader•Language: The specific use of words or phrases used by the author to convey certain implicit references to the reader•Style: The way in which the author writes in general e.g. journal, diary, first person, third person etc…•Tone: The general use of language and structure in the creation of atmosphere through the use of language e.g. urgent, romantic, suspenseful etc…

Technical TerminologyEnjambment: The continuation of a line in poetry without punctuation

Polysynderton: The repeated use of conjunctions in close succession

Asynderton: the lack of conjunctions

Caesura: the use of punctuation in the middle of a line of poetry

Tautology: The repetition of words for no effect – verbose

Onomatopoeia: Words which reflect the sounds they produce

Consonance: the repetition of consonants

Assonance: the lack of consonants

Sibilance: the repetitive use of ‘s’ words

Taxonomy: Listing things

Dramatic/Comedic/ Romantic Irony: The juxtaposition of situations for dramatic/comedic/romantic effect

Dark Irony: The juxtaposition of situations so as to highlight the dark nature/tone

Technical Terminology Continued

Alliteration: the repetition of individual consonants/syllables within a sentence

Personification: applying human characteristics to inanimate objects

Anaphora: repetition of a word or phrase at the beginning of a line

Epiphora: repetition of a word or phrase at the end of a line

Refrain: the repetition of a sentence perhaps or series of words periodically

Hyperbole: deliberate exaggeration for dramatic effect

Juxtaposition: placing two contradicting ideas or phrases within close succession of each other (can be within a paragraph or sentence)

Oxymoron: Direct contradiction between two words placed next to each other

Stichomythia: short quick rapid fire dialogue

Zoomorphism: applying animalistic traits to humans

Anthropomorphism: applying human traits to animals