Grade 12 English Home Language

Poetry 2023
1. Sonnet 130 William Shakespeare
2. The child who was shot dead… Ingrid Jonker
3. At a Funeral Dennis Brutus
4. Poem of Return Jofre Rocha
5. Talk to the Peach Tree Sipho Sepamla
6. Prayer to Masks Léopold Sédar Senghor
7. This Winter Coming Karen Press
8. Solitude Ella Wheeler Wilcox
9. The Morning Sun is Shining Olive Schreiner
10. It is a beauteous evening… William Wordsworth
11. Fern Hill Dylan Thomas
12. The Shipwreck Emily Dickenson

Please note: these notes are an amalgamation of various textbooks and websites. I have
included a List of References at the end of the document.
Some of the sources have been used verbatim and some paraphrased to suit the style of
these notes.

All poems are reproduced as they appear in “Imagined Worlds” (An Anthology of Poetry)
by C. McIntyre, S-J Olivier and E. Varga.

Feel free to amend and use these notes as you see fit.

Carlien Buss
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Sonnet 130: My mistress' eyes are nothing like the sun William Shakespeare

My mistress' eyes are nothing like the sun; 1

Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white, 5
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound; 10
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

Glossary:
Coral: a hard stony substance, typically forming large reefs in warm seas. Known for its bright red or pink colour.
Dun: a dull, greyish-brown colour
Damasked: patterned in pinks and red
Grant: admit
Rare: precious, unique
Belied: falsely portrayed

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William Shakespeare
 Born 1564; Died 1616
 English (born and died in Stratford-upon-Avon)
 He was married to Anne Hathaway, and they had three children.
 He is still known as one of the world’s greatest poets, dramatist and playwright. He wrote 37 plays and 375
poems.

Historical Context:
This is sonnet number 130 in a series of 154 sonnets. It parodies the famous (and often over-the-top) Petrarchan
sonnets in which poets described their partners in highly exaggerated and unrealistic ways. Although this poem
contains similar themes as found in traditional sonnets (Female Beauty, Love and Admiration), Shakespeare does
not idealise his beloved. He describes her in ways which are realistic and, therefore, more accurate and ‘real’.

Summary:
Shakespeare uses eight ‘anti-compliments’ to describe the uniqueness and (non-idealised) beauty of his beloved.
However, in the couplet he states that BECAUSE she is normal and ‘real’, he does not need to exaggerate her looks
or his love for her. He loves her just the way she is – perfect in her imperfection. In other words, she is perfect to
HIM – he does not need an idealised and superficial woman.
Although he seems critical and rather rude in the first 12 lines, the reader realises that he is, in fact, sincere in his
love for her. He does not need exaggerated and unrealistic comparisons to declare his genuine love for her. In
being so brutally honest, he has ironically given her a heightened beauty, simply because he does not dote on her
outward appearance.

Form/Structure:
This is a Shakespearean or Elizabethan sonnet. It consists of three quatrains (4 lines each) and a rhyming couplet (2
lines). The rhyme scheme is consistent with this format: abab cdcd efef gg. The couplet serves as a final argument
to drive home the speaker’s point. The rhythm of the point is consistent, too, and follows traditional iambic
pentameter. There are 10 syllables in each line. The mastery of this precise rhyme and rhythm shows Shakespeare’s
absolute genius!

Poetic Devices:
 This sonnet contains various metaphors and similes. Lines 1-4 contain a comparison each: He states that her
eyes are not as bright as the sun, her lips not as red as coral, her skin is quite dull, and her hair is wiry. Lines 5-
12 contain a comparison extended over two lines: her cheeks are quite pale, her breath “reeks” and he would
rather listen to music than to her speak. She also walks on the ground like an average human, certainly not a
“goddess”. However, these are inverted to become anti-compliments in a way. Some readers might perceive
these as insults at first, until the couplet states so elegantly that he loves her (queue Bruno Mars…) “just the
way you are”. So, by telling the reader exactly what his beloved is NOT, we see and hear how perfect she is
DESPITE her imperfections.
 There are various uses of alliteration and assonance in the poem. Look at the repetition of “w” sound in lines 3-
4, “g” in line 11, for example. These poetic devices are generally used to emphasise the words/sounds.
 Repetition occurs in lines 2 (“red”) and 4 (“wires”). This, again, emphasises the importance of the colour and
texture – the idealised Petrarchan woman had blood-red lips and golden, luscious hair.
 Anastrophe (the natural order of words is inversed) occurs in lines 6 and 7: “But no such roses see I in her
cheeks / And in some perfumes is there more delight” – this places the emphasis on the “roses” and
“perfumes” – again mocking the Petrarchan ideal.
 Hyperbole abounds in the poem – all of the comparisons are exaggerated. This emphasises the absurdity of the
Petrarchan ideals. He exaggerates the imperfections of his beloved to prove his point.
 The tone of the poem is satirical in the first 12 lines when he refutes and mocks the Petrarchan ideals. He is
sincere and almost complimentary in the couplet when he states that he loves her in spite of her imperfections.

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Themes:
 Escape from Idealism – Shakespeare does not idealise his beloved. She in unlike the Petrarchan ideal – she is
“real”, and he loves her despite her imperfections. He states clearly in the couplet that people who describe
their partners with idealised comparisons, are liars. This emphasises the absurdity of Idealism.
 Femininity – This sonnet addresses the problem of stereotyping female beauty by setting unreachable
standards for it. The fixed ‘definition’ of beauty is unrealistic and will make females inferior by not achieving the
ideal standards of beauty. He questions real love – we should love our partners in spite of their imperfections.
 Love – The speaker expresses his love for his beloved. He describes his values of love. He states that real love is
not based on outwards appearances and idealised looks. His love is based on connection and emotion, not the
superficial.

Questions:
1. Explain how the structure and tone of this poem allows the poet to emphasise the central message. (3)
2. Are Shakespeare’s observations in the quatrains cynical or not? Explain your answer. (2)
3. Who is the speaker ridiculing in the poem? Why does he do this? (3)
4. Explain what is meant by: “My mistress, when she walks, treads on the ground.” (2)
5. Refer to line 12. Comment on the effect pace has on the meaning of the line. (3)
6. Show how the last line completes his argument. Refer, in particular, to the word “false”. (2)
7. Identify three sensory images in this poem and how they relate to the central theme. (3)
8. Identify the tone in lines 1-12 and how this contrasts with the tone in the last two lines. Is this an effective shift
in tone? Justify your answer. (3)
9. Explain the use of “by heaven” in line 13. Why has this phrase been included? (2)


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The child who was shot dead by soldiers at Nyanga Ingrid Jonker

The child is not dead 1

the child raises his fists against his mother
who screams Africa screams the smell
of freedom and heather
in the locations of the heart under siege 5

The child raises his fists against his father

in the march of the generations
who scream Africa scream the smell
of justice and blood
in the streets of his armed pride 10

The child is not dead

neither at Langa nor at Nyanga
nor at Orlando nor at Sharpeville
nor at the police station in Philippi
where he lies with a bullet in his head 15

The child is the shadow of the soldiers

on guard with guns saracens and batons
the child is present at all meetings and legislations
the child peeps through the windows of houses and into the hearts of mothers
the child who just wanted to play in the sun at Nyanga is everywhere 20
the child who became a man treks through all of Africa
the child who became a giant travels through the whole world

Without a pass

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Glossary:
Heather: a plant with small flowers
Siege: attack
Saracens: An armoured car that is synonymous with Apartheid in South Africa
Pass: A permit issued to non-whites during Apartheid. It specified an area in which a person may move/work/live.

Ingrid Jonker
 Born 1933; Died 1965
 (Afrikaans) South African
 She had a traumatic childhood and adulthood. Her poetry often expresses her personal traumas, as well as the
societal and familial injustices she perceived around her.
 She was a member of “Die Sestigers”, a group of anti-establishment poets and writers who challenged the
conservative literary norms and censorship of the 1950s and 60s in South Africa.
 She posthumously (after her death) received the Order of Ikhamanga for her contribution to literature and
commitment to the struggle for human rights.

Historical Context:
Ingrid Jonker wrote this protest poem in Afrikaans, in the aftermath of the Sharpeville massacre. (The Sharpeville
massacre occurred on 21 March 1960 at the police station in the township of Sharpeville in the then Transvaal
Province of the then Union of South Africa (today part of Gauteng). After demonstrating against pass laws, a crowd
of about 7000 protesters went to the police station. Sources disagree as to the behaviour of the crowd; some state
that the crowd was peaceful, while others state that the crowd had been hurling stones at the police, and that the
mood had turned "ugly". The South African Police opened fire on the crowd when the crowd started advancing
toward the fence around the police station, and tear-gas had proved ineffectual. There were 249 victims in total,
including 29 children, with 69 people killed and 180 injured. Some were shot in the back as they fled. It refers to the
killing of a young child in Nyanga – see summary.
Writing in Drum magazine about the poem, Jonker said: “I saw the mother as every mother in the world. I saw her
as myself. I saw Simone [Jonker’s own child] as the baby. I could not sleep. I thought of what the child might have
been had he been allowed to live. I thought what could be reached, what could be gained by death? The child
wanted no part in the circumstances in which our country is grasped… He only wanted to play in the sun at
Nyanga… [The poem] grew out of my sense of bereavement.”
Jack Cope and William Plomer translated the poem. In Afrikaans it is referred to as “Die Kind” (The Child). Nelson
Mandela read an English translation at the opening of the democratic Parliament on 24 May 1994.

Summary:
The poem reflects on the pass laws of Apartheid South Africa. Jonker wrote this poem in reaction to the shooting of
a young child in his mother’s arms during a protest against the Pass Laws. This happened in Nyanga township, near
Cape Town. The child was killed while on his way to the doctor with his mother – the senselessness of his death is a
result of the senselessness of the Apartheid laws. This child remains nameless to represent all innocent lives taken
during Apartheid. The poem highlights the idea that violence within a country destroys innocent members of
society (women and children) and damages the country and its future. This child’s death has inspired others to take
up the cause of freedom and given new energy to the struggle against Apartheid. Jonker yearns for a time when
any child can grow and make his/her impact on the world, without restrictions of the Pass Laws.

Form/Structure:
Although this poem is separated into four sections, it is devoid of a specific rhyme scheme or rhythm. It is,
therefore, in free verse. The isolated final line emphasises the poet’s message: freedom is needed! The fourth
stanza develops the idea of this child’s wasted life – what he could have become, had he lived. There is a parallel
structure in “not at” repeated in the third stanza. This rhetorical device gives examples of where police brutality
occurred. It gives an historical accuracy to the poem.

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Poetic Devices:
 The repetition of “the child” throughout the poem emphasises the age and innocence of the youth and
highlights how many children were killed because of the apartheid laws. This repetition is called an anaphora.
The child becomes a symbol of resistance, hope and innocence.
 The child is a metaphor for the thought of resistance and, ultimately, freedom. In the second last stanza the
child is a “giant” to portray the growing sense of freedom, justice and resistance by all those who are
oppressed. This “giant” travels the world – anti-Apartheid protests did not only take place in South Africa. The
world watched and protested the brutal and unjust system.
 The poet’s diction conveys the distress of the child and all others in the senseless Apartheid time. Her choice of
“screams” and “raises his fists” highlights his anger.
 The onomatopoeia in “screams” is repeated to emphasise his anger.
 The alliteration in lines 3 and 8 emphasises the urgency and desperate cries of the oppressed people.
 Enjambment creates a free flow of thought.
 There is an allusion to the Bible (Gospel of Mark 38-43: “38 When they came to the home of the synagogue
leader, Jesus saw a commotion, with people crying and wailing loudly. 39 He went in and said to them, “Why all
this commotion and wailing? The child is not dead but asleep.”) There are also allusions to all the places where
protests turned violent, and people were injured/killed.
 The paradox in the third stanza (“the child is not dead … where he lies with a bullet in his head”) highlights the
fact that this child died physically, but he is still alive in the hearts of all Africans. He becomes the symbol of
innocence, resistance, and hope.
 The tone in the poem is bold, passionate, inspired and determined. Despite the sadness about the innocent
child’s death, the tone is not sympathetic or sad. There is a sense of outrage and loss. The speaker remains
determined in his/her message and relays it with a clarity of purpose.

Themes:
 Freedom – ultimately the speaker dreams of a time when all people will be free. This freedom includes the
freedom of speech, movement and in all human rights. Freedom from Apartheid and its brutal laws.
 Resistance – This child stands up for what he knows it right and he (the symbol) can never die. He is not a
physical person, but an idea. There is resistance against the blatant brutality and barbarism against the
innocents. His raised fist symbolises the yearning for freedom, identity, and protest.

Questions:
1. Comment on the reference to ‘the child’ in the title of the poem. (2)
2. The title refers to the ‘dead’ child, yet in line 1 ‘the child is not dead’. Discuss the contradiction/dichotomy by
referring to the rest of the poem. (3)
3. What does the altered repetition of “The child lifts his fists against his mother / father” reveal about the
generation gap that is reflected in responding to the laws of apartheid? (2)
4. How does the diction in stanzas 1 and 2 highlight the difference between mothers and fathers? (3)
5. Comment on the effect of the denials in the third stanza. (2)
6. Critically comment how the imagery used in lines 20-23 contributes to the mood. (3)
7. Discuss the effectiveness of the last, short line of the poem. (2)
8. During the Parliamentary address, Nelson Mandela commented that “in the midst of despair, Jonker celebrated
hope.” Does this poem celebrate hope? Discuss your answer briefly. (3)
9. “The child” is repeated ten times in the poem. How does this repetition add meaning to the poem? (2)

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At A Funeral Dennis Brutus

(for Valencia Majombozi, who died shortly after qualifying as a doctor)

Black, green and gold at sunset: pageantry 1

And stubbled graves: expectant, of eternity,
In bride’s-white, nun’s-white veils the nurses gush their bounty
Of red-wine cloaks, frothing the bugled dirging slopes
Salute! Then ponder all this hollow panoply 5
For one whose gifts the mud devours, with our hopes.

Oh all you frustrate ones, powers tombed in dirt,

Aborted, not by Death but carrion books of birth
Arise! The brassy shout of Freedom stirs our earth;
Not Death but death’s-head tyranny scythes our ground 10
And plots our narrow cells of pain defeat and dearth:
Better that we should die, than that we should lie down.

Glossary:
Pageantry: ceremonial display
Stubbled: cut ends of stalks/plants ; unshaven ; unkempt
Gush: flow out fast
Bounty: payment/generosity/something given in generous amounts
Bugled: music performed on a bugle, a military instrument used at funerals
Dirging: like a dirge – funeral song
Panoply: display or collection
Carrion: the rotting flesh of a dead animal
Brassy: music performed on a brass instrument like a bugle or trumpet
Death’s-head: a human skull / symbol of mortality
Scythes: cuts down violently
Dearth: scarcity or lack of something

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Dennis Brutus:
 Dennis Brutus was born in Zimbabwe in 1924. He died in 2009.
 He worked as a teacher in South Africa and was active in the fight against Apartheid. He was shot by the police
and imprisoned. His political activism made him very unpopular with the government.
 He left South Africa for the United Kingdom in the 1960s and taught there at various universities.

Historical Context:
Written during Apartheid and shortly after the death of a newly qualified doctor, this poem criticises oppression. It
can be seen as a “call to arms” – do not surrender to the oppressive powers. It is also about the frustration of
aborted hopes – Valencia died before she worked as a doctor; Her family had made enormous sacrifices to get her
through medical school. All in vain.

Summary:
The dedication below the title suggests that the poem is a tribute to Valencia Majombozi. The poem is about her
funeral ceremony. The speaker contrasts the vibrant colours of the scene with the mud in which the coffin is
placed. He views the ceremony as ‘hollow’ and a ‘pageant’ in the face of the lost hopes and dreams of this woman
and her family. Life’s cruelties create further grief for the speaker, and he presents the funeral as an occasion to
renew his commitment to the struggle for liberation. He extends this idea by comparing the burial to those people
whose lives are being smothered by the oppression. Oppressed people cannot live their lives fully! He urges active
resistance – “Arise!”. He ultimately states that death is a better fate than yielding to “defeat and dearth”.

Form/Structure:
There are two equal stanzas and a specific rhyme scheme (aaabab, cccdcd) in this poem.
The formality of the poem mirrors the formal rites and rituals of a funeral ceremony.

Poetic Devices:
 Personification in lines 2 and 6. (Graves expecting their content; hungry mud) – the earth seems hostile.
 Use of various capital letters – draws attention and emphasises the words.
 Exclamation points (Salute! and Arise!) suggest strong emotions – call to arms.

Questions:
1. To what does “pageantry” refer in line 1? Discuss the effectiveness of this choice of word. (2)
2. What do the words “Black, green and gold” suggest? How does this shift the reading of the poem? (2)
3. Why would the graves be expectant of ‘eternity’ (line 2)? (2)
4. Explain the reference to “hope” as it is used in line 6. (2)
5. What are “carrion books of birth”? (2)
6. Comment on the tone in “Arise!” and “Salute!”. (3)
7. Why does the speaker call on the reader to “ponder” (line 5)? (2)
8. What is the difference between “Death” and “death’s head” and why is “scythes our ground” then an
appropriate metaphor? (3)
9. Discuss the pun in the word “plots” in line 11. (3)
10. Describe the tone in and the effectiveness of the last line of the poem. (3)
11. How does the reader know that this poem is more than a tribute to Valencia Majombozi? Discuss the
effectiveness of this added message/theme. (3)

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Poem of Return Jofre Rocha

When I return from the land of exile and silence, 1

do not bring me flowers.

Bring me rather all the dews,

tears of dawns which witnessed dramas.
Bring me the immense hunger for love 5
and the plaint of tumid sexes in star-studded night.
Bring me the long night of sleeplessness
with mothers mourning, their arms bereft of sons.
When I return from the land of exile and silence
no, do not bring me flowers … 10

Bring me only, just this

the last wish of heroes fallen at day-break
with a wingless stone in hand
and a thread of anger snaking from their eyes.

Glossary:
Exile: banishment/expulsion/deportation
Plaint: plea
Tumid: large/swollen
Bereft: deprived

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Jofre Rocha:
 Jofre Rocha (the literary pseudonym for Roberto Antonio Victor Franciso de Almeida) was born in Angola in
1941.
 He was an activist in the liberation movement, and he was arrested twice.
 When Angola gained independence from Portugal, he was appointed as the Director-General and then Deputy
Minister of External Relations. He later became the Minister of External Trade.

Historical Context:
This poem can be viewed as a protest poem. The speaker mentions his return from exile and the anguish associated
with those who died whilst oppressed.

Summary:
The speaker is contemplating his upcoming return to his home country. He has been in exile for a period of time.
He describes his ‘host country’ as “land of exile and silence” – this suggests that he was not happy there. He lists
the things he missed while he was away and it is clear that he feels guilty about ‘escaping’ whilst his
countrymen/women suffered. He makes it clear that he is not a hero and should not be welcomed or treated as
one. He asserts that the real heroes are the ones who stayed and fought against oppression.

Form/Structure:
The poem has 14 lines and but does not conform to the strict Italian Sonnet form. (Although there is a distinct
division between stanzas 3 and 4, separating the ‘octave’ from the ‘sestet’.) It does not have a rhyme scheme and
is not written in iambic pentameter, common to the Sonnet form. It is written in free verse, more typical of
contemporary poetry.

Poetic Devices:
 The personification of dawn (stanza 2) shows that even Nature was upset by the suffering it witnessed.
 The imagery in the final stanza refers to the heroes who died at the brink of change (“day-break”). Those
people never saw the freedom of change they fought for so relentlessly.
 The repetition of the first two lines emphasises his insistence that he is not a hero.
 The alliteration in “dews”, “dawns” and “dramas” emphasises that Nature, too, was horrified and sad at the
oppression of her people.

Questions:
1. Why does the speaker not want flowers upon his return? (3)
2. What does the speaker want instead of flowers? Why? (3)
3. Comment on the description of the speaker’s “host country” as the “land of exile and silence”. (2)
4. Identify and comment on the effectiveness of the figure of speech in “tears of dawns”. (3)
5. Why are the mothers “bereft of sons” (line 8)? (2)
6. Comment on the figurative interpretation of the “day-break” in line 12. (2)
7. Comment on the effectiveness of the anaphora (“When I return…”). (3)
8. Discuss the change in tone from stanza 2 to 3. Quote in support of your answer. (3)
9. How does the last stanza successfully convey the speaker’s intention? (3)
10.

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Talk to the Peach Tree Sipho Sepamla
Let’s talk to the swallows visiting us in summer 1
ask how it is in other countries

Let’s talk to the afternoon shadow

ask how the day has been so far

Let’s raise our pets to our level 5

ask them what they don’t know of us

words have lost meaning

like all notations they’ve been misused

most people will admit

a whining woman can overstate her case 10

Talk to the paralysing heat in the air

inquire how long the mercilessness will last

Let’s pick out items from the rubbish heap

ask how the stench is like down there

Let’s talk to the peach tree 15

find out how it feels to be in the ground

Let’s talk to the moon going down

ask if it isn’t enough eyeing what’s been going on

come on
let’s talk to the devil himself 20
it’s about time

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Glossary:
Notations: systems of writing
Inquire: ask
Stench: stink
Eyeing: watching closely

Sipho Sepamla:
 South African poet, born in Johannesburg in 1932. He died in 2007.
 He is one of South Africa’s most prolific protest poets – he was vehemently opposed to Apartheid.
 With the fall of Apartheid, Sepamla served on the government’s Arts and Culture Task Group.

Historical Context:
This poem was written during the Apartheid years. Sepamla uses it to voice his opinion on the political talks that
took place between various parties before the formalised end of Apartheid. The negotiations between the various
parties were ultimately successful and South Africa became a democratic state in 1994. The speaker’s peace-
making/peaceful attitude is clear in “it’s about time”, in the last line.

Summary:
The speaker wittily makes a series of rather odd (absurd, even) suggestions about with whom to discuss politics –
from the birds, shadows, pets, the peach tree and the air itself. He ends the poem on a serious note and states that
the “devil himself” should be addressed. This refers to the leaders of the Apartheid government.

Form/Structure:
Free verse – no recognisable poetic form. There is, however, a pattern in stanzas 3,7,8 and 9. They all have the
same pattern of word choice, length and content. The indents in the fourth and fifth stanzas alerts the reader to the
fact that these stanzas are, in fact, commentary on the overall situation.

Poetic Devices:
 The poet uses casual and conversational diction and register throughout.
 Given the absurdities of the speaker’s suggestions, there is a great use of personification throughout the poem.
This emphasises how useless/futile the suggestions are. However, this also highlights the speaker’s wish for all
situations to be seen from BOTH perspectives.

Questions:
1. Explain the underlying meaning of the actions/instructions in lines 1-6. (2)
2. Why would swallows be a good source of information about ‘other countries’? (2)
3. Discuss what the speaker is saying in stanza 4. (3)
4. Discuss the connotations of the word “whining” (line 10). (2)
5. Why does the speaker describe the heat as “paralysing” and “merciless” (stanza 6)? (2)
6. Although similar in style to stanzas 1-3, how do lines 11-14 differ in tone and intent from lines 1-6? (3)
7. Discuss why the speaker chooses to “talk to the peach tree”. Consider the other ‘things’ or concepts he talk to
in the poem. (3)
8. Identify and comment on the tone in the last stanza. (3)
9. Who is the ‘devil’ in the last stanza? (1)
10. How is the register of the poem appropriate and effective in delivering its message? (2)

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Prayer to Masks Léopold Sédar Senghor

Black mask, red mask, you black and white masks, 1

Rectangular masks through whom the spirit breathes,
I greet you in silence!
And you too, my lionheaded ancestor.
You guard this place, that is closed to any feminine laughter, to any mortal smile. 5
You purify the air of eternity, here where I breathe the air of my fathers.
Masks of maskless faces, free from dimples and wrinkles.
You have composed this image, this my face that bends over the altar of white paper.
In the name of your image, listen to me!
Now while the Africa of despotism is dying – it is the agony of a pitiable princess, 10
Like that of Europe to whom she is connected through the navel –
Now fix your immobile eyes upon your children who have been called
And who sacrifice their lives like the poor man his last garment
So that hereafter we may cry ‘here’ at the rebirth of the world being the leaven that the
white flour needs.
For who else would teach rhythm to the world that has died of machines and cannons? 15
For who else should ejaculate the cry of joy, that arouses the dead and the wise in a new
dawn?
Say, who else could return the memory of life to men with a torn hope?
They call us cotton heads, and coffee men, and oily men.
They call us men of death.
But we are the men of the dance whose feet only gain power when they beat the hard 20
soil.

Glossary:
Mortal: human/certain to die eventually
Despotism: Authoritarianism/dictatorship
Pitiable: pitiful/evoking compassion
Leaven: Yeast-like ingredient which makes bread rise
Ejaculate: exclaim suddenly and loudly
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Léopold Sédar Senghor
 Léopold Sédar Senghor was born in Senegal in 1906. He died in 2001.
 He studied and lived in France for many years.
 He developed and was a proponent of the idea of “Negritude” – a culture that is shared by all Africans. He
believed that Africans should be proud of their culture but should also incorporate the best elements of other
cultures into it.
 He was elected as the president of Senegal in 1960. He established a multi-party state and a strong educational
system.

Historical Context:
Senghor wrote this poem at a time when Africa was shaking off its colonial rule. The process was lengthy and
difficult. In many instances there were violent protests and fights. He calls colonial rule the “Africa of despotism”,
referring to the fact that African people lacked any political power.

Summary:
The speaker addresses this poem to African masks – this affirms the element of African culture. The poem
celebrates the role of African people and outlines the speaker’s belief that is it Africans who will ‘return the
memory of life to men with a torn hope”. The speaker prays for a saviour in the community to help them face their
struggles. The poem describes the relationship between Africa and Europe – it states that Africa does not need to
conform to European ideals. He contemplates the consequences of colonialism. However, he ends the poem with
an optimistic message: despite hardships and prejudice, the African people are strong and capable. They will be
able to create new beauty and prosperity.

Form/Structure:
The poem is structured with no breaks for stanzas. The line lengths are varied. The short sentences emphasise the
speaker’s intent. The speaker, at first, addresses the masks and then expands the message of the poem. The
(rhetorical) questions are answered by the speaker at the end of the poem.

Poetic Devices:
 The direct speech used in the poem allows the reader to “eavesdrop” on the ‘conversation the speaker is
having with the masks.
 The speaker uses the 1st person pronoun “you” to engage the reader. Despite answering the rhetorical
questions at the end of the poem, these questions also engage the reader and evokes their responses.
 The simile of sacrificed lives being compared to the poor man giving up his “last garment” is effective.
 The poet uses hyperbole in stating that the “world that has died of machines and cannons”.

Questions:
1. Briefly explain the connotations of the words “Prayer” and “masks” as used in the title. (3)
2. Why does the speaker greet the masks “in silence”? (2)
3. Why does the speaker use the first person “I”? (2)
4. How could an ancestor be “lionheaded” (line 4)? (2)
5. Discuss the choice in diction in metaphor “altar of white paper” (line 8). (3)
6. Identify the tone in “In the name of your image, listen to me!” (1)
7. What does the speaker mean when he states that Europe and Africa are “connected through the navel”? (3)
8. Identify the figure of speech and explain the effectiveness thereof in the phrase “rebirth of the world” (line 14).
(3)
9. How has the world “died of machines and cannons”? (2)
10. Is there any optimism in this poem? Quote in support of your answer. (2)
11. Discuss the effectiveness of the last two lines of the poem as a conclusion. (3)

15
This Winter Coming Karen Press
walking in the thick rain 1
of this winter we have only just entered,
who is not frightened?

the sea is swollen, churning in broken waves

around the rocks, the sand is sinking away 5
the seagulls will not land
under this sky, this shroud falling
who is not frightened?

in every part of the city, sad women climbing onto buses,

dogs barking in the street, and the children 10
in every doorway crying,
the world is so hungry, madam’s house is clean
and the women return with slow steps
to the children, the street, the sky tolling like a black bell;
these women are a tide of sadness 15
they will drown the world,
who is not frightened?

on every corner men standing

old stumps in the rain, tombstones
engraved with open eyes 20
watching the bright cars full of sated faces
pass them, pass them, pass them,
who is not frightened?

into the rain the children are running

thin as the barest twigs they kindle a fire 25
to fight the winter, their bare bodies
a raging fire of dead children
and the sky collapsing under centuries of rain
the wind like a mountain crying,
who is not frightened of this winter 30
coming upon us now?

16
Glossary:
Churning: continuous motion/violent motion
Shroud: material which covers something
Sated: overly satisfied
Kindle: burn/spark

Karen Press
 Karen Press was born in Cape Town in 1956.
 She worked mainly as an English and Mathematics teacher.
 She is a full-time writer now.

Historical Context:
This poem was published in 1986, a tumultuous time in South Africa under the Apartheid regime. This poem, on its
surface level, seems to be about the people’s fear about the impending Winter. However, upon closer inspection, it
is clear that this poem is an extended metaphor for the current and coming violence in the country.

Summary:
The speaker in this poem is concerned about the world she occupies and believes that she is justified to feel fear for
how matters will evolve. She states that we have “only just entered”, implying that worse times are to come. The
descriptions of the “churning”, “broken” and “sinking” sky further highlight her fear and Nature’s hostility. The
misery of the people is made clear in stanza 3. People are hungry and suffering. The distinction between the haves
and the have-nots, is clear: “madam’s house is clean” while men stand on the street corners, jobless and hungry.
The “bright cars full of sated faces” drive passed the people most affected by poverty and hunger.

Form/Structure:
This poem consists of 5 stanzas of differing lengths. Each stanza deals with a different aspect of the situation. Each
section is linked by the refrain: “who is not frightened?” This repetition/anaphora highlights the point that
everyone fears what might happen.

Poetic Devices:
 Metaphors, similes and personification abound in this poem. This adds to the visualisation of the poem.
 The sea is described as “swollen, churning in broken waves”.
 The women’s awful circumstances and lack of hope are described in a metaphor – “tide of sadness”.
 The children’s thin limbs are described in the simile “thin as the barest twigs”.
 The suffering is explained by the personification in “a mounting crying” and “sky collapsing”.
 The sibilant s prevalent in stanza 2 emphasises the noises of the seashore and the disorder caused by the harsh
weather.

Questions:
1. Comment on the poet’s choice of the word “thick” in line 1. (2)
2. How does line 2 create an ominous tone? Refer to the extended metaphor in your answer. (3)
3. Who is the speaker addressing in line 3? What is the effect of this address? (2)
4. How is a sense of violence portrayed in lines 4-5? (2)
5. Comment on the inclusion of the word “shroud” in line 7. (2)
6. Suggest a reason why people would fear winter? Refer to the literal and figurative meanings of the word. (3)
7. Identify and explain the figure of speech in “these women are a tide of sadness”. (3)
8. Explain the effectiveness of the metaphor, “tombstones/engraved with open eyes”. (2)
9. How does the reaction of the children to the rain differ from the adults? (2)
10. To what does the “raging fire of dead children” (line 27) refer? (3)
11. Discuss how the “sky” has changed throughout the poem. What is the implication of it in line 28? (3)
12. Comment on the effectiveness of the anaphora (“who is not frightened?”) in the poem. (2)
13. The last two lines of the poem breaks the ‘pattern’ of the rest of the poem. Why did the poet write these lines
differently to the anaphora in the rest of the poem? (3)
14.

17
Solitude Ella Wheeler Wilcox

Laugh, and the world laughs with you; 1

Weep, and you weep alone;
For the sad old earth must borrow its mirth,
But has trouble enough of its own.
Sing, and the hills will answer; 5
Sigh, it is lost on the air;
The echoes bound to a joyful sound,
But shrink from voicing care.

Rejoice, and men will seek you;

Grieve, and they turn and go; 10
They want full measure of all your pleasure,
But they do not need your woe.
Be glad, and your friends are many;
Be sad, and you lose them all,—
There are none to decline your nectared wine, 15
But alone you must drink life’s gall.

Feast, and your halls are crowded;

Fast, and the world goes by.
Succeed and give, and it helps you live,
But no man can help you die. 20
For there is room in the halls of pleasure
For a large and lordly train,
But one by one we must all file on
Through the narrow aisles of pain.

18
Glossary:
Mirth: humour/delight/joy
Nectared: sweet/tasty
Gall: a bitter substance
Fast: a purposeful decision to abstain from food or drink for a period

Ella Wheeler Wilcox

 Ella Wheeler Wilcox was born in the USA in 1850. She died in 1919.
 She started writing poetry at a young age and her works highlight her belief that the world needs more
kindness and compassion.

Historical Context:
This poem, much like Wilcox’s other works, contains her observation about the world around her. Her interest in
spiritualism reflects effectively in this poem.

Summary:
The speaker addresses the reader directly. She states certain universal truths – “laugh, and the world laughs with /
Weep, and you weep alone”. The poem speaks of the universal human condition in sharing joys and ‘good times’
but that a person is alone/solitary in their tough times/sadness.
In the first stanza the speaker states that one must face one’s problems instead of seeking happiness through
others.

Form/Structure:
This poem follows a strict structure. The three stanzas consist of 8 lines each and the same rhyming pattern is used
throughout. The first two stanzas focus on attitude, behaviour and actions. The last stanza focuses on the end of
one’s life and suggests a particular approach to deal with this inevitability.

Poetic Devices:
 The synecdoche (‘world’ implying people) is sustained throughout the poem.
 Extensive use of personification gives the poem a personal and intimate feel. “Sing, and the hills will answer”.
 The poem is built on opposites – “laugh and weep”, “rejoice and grieve”, “pleasure and woe”, “feast and fast”.
This emphasises her message.
 The regular rhythm in the poem creates necessary and dramatic pauses in the reading of the poem.

Themes:
 Happiness/Pain – throughout the poem the speaker states that one must face one’s problems head-on and not
seek comfort in others in lieu of addressing one’s problems/issues. She states that we cannot run from our
problems forever.
 Individual vs outside world – the relationship between these two concepts is clear in this poem. This poem acts
as a ‘map’ to the individual and how to create your own happiness and face the realities of the world. Wilcox
makes it clear that she believes that all people exist in a state of solitude. Life needs to be tackled with
practicality and self-reliance.
 Contrasts – in this poem it is clear that happiness will draw people to you and sadness will isolate you from
others. Although the poem suggests we must bear our hardships alone, we should realise that happiness and
grief are part of the human condition, and we must remain steadfast and resilient in the face of that.

Questions:
1. Comment on the personification in stanza 1. (3)
2. Describe the reaction of the ‘echoes’ (line 7) to the prompts given. (2)
3. What does “shrink” mean as used in line 8? (2)
4. Suggest a possible example of “life’s gall”. (2)
5. Why does the speaker suggest that “pain” is travelled through “narrow aisles”? (2)
6. Paraphrase and explain the line: “ Succeed and give, and it helps you live.” (3)
7. Discuss the effectiveness of the title of the poem in relation to its contents. (3)
8. Is the speaker in this overly cynical? Discuss your opinion. (3)
9. Would “Loneliness” have been a better title for the poem? Discuss your answer and make reference to the
connotations/denotations of both words (solitude and loneliness) in your answer. (3)
19
The Morning Sun is Shining Olive Schreiner

The morning sun is shining on 1

The green, green willow tree,
And sends a golden sunbeam
To dance upon my knee.
The fountain bubbles merrily, 5
The yellow locusts spring,
Of life and light and sunshine
The happy brown birds sing.

The earth is clothed with beauty,

The air is filled with song, 10
The yellow thorn trees load the wind
With odours sweet and strong.
There is a hand I never touch
And a face I never see;
Now what is sunshine, what is song, 15
Now what is light to me?

Glossary:
Odours: smells

20
Olive Schreiner:
 Olive Schreiner was born in South Africa in 1855. She died in 1920.
 She was acutely aware of racial and gender discrimination around her. Many of her works echo this theme.
 Her most famous work. The Story of an African Farm, was published under the pseudonym Ralph Iron, due to
contemporary prejudice against female authors.

Historical Context:
This poem conveys a strong sense of place and the natural environment, as often found in Schreiner’s works.

Summary:
The speaker praises the beauty of Nature around her. She describes various aspects and uses many auditory
‘images’ to engage the reader. The last four lines step away from the natural scene. The sadness in these lines (to
do with loss) are surprising, given the tone and content of the preceding lines. Olive Schreiner’s only child, a
daughter, died within a day of being born. The juxtaposition between the beauty and abundance of Nature, and the
immense loss suffered by the speaker, is poignant and incredibly sad.

Form/Structure:
The poem is structured in two stanzas, each containing eight lines. There is a regular rhyme scheme and rhythm
throughout lines 1-12. The last four lines deviate from this pattern. This ‘break’ in pattern increases the impact of
the unexpected contents of the last four lines.

Poetic Devices:
 Nature is personified throughout this poem: the sun “sends” a sunbeam to “dance”; the fountain bubbles
“merrily”; the birds are “happy”; earth is “clothed”; the air is full of “song”; the trees “load” the wind. These
images are all positive and express joy.
 The mood is cheerful in the first 12 lines and the reader is invited to share the happiness and beauty with the
speaker. The senses of sight, sound, touch and smell are all engaged.
 Alliteration abounds in this poem – places emphasis on the words and theme.

Questions:
1. Describe the mood of the first four lines of the poem. Pay attention to imagery and diction in your answer. (3)
2. Identify the tone in the first 12 lines. Now state the tone in the last 4 lines. Why does it change? (3)
3. How does the poet use colour to create the mood of the first stanza? (2)
4. What figure of speech is used in “And sends a golden sunbeam / To dance upon my knee”? Explain the
effectiveness of this figure of speech. (3)
5. Discuss the effectiveness of the personification in lines 5-8. (3)
6. Comment on how the poet’s use of sound contributes to the impact of the poem. (3)
7. Lines 13-14 bring forth a change in tone and mood. Discuss this change. (3)
8. Discuss the effectiveness of the poem’s final question as a conclusion to the poem. (3)
9. What, do you think, was the poet’s intention in the writing of this poem? (2)

21
It is a beauteous evening, calm and free William Wordsworth

It is a beauteous evening, calm and free; 1

The holy time is quiet as a nun
Breathless with adoration; the broad sun
Is sinking down in its tranquillity;
The gentleness of heaven is on the sea: 5
Listen! the mighty Being is awake,
And doth with his eternal motion make
A sound like thunder – everlastingly.
Dear child! dear girl! that walkest with me here,
If thou appear untouched by solemn thought 10
Thy nature is not therefore less divine:
Thou liest in Abraham's bosom all the year;
And worshipp'st at the Temple's inner shrine,
God being with thee when we know it not.

Glossary:
Beauteous: beautiful
Tranquillity: serenity/calmness
Doth: does
Solemn: serious
Abraham’s bosom: Heaven
Shrine: place of worship

22
William Wordsworth:
 William Wordsworth was born in the United Kingdom in 1770. He died in 1850.
 He was one of the founders of the Romantic Movement in poetry.
 He had a great love for Nature.

Historical Context:
As many of Wordsworth’s other poems, this poem is a reflection on Nature and a (sort of) conversation with
(presumably) his daughter. It is suffused with religious overtones.

Summary:
The speaker in this poem is awestruck by the beauty of Nature, specifically the evening time. He expresses his
appreciation for the feeling of tranquillity he experiences in Nature. He views the scene through a (Christian)
religious lens and assures his companion (presumably his young daughter) that God’s presence is omnipotent. He
states that even if/when she does not express devotion to God, or spend time in a physical place of worship, God is
always present. (This reaction stems from her being seemingly unaffected by the incredible scene in front of them.)
He ultimately praises God for the creation of Nature.

Form/Structure:
This is a Petrarchan (or Italian) sonnet consisting of 14 lines. The octave (first 8 lines) describes the beauty of the
scene. The sestet (last 6 lines) serves as the speaker’s comment on the beauty and spirituality of the scene. He
addresses his companion (his daughter) directly in the sestet. It is a lyrical poem.

Poetic Devices:
 The poet chose specific words to highlight the spiritual theme: ‘holy’, ‘nun’, ‘adoration’, ‘heaven’. This
establishes the sacred tone of the poem.
 The personification in “the mighty Being is awake” and “gentleness of heaven” enforce the spiritual theme.
 The similes (“quiet as a nun” – her adoration has taken her breath away - and “sound like thunder”) are
effective in engaging the senses.
 “Being” and “Temple” are purposefully capitalised to convey importance.
 The contrast between silence and loud noise is effective in conveying meaning and engaging the senses.
 The tone is one of tranquillity and awe.

Themes:
 The Holiness of Nature – the speaker celebrates the majestic and holy beauty of Nature. He describes Nature in
reverent terms. The poem urges an appreciation for the beauty and power of Nature and God. The poem ‘takes
place’ during “holy time” – the time of evening prayers. The speaker’s language portrays the world as a divine
creation capable of admiring its own handiwork. Human beings are a part of Nature and thus part of the Divine.
 Childhood and Faith – the speaker addresses his “Dear child” directly when she does not seem as awestruck as
he is. He reasons that it is due to her age and innocence. Children are always close to God; they maintain a
natural sense of faith and wonder at all times, so they do not react with the same solemn awe as adults do. So,
he ultimately states that through her reaction, he rediscovers what children feel all the time. Her outward lack
of reverence does not mean that she is any less holy or pious or capable of reverence. The speaker states
categorically that children are the most holy and reverent of God’s creatures and we lose this as we
grow/mature. Children are perpetually in “Abraham’s bosom” – in God’s presence. (Abraham is a central
patriarch and prophet.)

Questions:
1. Describe the mood in the opening line of the poem. Use your own words. (2)
2. Why is the simile “quiet as a nun” a particularly effective figure of speech? (2)
3. How can the sea have “the gentleness of heaven” on it? (2)
4. How and why does the beginning of line 6 change the atmosphere? (3)
5. What is the purpose of the capital letter in “Being” (line 6)? (3)
6. What is the function of the dash in line 8? (2)
7. How does the tone of “Dear child!” differ from “Listen!”? (2)
8. Explain the comparison used in the metaphor “Abraham’s bosom”. (3)
9. Discuss how the structure/form of the poem supports its contents. (3)

23
Fern Hill Dylan Thomas
Now as I was young and easy under the apple boughs 1
About the lilting house and happy as the grass was green,
The night above the dingle starry,
Time let me hail and climb
Golden in the heydays of his eyes, 5
And honoured among wagons I was prince of the apple towns
And once below a time I lordly had the trees and leaves
Trail with daisies and barley
Down the rivers of the windfall light.

And as I was green and carefree, famous among the barns 10

About the happy yard and singing as the farm was home,
In the sun that is young once only,
Time let me play and be
Golden in the mercy of his means,
And green and golden I was huntsman and herdsman, the calves 15
Sang to my horn, the foxes on the hills barked clear and cold,
And the sabbath rang slowly
In the pebbles of the holy streams.

All the sun long it was running, it was lovely, the hay
Fields high as the house, the tunes from the chimneys, it was air 20
And playing, lovely and watery
And fire green as grass.
And nightly under the simple stars
As I rode to sleep the owls were bearing the farm away,
All the moon long I heard, blessed among stables, the nightjars 25
Flying with the ricks, and the horses
Flashing into the dark.

24
And then to awake, and the farm, like a wanderer white
With the dew, come back, the cock on his shoulder: it was all
Shining, it was Adam and maiden, 30
The sky gathered again
And the sun grew round that very day.
So it must have been after the birth of the simple light
In the first, spinning place, the spellbound horses walking warm
Out of the whinnying green stable 35
On to the fields of praise.

And honoured among foxes and pheasants by the gay house

Under the new made clouds and happy as the heart was long,
In the sun born over and over,
I ran my heedless ways, 40
My wishes raced through the house high hay
And nothing I cared, at my sky blue trades, that time allows
In all his tuneful turning so few and such morning songs
Before the children green and golden
Follow him out of grace, 45

Nothing I cared, in the lamb white days, that time would take me
Up to the swallow thronged loft by the shadow of my hand,
In the moon that is always rising,
Nor that riding to sleep
I should hear him fly with the high fields 50
And wake to the farm forever fled from the childless land.
Oh as I was young and easy in the mercy of his means,
Time held me green and dying
Though I sang in my chains like the sea.

25
Glossary:
Boughs: branches
Lilting: swinging rhythmically or singing
Dingle: wooded valley
Sabbath: seventh day of the week – a Judeo-Christian day of rest
Ricks: like a haystack
Heedless: thoughtless
Thronged: crowded

Dylan Thomas:
 Dylan Thomas was born in Wales in 1914. He died in 1953.
 He left school at the age of 16 to pursue a literary career.
 He was famous for his original and lyrical poetry and radio broadcasts.

Historical Context:
This poem speaks of the beauty of an actual place named Fern Hill, where Thomas spent time as a child. It is
essentially a reflection on his happy times at this place. It is certainly an autobiographical poem.

Summary:
The speaker reflects on and celebrates the joy he experienced during his youth in the countryside. He reflects on
the freedom he felt and the beauty that surrounded him. It is a nostalgic poem – the speaker, once an innocent
child, is aware of his loss of innocence and fantasy freedom.

Form/Structure:
This poem consists of six stanzas, each comprising nine lines. There is a strict syllabic count in each line which is
repeated in each stanza: 14,14,9,6,9,14,14,7,9.
Despite the strict syllabic count/rhythm, there is no specific form to this poem. The poem is song-like in its rhythm.
The poem can be divided into two parts: the first 3 stanzas are related to the poet’s experience as a child and the
last 3 stanzas focus on the awakening in the child which signifies the loss of innocence. This can be related to the
Biblical story of Adam and Eve’s fall from grace in the Garden of Eden.

Poetic Devices:
 This poem personifies time: the speaker talks about time as if it is a person who has allowed him to do many
things in his life. (“Time let me hail and climb” and “Time let me play and be”)
 Many images in the poem have to do with the passage of time – there are references to the movement of the
sun (“And the sun grew round”) and the moon (“that is always rising”).
 Vivid descriptions of colour abound in the poem – green, gold and white dominate. This adds to the
“freshness”, youth, joyful and celebratory mood of the poem.
 The contrast suggested in the “shadow of my hand” alerts the reader to a shift in mood. This is emphasised by
the emphatic “Oh”. This evokes nostalgia and a yearning for the innocence of the speaker’s childhood.
 Thomas makes Biblical allusions/reverence in the “sabbath” and “holy streams”. This links religion to the
beauty of Nature.
 Assonance, consonance (similar to alliteration – repetition of sound in a word or in adjacent lines) and
alliteration abound in this poem.
 The use of enjambment adds to the fast pace of the poem – the stanzas “skip” along in a dizzying motion, just
as a child spins around as a physical expression of joy.

26
Themes:
 Childhood joy and innocence – this poem is at its core a celebration of childhood. The speaker was a happy and
innocent child and part of a harmonious world. Children experience the specialness and harmony of the world
through their freedom and, paradoxically, their security. They believe that they are safe to explore and
experience joy. There are no severe restrictions and responsibilities on them. The overtly positive descriptions
throughout the first 3 stanzas highlights the speaker’s innocence and joy. The speaker felt at ease – there was
no friction between him and the rest of the world. His days were filled with wonder and happiness.
 Harmony and the Wonder of Nature – The speaker’s childhood joy is closely connected to playing outside. The
poem suggests that real joy comes from a sense of connection with the natural world. To be young and
innocent is to be one with nature. Nature is a place filled with wonder, peace and harmony. As the young
speaker explored the landscape, the personified elements of Nature seemed to be his playmates. The speaker
plays a role in the environment he visits - he is both hunter and shepherd. (He is not actually killing animals
here.) His joy stems from the fact that he is a part of nature and the landscape, rather than apart from it. Adults
are incapable of accessing the sense of peace and harmony that comes from being one with Nature.
 Time – throughout the poem, time looms like a godlike presence. Time grants the speaker a brief period of
childhood happiness. However, time also ensures that nothing lasts forever and that childhood joys comes to
an end. Time is ultimately an all-powerful and unstoppable force with ultimate control over humans.
 The end of childhood grace – the poem implies that when children grow up, they lost the ‘grace’ of childhood
and its joys. The Christian concept of Grace is to experience God’s love. For the speaker, childhood best
represents such an experience, and the end of childhood is thus a painful, yet inevitable, fall from Grace. The
references to the Garden of Eden parallels childhood as akin to the Garden of Eden. As people age, they lose
their Grace, just like Adam and Eve lost theirs. Just as Adam and Eve were kicked out of Eden, the speaker
“wakes to the farm forever fled from the childless land”. It is as if one day the speaker woke up, no longer a
child, and all the happiness has disappeared from the world.

Questions:
1. What does the speaker mean by “As I rode to sleep the owls were bearing the farm away” (line 24)? (2)
2. Describe the tone in the first four stanzas. (2)
3. Where and how does the tone alter? Explain your answer. (3)
4. What is the significance of the references to colours? (3)
5. Discuss what Thomas says about time in this poem. (2)
6. What realisation does the speaker have in line 51 when he says, “And wake to the farm forever fled from the
childless land”? (2)
7. How does the speaker suggest the beauty and innocence of the beginning of the world in stanza 4? (3)
8. What does this poem suggest about Thomas’ view of the relationship between humankind and Nature? (2)
9.

27
The Shipwreck Emily Dickinson

Glee! The great storm is over! 1

Four have recovered the land;
Forty gone down together
Into the boiling sand.

Ring, for the scant salvation! 5

Toll, for the bonnie souls, --
Neighbour and friend and bridegroom,
Spinning upon the shoals!

How they will tell the shipwreck

When winter shakes the door, 10
Till the children ask, ‘But the forty?
Did they come back no more?’

Then a silence suffuses the story,

And a softness the teller's eye;
And the children no further question, 15
And only the waves reply.

Glossary:
Glee: happiness/celebration
Scant: limited
Toll: slow ring of a bell
Bonnie: lovely/good
Shoals: sandbanks/reef/shallow waters
Suffuses: spreads through

28
Emily Dickenson:
 Emily Dickenson was born in the United States of America in 1830. She died in 1886.
 She wrote close to 2000 poems but only 10 were published in her lifetime.
 She is deemed one of America’s most important and influential poets.

Historical Context:
Shipwrecks were common in Dickenson’s time, as ships were not as sturdy as they are today, and storm warning
equipment did not exist.

Summary:
This poem is about an actual shipwreck in which 40 people lost their lives. The poem contrasts the joy at the
survival of four people and the sorrow that 40 people died. It is this sorrow/loss that us the focus of stanzas three
and four. The tale is told to children on a cold winter night. The speaker’s sorrow is clear and there is no empty
cliché offered as “only the waves reply”.

Form/Structure:
This poem has 4 stanzas of 4 lines each. It follows a strict rhyme pattern: abcb defe ghih jklk. It is close in form to a
ballad but does not have the prerequisite refrain characteristic of this form.
The first two stanzas focus on the positive news of the survival of four people. The last two stanzas focus on the
grief of the loss of 40 lives.

Poetic Devices:
 Dickenson uses punctuation marks to emphasises feeling and tone. The exclamation marks create a celebratory
tone in the first two stanzas.
 In the last line of stanza two, the exclamation mark highlights the sorrow caused by the deaths of so many
people. This conveys the speaker’s shock and distress.
 The dash in line 6 states an abrupt explanation of who the “bonnie souls” were – these people were known in
the community and their loss is immense.
 Dickenson uses rhyme and rhythm (consistent use of syllables per line) to give the poem a regular “beat”/pace.
It is almost lyrical.
 The ringing of the bells is both celebratory and mournful.
 The sibilant s in the last stanza emphasises the speaker’s sadness as she is reminded of the lives lost in the
shipwreck. This slows down the pace and creates an almost respectful silence.

Questions:
1. What is the effect of the exclamation marks in lines 1 and 5? How does this contrast to the exclamation mark
used in line 8? (3)
2. What are the two reasons for “glee” in the opening lines? (2)
3. Explain what “recovered the land” means. (2)
4. Critically discuss the effectiveness of the imagery in “Forty gone down together/Into the boiling sand”. (3)
5. Why would “scant salvation” be celebrated? (2)
6. Explain the two ways in which the bells ring in this poem. Quote in support of your answer. (4)
7. Identify and comment on the effectiveness of the figure of speech in “When winter shakes the door”. (3)
8. How does the final stanza evoke pathos? (3)
9. Discuss the effectiveness of the alliteration/sibilance in line 13. (2)

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List of Sources:

1. https://litpriest.com/poems/sonnet-130-summary/
2. https://owlcation.com/humanities/Analysis-of-Sonnet-130-by-William-Shakespeare
3. https://poemanalysis.com/ingrid-jonker/the-child-who-was-shot-dead-by-soldiers-in-nyanga/.
4. https://poemotopia.com/ingrid-jonker/the-child-is-not-dead/
5. https://www.enotes.com/topics/dennis-brutus
6. https://poemsandallat.weebly.com/negritude.html#:~:text=Analysis%20The%20poem%20%22Prayer%20to
%20the%20Masks%22%20is,everything%20in%20there%20African%20village%20is%20falling%20apart.
7. https://www.supersummary.com/prayer-to-the-masks/summary/
8. https://www.poetryinternational.com/en/poets-poems/poets/poet/102-5378_Press
9. https://sara-s-poetry-site.weebly.com/poem-analyses.html#:~:text=Analysis%20In%20Solitude%20by%20Ella
%20Wheeler%20Wilcox%20the,alone%20as%20they%20know%20that%20they%20need%20to.
10. https://www.owleyes.org/text/solitude
11. https://www.enotes.com/topics/solitude-wilcox
12. Baldwin, Emma. "Solitude by Ella Wheeler Wilcox". <em>Poem Analysis</em>, <a id="site_link"
href="https://poemanalysis.com/ella-wheeler-wilcox/solitude/"> https://poemanalysis.com/ella-wheeler-
wilcox/solitude/</a>.
13. https://goodstudy.org/beauteous-evening-summary-analysis/#.YsvezWBBzIU
14. https://poemanalysis.com/william-wordsworth/it-is-a-beauteous-evening-calm-and-free/
15. https://interestingliterature.com/2020/02/analysis-wordsworth-beauteous-evening-calm-free/
16. https://www.sparknotes.com/poetry/wordsworth/section5/
17. Shrestha, Roma. "Fern Hill by Dylan Thomas: Summary and Critical Analysis." BachelorandMaster, 4 Nov.
2013, bachelorandmaster.com/britishandamericanpoetry/fern-hill.html.
18. https://poemanalysis.com/dylan-thomas/fern-hill/
19. https://en.wikipedia.org/wiki/Sharpeville_massacre
20. Macrat Publishing – DBE HL Poetry Pack 2023
21. https://brandsouthafrica.com/3988/ingrid-jonker-the-child-is-not-dead/
22. https://owlcation.com/humanities/William-Wordsworths-It-is-a-Beauteous-Evening

30
Suggested answers:

Sonnet 130 William Shakespeare

1. Explain how the structure and tone of this poem allows the poet to emphasise the central message. (3)
(The Shakespearean/Elizabethan sonnet consists of 3 quatrains and rhyming couplet. The quatrains deliver his
exaggerated anti-compliments, and the couplet drives home his sincere love – he loves her despite her
imperfections. The tone in the quatrains – sarcastic/sardonic/frank. Tone in couplet – sincere. Learner MUST
mention structure and tone in both.)
2. Are Shakespeare’s observations in the quatrains cynical or not? Explain your answer. (2)
(No – no mark. Women, like men, are not perfect. He is not cynical, he is realistic. He loves her despite her
shortcomings/imperfections. She is real!)
3. Who is the speaker ridiculing in the poem? Why does he do this? (3)
(He ridicules the Petrarchan poets of the time who used exaggerations to describe their lovers. He proves that
the idealised woman does not exist AND makes it clear that his beloved does not have to be perfect for him to
love her genuinely.)
4. Explain what is meant by: “My mistress, when she walks, treads on the ground.” (2)
(She is REAL – she does not float above the ground, as described by Petrarchan sonnets, she walks. She is
human, not an idealised and mythical goddess.)
5. Refer to line 12. Comment on the effect pace has on the meaning of the line. (3)
(The pace slows down with commas and monosyllabic words. It indicates the heavy treading/walking of his
mistress’ gait. She walks like a normal person, she doesn’t float like a goddess.)
6. Show how the last line completes his argument. Refer, in particular, to the word “false”. (2)
(He does not need to make false/untrue/exaggerated comparisons to let her know he loves her. Or to love her!)
7. Identify three sensory images in this poem and how they relate to the central theme. (3)
(Sight – he sees her features; touch – her ‘wiry’ hair; smell – her breath; hearing – her voice. Learners must
quote and explain. All relate to the theme of her imperfections making her ‘perfect’ in his eyes. She does not fit
the mould of the idealised Petrarchan woman. She is real)
8. Identify the tone in lines 1-12 and how this contrasts with the tone in the last two lines. Is this an effective shift
in tone? Justify your answer. (3)
Tone in 1-12: sardonic, sarcastic, critical. Last two lines: sincere, heartfelt. Effective shift – he states very clearly
what she is NOT and then says that he loves her DESPITE her imperfections.)
9. Explain the use of “by heaven” in line 13. Why has this phrase been included? (2)
(It is a reference to God – he swears by the Almighty to prove his sincerity.)

The child who was shot dead… Ingrid Jonker

1. Comment on the reference to ‘the child’ in the title of the poem. (2)
(It evokes a sympathetic response. A child is vulnerable and helpless against the armed soldiers. It shows the
cruelty and senselessness of this death – this child did not live long enough to realise his potential.)
2. The title refers to the ‘dead’ child, yet in line 1 ‘the child is not dead’. Discuss the contradiction/dichotomy by
referring to the rest of the poem. (3)
(The contradiction/dichotomy leaves the reader pondering: how can the child be both dead and “not dead”? The
speaker introduces the idea that the child is a symbol of innocence/hope/resistance. None of the lives lost will
be forgotten, as they are ‘everywhere’. They will be remembered in history in the struggle for freedom. The child
will always be present to drive the struggle and ultimately reap the rewards of freedom by travelling ‘without a
pass’.)
3. What does the altered repetition of “The child lifts his fists against his mother / father” reveal about the
generation gap that is reflected in responding to the laws of apartheid? (2)
(The child is unhappy with the parents’ submissive attitude – they did not fight hard enough. He (as a
synecdoche of the youth) will now take up the fight, literally. The child seeks a quick and possibly violent
solution to the end of Apartheid as he ‘lifts his fists’; whereas the protests of his parents would have been more
peaceful as previous ‘generations who are shouting Afrika’ campaigned against Apartheid in this way. The
youth is filled with rage at the Apartheid world they are forced to inhabit, the legacy of previous generations
who ‘allowed’ matters to reach this intolerable point. Active and passive resistance)

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4. How does the diction in stanzas 1 and 2 highlight the difference between mothers and fathers? (3)
(The image of the mother refers to pain and suffering – they “scream” and their screams of anguish are heard
far and wide. The image of the father refers to warriors and pride. It refers to “justice and blood” – the call to
arms to regain their lost pride.)
5. Comment on the effect of the denials in the third stanza. (2)
(The frequent use of denials and negatives emphasises just how frequently these events occurred during those
brutal years in the fight for freedom. The reader understands that there are innocent victims in all these places,
and the denials – indicative of officialdom – come across as blatant lies.)
6. Critically comment how the imagery used in lines 20-23 contributes to the mood. (3)
(The child playing in the sun creates a carefree mood without the violence of ‘bullets’ and ‘rifles’ and ‘batons’.
‘Treks’ and ‘travels’ suggest freedom and no more restrictions and confinements of ‘pass’ laws. The image of a
‘giant’ show that the child is now grown and has embraced his potential. This contributes to a mood of hope,
optimism and confidence.)
7. Discuss the effectiveness of the last, short line of the poem. (2)
(The concluding image is particularly poignant because it reflects a child who did not want any part of the
violence he grew up in but instead wanted to follow innocent pursuits. He wanted the opportunity to become an
independent adult with no restrictions on where he could go. The pass book implies restrictions and oppression.)
8. During the Parliamentary address, Nelson Mandela commented that “in the midst of despair, Jonker celebrated
hope.” Does this poem celebrate hope? Discuss your answer briefly. (3)
(Jonker remained desperately hopeful of a better future. The last line implies a future without restrictions. The
repetition of “Not dead” implies hope and optimism. AVA)
9. “The child” is repeated ten times in the poem. How does this repetition add meaning to the poem? (2)
(The repetition emphasises the age and innocence of the child. The effect is to highlight the number of innocent
people who were killed in the fight against Apartheid.)

At a Funeral Dennis Brutus

1. To what does “pageantry” refer in line 1? Discuss the effectiveness of this choice of word. (2)
(Pageantry refers to a splendid scene filled with colours and costumes, movement and sound. It is an effective
choice of word if one considers that the poet feels that this funeral is all just for “show”.)
2. What do the words “Black, green and gold” suggest? How does this shift the reading of the poem? (2)
(These are the colours of the ANC and makes the reader see the poem in a political light. The poem is both
personal and political.)
3. Why would the graves be expectant of ‘eternity’ (line 2)? (2)
(The graves are ‘waiting’ for the dead bodies who will be buried and stay there forever.)
4. Explain the reference to “hope” as it is used in line 6. (2)
(Hopes for the future – the fulfilment of life by Valencia. Could also suggest a sense of hopelessness – “what was
all of this for?” The poet speaks of “our hopes” – inclusive of the reader.)
5. What are “carrion books of birth”? (2)
(Passbooks carried by all non-white people. Carrion (meat/dead being) - refers to the people not actually being
dead, but dead-like due to oppression.)
6. Comment on the tone in “Arise!” and “Salute!”. (3)
7. Why does the speaker call on the reader to “ponder” (line 5)? (2)
(The speaker asks the reader to contemplate the implications of this funeral, and death in general. He
encourages the reader to look further than the ‘showcase’/display. )
8. What is the difference between “Death” and “death’s head” and why is “scythes our ground” then an
appropriate metaphor? (3)
(Death is personified – it is the mortal end of life. Death is often portrayed as a cloaked skeleton carrying a
scythe – the cutting of life. A death’s head is a skull. Here is refers to the tyranny of a system that cuts down the
lives of black people. So ‘scythes’ is an effective metaphor.)
9. Discuss the pun in the word “plots” in line 11. (3)
(It can be a verb – to plot is to make a secret plan to destroy someone or something. In this context the political
system makes plans to contain the black people in ‘narrow cells’. These could be prison cells or graves. Plots
could also refer to literal graves.)

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10. Describe the tone in and the effectiveness of the last line of the poem. (3)
(It is a commanding/defiant tone. He states that it is better to die than to “lie down” – to submit to oppressive
powers. He encourages the reader/his people to fight against oppression. It is forceful and honest conclusion in
response to the funeral of Valencia.)
11. How does the reader know that this poem is more than a tribute to Valencia Majombozi? Discuss the
effectiveness of this added message/theme. (3)
(There is a definite mourning for this specific individual, but the speaker encourages the reader to think beyond
that. He addresses the concept of death in general and the waste of life if a life is cut short, before a person
reached full potential. He also uses the second stanza as a “call to arms” of sorts. He states that it is better to
die than to submit to the powers of oppression.)

Poem of Return Jofre Rocha

1. Why does the speaker not want flowers upon his return? (3)
(Flowers are superficial. He does not want superficial things, he wants emotion. He also does not believe himself
to be hero who deserves flowers or accolades upon his return. He fled and left the others to fight.)
2. What does the speaker want instead of flowers? Why? (3)
(He wants tears, hunger, intimacy, mourning and sleeplessness. Flowers are generally celebratory, and this is
definitely not a time for celebration. He wants, instead, an acknowledgement of suffering. His return is
indicative of something much bigger than just himself.)
3. Comment on the description of the speaker’s “host country” as the “land of exile and silence”. (2)
(exile – he fled there to escape from oppression; silence – perhaps he did not speak the new country’s language.
He could also have been alone there / isolated / unhappy / no communication with home country or his people.)
4. Identify and comment on the effectiveness of the figure of speech in “tears of dawns”. (3)
(Personification – even the “dawn” is crying. Even Nature is upset at the atrocities committed by people.)
5. Why are the mothers “bereft of sons” (line 8)? (2)
(Due to the political strife of the time, many young men (the sons) were imprisoned or killed. Some young men
also went into exile. Some mothers also couldn’t have sons because their husbands/partners were killed or
imprisoned. Thus mothers were denied the presence of sons.)
6. Comment on the figurative interpretation of the “day-break” in line 12. (2)
(The brink of change – the new day symbolises his hope that things will change / they will get justice / freedom.
It could refer to those who died so shortly before the oppression ended.)
7. Comment on the effectiveness of the anaphora (“When I return…”). (3)
(The title is echoed in the anaphora, “When I return”. This emphasises the context of an individual who probably
had been forced to flee his home country and had to live in a foreign country for a while. This emphasises the
prospect of coming home and his anticipation at the welcome he would get. It is clear that the speaker feels
guilty about having gone into exile whilst his compatriots fought the oppressive system.)
8. Discuss the change in tone from stanza 2 to 3. Quote in support of your answer. (3)
(In stanza 2 there is a tone of longing and yearning – the grief is immense. He cries out for the homeland to
meet him with ‘real’ emotions, not flowers, nothing superficial. In the 3rd stanza the tone shifts to anger and
bitterness. Although he is happy to be home, he realises the enormous sacrifice made by some in the struggle
for liberation.)
9. How does the last stanza successfully convey the speaker’s intention? (3)
(Cleverly chosen diction – “anger” and “snaking” – implies that although the speaker is happy to be home, he
still carries an enormous amount of anger and resentment towards their oppressors. He is definitely not
forgiving. He seeks and demands justice for all those who were scarred/killed in the fight for freedom. “Snaking”
alludes to something dangerous and poisonous – he will expose the atrocities and get justice for all. There is
definitely an ominous tone.)

Talk to the Peach Tree Sipho Sepamla

1. Explain the underlying meaning of the actions/instructions in lines 1-6. (2)

(Although the literal actions are quite absurd, the underlying message is serious: what do you know about us?
During Apartheid there was little or no opportunity to understand or communicate with people from other
races. One group of people was always superior and had a ‘voice’, whilst the other had to remain silent.)

33
2. Why would swallows be a good source of information about ‘other countries’? (2)
(Swallows migrate for the summer. They would be able to ‘talk’ about the other countries.)
3. Discuss what the speaker is saying in stanza 4. (3)
(He states that ‘words have lost their meaning’ – this means that talking has become useless. ‘Misused
notations’ refers to communication tools which have become so warped that their original intentions have
become lost. Words have literally lost their meaning. Language has been twisted and used to convey lies,
propaganda and cannot be trusted.)
4. Discuss the connotations of the word “whining” (line 10). (2)
(‘Whining’ has negative connotations of high-pitched complaining. This would be unpleasant.)
5. Why does the speaker describe the heat as “paralysing” and “merciless” (stanza 6)? (2)
(paralysing – implies that the oppression (the heat) renders a person unable to do anything. ‘merciless’ implies
exactly that – no empathy/mercy/compassion for the oppressed people.)
6. Although similar in style to stanzas 1-3, how do lines 11-14 differ in tone and intent from lines 1-6? (3)
(Stanzas 1-3 were light-hearted and humorous in their absurdity. Lines 11-14 is anything but humorous. The
heat is ‘merciless’ which alludes to the oppression faced by Black people during Apartheid. The tone is harsh and
unforgiving. The words ‘rubbish heap’ and ‘stench’ implies the attitude towards black people. The tone is serious
and the intention is the describe the reality of the situation for black people under white oppression.)
7. Discuss why the speaker chooses to “talk to the peach tree”. Consider the other ‘things’ or concepts he talk to
in the poem. (3)
(The peach tree is rooted in a permanent place in the garden, unlike the other items/things he proposed with
which to have a conversation. The tree will tell him how it feels to be rooted and fruitful in a place you can call
your own. The connotation of rooted is permanence and fruitful implies productive and successful.)
8. Identify and comment on the tone in the last stanza. (3)
(The tone could be one of relief – for so long there has been no communication. Now the speaker looks forward
to a conversation between the two parties. This conversation, albeit with the devil himself, is long overdue and
needs to happen to facilitate change. The speaker implores the reader to have the needed conversation.)
9. Who is the ‘devil’ in the last stanza? (1)
(Oppressors / Apartheid System)
10. How is the register of the poem appropriate and effective in delivering its message? (2)
(The colloquial register is lighter and less demanding than formal register. It gives the poem a tone much like a
casual conversation. The poet addresses the reader directly and engages them with the pronouns “us” in “Let’s”.
Sepamla’s style of criticism is subtle and accessible to all readers. The message is clearly that decent
conversations need to happen between white and black people and that all should be treated fairly and equally.
People must see all things from BOTH perspectives.)

Prayer to Masks Léopold Sédar Senghor

1. Briefly explain the connotations of the words “Prayer” and “masks” as used in the title. (3)
(prayers – appeal to a higher power / ancestors – positive connotation. ‘masks’ – traditional masks as worn in
African culture / to hide real emotions / hide true intentions. The title implies a ‘thank you’ to those who have
been wearing the masks and to the masks themselves for being able to hide true feelings.)
2. Why does the speaker greet the masks “in silence”? (2)
(Words are unnecessary in this instance – a slight gesture will suffice.)
3. Why does the speaker use the first person “I”? (2)
(It adds a personal, intimate and sincere element to the poem. It is subjective.)
4. How could an ancestor be “lionheaded” (line 4)? (2)
(This could refer to a traditional African mask in the shape of a lion’s dead. It could also be symbolic of strength,
boldness and bravery. The Senegalese national anthem is also entitled “The Red Lion”.)
5. Discuss the choice in diction in metaphor “altar of white paper” (line 8). (3)
(white paper could refer to bureaucracy – it takes an immense amount of paperwork to create laws / set up
political alliances etc. The ‘altar’ suggests that something is being worshipped/praised.)
6. Identify the tone in “In the name of your image, listen to me!” (1)
(A pleading, desperate tone. Or a respectful command filled with authority.)

34
7. What does the speaker mean when he states that Europe and Africa are “connected through the navel”? (3)
(This image reminds the reader of the connection of Africa to Europe, much like a baby is connected to its
mother via the umbilical cord – nourishment, blood flow etc. The colonial powers in Europe were referred to as
the ‘mother country’. However, this connection is a negative one – Europe colonised many countries in Africa.
There was mass exploitation of people, resources and land. Greed and corruption by the colonisers left Africa
damaged. The severing of the connection is necessary but difficult. Colonisers would not want to sever this
connection – then they lose their wealth/resources/land/labour force etc.)
8. Identify the figure of speech and explain the effectiveness thereof in the phrase “rebirth of the world” (line 14).
(3)
(Personification – now that the colonisers have left / have no more power over the country, it has the chance to
be reborn, to start afresh. It can now create its own government / future.)
9. How has the world “died of machines and cannons”? (2)
(Our over-reliance on technology and machinery has caused the spiritual soul to wither and die. The world has
lost its ability to feel deeply and give expression to joy.)
10. Is there any optimism in this poem? Quote in support of your answer. (2)
(“world that has died” – shows that the old reality is gone/dead. There is a semblance of hope (“torn hope”)
despite the damage, destruction and violence.)
12. Discuss the effectiveness of the last two lines of the poem as a conclusion. (3)
(These lines are emphatic and strongly connected to the earth. The people are involved in a traditional dance
and they appear strong and resilient. This dance symbolises their new-found freedom and how they will regain
their identity and take pride in their culture. They will share this culture and pride with the rest of the world.)

This Winter Coming Karen Press

1. Comment on the poet’s choice of the word “thick” in line 1. (2)

(This word relates to the rain – it is thick, like a blanket. Textured. A very heavy rain.)
2. How does line 2 create an ominous tone? Refer to the extended metaphor in your answer. (3)
(This figurative winter – oppression – will only get worse – “only just entered”. Things will get far worse before
they get better. There is an allusion to possible violence / uprising against the oppression.)
3. Who is the speaker addressing in line 3? What is the effect of this address? (2)
(All readers, in fact, all South Africans. All people should be afraid to of the Resistance. There will be violence in
response to oppression.)
4. How is a sense of violence portrayed in lines 4-5? (2)
(The sea is described as ‘swollen, churning in broken waves” – this is a destructive ocean, not a peaceful and
serene ocean. It is a dangerous place to be.)
5. Comment on the inclusion of the word “shroud” in line 7. (2)
(A shroud is a cloth traditionally used to cover dead bodies in preparation for a funeral. The word intensifies the
feelings of fear, anger and helplessness in the face of the weather conditions. This rain and cold can kill those
unprotected from it.)
6. Suggest a reason why people would fear winter? Refer to the literal and figurative meanings of the word. (3)
(Homeless people or people living in shacks would fear winter because they are exposed to the elements all the
time. It is cold and wet. They can fall ill and possibly die. This is the literal interpretation. The figurative element
compares winter to a time of political and social hardship in South Africa. Those left unprotected (non-whites)
will be exposed to hardship and possibly death.)
7. Identify and explain the figure of speech in “these women are a tide of sadness”. (3)
(Metaphor – the amount of sadness if so great that if it were in liquid form, it would make up a sea. It would
drown anything in its path.)
8. Explain the effectiveness of the metaphor, “tombstones/engraved with open eyes”. (2)
(The stillness of the men is such that they seemed to be carved from stone. They have become so hardened that
they seem dead, if it were not for the open eyes. They look dead but are alive.)
9. How does the reaction of the children to the rain differ from the adults? (2)
(The adults are fearful. The children run wildly, they are active and alive. They use a fire to warm themselves,
because they are so thin. Here the rain is positive – it is negative in the rest of the poem.)
10. To what does the “raging fire of dead children” (line 27) refer? (3)
(This seems to refer to the children who died in violent uprisings (like Sharpeville, Soweto etc.). The word
‘raging’ suggests the passion of the children and the ugliness of the system oppressing them. Children died
when trying to bring about change during the Apartheid era.)
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11. Discuss how the “sky” has changed throughout the poem. What is the implication of it in line 28? (3)
(Rain comes from the sky and is now “collapsing under centuries of rain”. At first the sky is just that – a sky. It
then intensifies to a sky “tolling like a black bell” and in the final stanza it is falling. The Apartheid system has
become unbearable. The time for change has arrived. BUT things are going to get worse before they get better.)
12. Comment on the effectiveness of the anaphora (“who is not frightened?”) in the poem. (2)
(Includes all readers and South Africans. It serves as an emphasised warning to the oppressors – a revolution is
coming. Things have to change. Remember – this poem was printed in 1986.)
13. The last two lines of the poem breaks the ‘pattern’ of the rest of the poem. Why did the poet write these lines
differently to the anaphora in the rest of the poem? (3)
(At first the anaphora was one line. Now it is extended over two lines. This adds to the idea that the ‘winter’ is
about the arrive. It is ominous. It acts as a warning of what is to come.)

Solitude Ella Wheeler Wilcox

1. Comment on the personification in stanza 1. (3)

(the world ‘laughs’ – when you are happy the world around you is happy. The earth also “borrows” mirth –
joy/humour – there are enough sadnesses/problems. The hills “answer” your happiness – literally an echo and
figuratively like the earth “laughing” with you. NOT AT YOU! The echoes “shrink” back from
issues/problems/worries.)
2. Describe the reaction of the ‘echoes’ (line 7) to the prompts given. (2)
(In reaction to the ‘joyful sound’ the echoes will repeat the sound eagerly. However, there will be no reaction is the
sound is not happy – expression of ‘care’, concern or worry.)
3. What does “shrink” mean as used in line 8? (2)
(pull back – the world will not share your problems/issues/cares.)
4. Suggest a possible example of “life’s gall”. (2)
(sadness, poverty, loneliness – all things that make us bitter.)
5. Why does the speaker suggest that “pain” is travelled through “narrow aisles”? (2)
(Narrow aisles are confined – not enough space for more than one person at a time. When we suffer, we do so
alone. We must learn to create our own happiness.)
6. Paraphrase and explain the line: “ Succeed and give, and it helps you live.” (3)
(A person who succeeds in life and then shares his good fortune with others, will derive must joy from the act of
giving. They will have a more rewarding life. Their life will be better.)
7. Discuss the effectiveness of the title of the poem in relation to its contents. (3)
(Although solitude can mean loneliness, it is not always a bad thing. However, as made clear in this poem, people
will only be with you if you are happy. We are alone in our sorrows and misfortunes. We also die alone – solitary/ in
solitude. An appropriate title. Solitude is a choice. Unhappiness/loneliness is not a choice.)
8. Is the speaker in this overly cynical? Discuss your opinion. (3)
(I believe so – not all people are as ‘mean’ and uncaring as she states. Think of your own best friend – there for you
in good times and bad??)
9. Would “Loneliness” have been a better title for the poem? Discuss your answer and make reference to the
connotations/denotations of both words (solitude and loneliness) in your answer. (3)
(Perhaps a better choice. Loneliness is not a choice, just like to person would CHOOSE to be left alone in their worst
times. Solitude is a chosen state. Not necessarily a bad thing.)

The Morning Sun is Shining Olive Schreiner

1. Describe the mood of the first four lines of the poem. Pay attention to imagery and diction in your answer. (3)
(A bright, sunny, idyllic morning has a positive connotation. It creates a positive/happy/joyful mood. The image
the sunbeam “dancing” on the speaker’s knee creates happiness and joy. The word ‘golden’ has a connotation
of riches and beauty. The repetition of the word ‘green’ implies vitality and youth. There is an almost tactile
sense of happiness.)
2. Identify the tone in the first 12 lines. Now state the tone in the last 4 lines. Why does it change? (3)
(The tone of the first 12 lines is cheerful/happy/positive/joyful. Nature is beautiful and celebrated. The last 4
lines changes to a tone of despair, negativity, sadness, hopelessness. She is describing her sorrow and how the
beautiful morning makes her sadness even greater, more poignant.)

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3. How does the poet use colour to create the mood of the first stanza? (2)
(The mood is cheerful, happy, optimistic, celebratory. “green” has connotations of youth and vitality. “Golden”
has connotations of riches and wealth and beauty.)
4. What figure of speech is used in “And sends a golden sunbeam / To dance upon my knee”? Explain the
effectiveness of this figure of speech. (3)
(Personification – the sunbeam is moving freely, perhaps through the leaves and trees. This evokes a joyful and
playful mood and atmosphere.)
5. Discuss the effectiveness of the personification in lines 5-8. (3)
(The fountain bubbles “merrily” and the birds are “happy”. This creates a sense of cheerfulness and happiness.
The natural world is celebrating beauty and joy. Life is celebrated. All rejoice in the beauty of the morning.)
6. Comment on how the poet’s use of sound contributes to the impact of the poem. (3)
(‘Bubbles’ is an example of onomatopoeia – a happy/active/’alive’ connotation. The alliteration in “green,
green” and “golden” – connotations of youth and wealth. Assonance and alliteration in “life and light” connect
these words – life is good! The sibilant ‘s’ in “song”, “sweet” and “strong” contribute to the lyrical quality of the
poem. This poem celebrates the beauty and sounds and smells of Nature.)
7. Lines 13-14 bring forth a change in tone and mood. Discuss this change. (3)
(The tone and mood change from joyful and celebratory to one of grief and sorrow. Although the speaker states
that Nature is beautiful and to be celebrated, her grief is larger than that. She does not find solace in the
beauty.)
8. Discuss the effectiveness of the poem’s final question as a conclusion to the poem. (3)
(The speaker points out that all the beauty in nature is of no value in this situation. She finds no solace in her
beautiful surroundings. In fact, the beauty of the scene is so jarring, as it is at odds with her depressed state.
There is someone whom she has lost and this loss induces a depression that no lovely day can lessen.)
9. What, do you think, was the poet’s intention in the writing of this poem? (2)
(The poet praises Nature but also expresses her sorrow at her very personal loss. She is unable to find happiness.
Even the beautiful morning does not comfort her in her grief. The abundance of life makes her even sadder. She
is very sad and inconsolable.)

It is a beauteous evening… William Wordsworth

1. Describe the mood in the opening line of the poem. Use your own words. (2)
(The mood is peaceful, tranquil and utterly quiet. The word “calm” suggests this. The word “free” implies free of
stress/worries/pain/busyness. There is a slow pace to the line.)
2. Why is the simile “quiet as a nun” a particularly effective figure of speech? (2)
(This simile adds a religious element to the poem. A “quiet” nun is probably in prayers. She is close to God. The
speaker links the beauty of Nature to God – the (Christian) creator of Earth and its beauty.)
3. How can the sea have “the gentleness of heaven” on it? (2)
(The sea is reflecting the skies/Heaven. It is calm and gentle. It is beautiful and Godly.)
4. How and why does the beginning of line 6 change the atmosphere? (3)
(Listen is a command and the exclamation point emphasises it. The otherwise quiet and peaceful atmosphere is
broken by this interjection/order. The speaker wants his companion to be part of this moment with him.)
5. What is the purpose of the capital letter in “Being” (line 6)? (3)
(Although the speaker is referring to the sea, the capital letter links the sea to God, the almighty Being. Both the
sea and God are ‘awake’ and ‘eternal’ and neither stop moving.)
6. What is the function of the dash in line 8? (2)
(The dash creates a pause and emphasises the word which follows – ‘everlastingly’. This states again that God,
like the ocean, is forever.)
7. How does the tone of “Dear child!” differ from “Listen!”? (2)
(“Listen!” is an imperative, a command. It is forceful and has a commanding tone. “Dear child!” is said in a
loving tone. He expresses his love and adoration for his daughter.)
8. Explain the comparison used in the metaphor “Abraham’s bosom”. (3)
(Just as a father holds his precious child close to protect and cherish him/her, the girl is unknowingly protected
and cherished by Abraham as one of God’s children.)
9. Discuss how the structure/form of the poem supports its contents. (3)
(The octave of this Petrarchan sonnet describes the breath-taking beauty of the scene. The sestet acts as a
commentary of the speaker’s understanding of the spirituality of life in general.)

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Fern Hill Dylan Thomas
1. What does the speaker mean by “As I rode to sleep the owls were bearing the farm away” (line 24)? (2)
(As the speaker falls asleep he imagines that the entire farm is being carried away into dreamland with him. The
farm “is carried” by the owls.)
2. Describe the tone in the first four stanzas. (2)
(There is a tone/feeling/atmosphere of joy and happiness. Youth and Nature are celebrated. The speaker is
happy and carefree.)
3. Where and how does the tone alter? Explain your answer. (3)
(In stanza 4 the speaker mentions that he “awakes” – this is the turning point. He is no longer young and
carefree. He reflects on happier times and the nostalgia is apparent. He is aware of his loss of innocence – like
Adam and Eve in the Garden of Eden.)
4. What is the significance of the references to colours? (3)
(He makes many references to the colours green and golden. Green implies youth and vitality. New grass in
Spring, new leaves, rebirth. Gold has connotations of wealth and beauty and Autumn – leaves turning and
sunlight and yellow flowers. Golden also has connotations of glory.)
5. Discuss what Thomas says about time in this poem. (2)
(Time is personified. It allows the speaker to have this special time in his life. The passage of time is clear
throughout the poem and the speaker appreciates Nature at different times of day. The child is oblivious that he
has limited time. It is the adult who realises time’s worth.)
6. What realisation does the speaker have in line 51 when he says, “And wake to the farm forever fled from the
childless land”? (2)
(He speaker realises that, as an adult, his childhood is gone. His youth is gone.)
7. How does the speaker suggest the beauty and innocence of the beginning of the world in stanza 4? (3)
(The reference to Adam and his maiden refers to the Garden of Eden and creation of Man. He suggests that his
time at Fern Hill is comparable to Adam and Eve’s time in the Garden BEFORE the loss of innocence. It is idyllic
and beautiful and free. He was very happy there.)
8. What does this poem suggest about Thomas’ view of the relationship between humankind and Nature? (2)
(There is complete harmony between humankind and Nature. The boy and Nature are never in conflict. They live
harmoniously together. Each day is like the creation of Earth – guiltless, relaxed, calm, idyllic.)

The Shipwreck Emily Dickenson

1. What is the effect of the exclamation marks in lines 1 and 5? How does this contrast to the exclamation mark
used in line 8? (3)
(The exclamation marks in lines 1 and 5 are celebratory – there are survivors! The exclamation mark in line 8
brings a sense of sorrow and shock. So many died in the shipwreck.)
2. What are the two reasons for “glee” in the opening lines? (2)
(The storm is over and there are some, if only 4, survivors.)
3. Explain what “recovered the land” means. (2)
(They made it back to land/shore. They survived the shipwreck.)
4. Critically discuss the effectiveness of the imagery in “Forty gone down together/Into the boiling sand”. (3)
(Forty people died, together, in the shipwreck. The “boiling sand” implies a tumultuous sea – great waves – that
sent the drowned people straight to the bottom of the ocean. This increases the shock.)
5. Why would “scant salvation” be celebrated? (2)
(Although 40 people perished in the storm, there were at least 4 survivors. Scant refers to few. It could also
imply that the celebration of those who survived will be tainted by the loss of so many others.)
6. Explain the two ways in which the bells ring in this poem. Quote in support of your answer. (4)
(The first ‘ring’ in line 5 is celebratory for the four who survived. The second ‘ring’ (“toll”) is like a funeral bell for
the forty who drowned.
7. Identify and comment on the effectiveness of the figure of speech in “When winter shakes the door”. (3)
(Personification – it is so cold and windy that it seems that Winter is shaking at the door. Emphasises the
coldness and wind.)
8. How does the final stanza evoke pathos? (3)
(Pathos – pity – the story is told to other people and they all feel sorrow for the loss of the forty people. Even the
children are speechless at the story. Great pity and pathos. No empty cliches are offered. There is just silence.)
9. Discuss the effectiveness of the alliteration/sibilance in line 13. (2)
(The alliteration/sibilance slows down the pace of the line. It evokes sadness/pity/pathos. There is a mournful
tone at the loss of so many innocent people.)
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