The hardest part of Hughes and Plaths’ poetry is finding connections as often their subject matters differ and it is a struggle, out of the vast number in Faber and Faber collection for Plath and Simon Armitage’s selection for Hughes, to find comparisons of language successfully, and to the standard of an A* response. I have composed a document of “directly linking poems” i.e. poems that pair up the best and have offered some sophisticated and perceptive starting points to aid with in depth and detailed textual analysis of language, form and structure.
Attached are over 30 pages of A*-level, in depth, perceptive, sophisticated, concise and detailed notes for the prescribed poem list for the Eduqas A Level English Literature specification. The following poems are included: (Goblin Market notes will be a seperate resource). Have you forgotten?, Sweet Death, Remember, From the Antique, Echo, A Triad, ‘Whatsoever is right, that shall ye receive’, An Apple-Gathering, Up-Hill, ‘No, Thank You, John’, ‘Out of the Deep, The Queen of Hearts, Twice, Memory, Amor Mundi, A Daughter of Eve, A Smile and a Sigh, Autumn Violet, ‘They Desire a Better Country’, Confluents, The Key-Note, De Profundis, The Thread of Life, A Castle-Builder’s World, The Greatest of these is Charity, ‘Standing afar off for the fear of her torment’, Vigil of St Bartholomew, ‘Who hath despised the day of small things?’, Tune me, O Lord, into one harmony.
A full mark model essay comparing ASND and DOM.
A booklet which pairs key quotations from both plays looking at comparisons between the two, along with detailed notes. This is an excellent resource for students helping them nail close, integrated, line by line comparison.
Booklet containing key quotations from each setting of Jane Eyre worth commuting to memory.
Suitable for A Level and GCSE, these are sophisticated and perceptive reflections on the novel, including in-depth, detailed, concise and full mark responses to questions such as: Track Bronte’s imagery of nature, the seasons and the weather. How and why is this so significant to our understanding of the novel? Consider the similarities between Jane and Bertha (consider their natures, their close proximities in the house, Rochester’s description of them both). Why does Bronte do this? Consider the similarities and/or differences between Jane and other women in the novel. Why does Bronte include these women? What does it add to our understanding of Jane’s character? Consider the significance of setting in the novel: Gateshead, Lowood, Thornfield, Moor House, Ferndean. What does this add to our understanding of Jane’s journey: physical, emotional, psychological? Consider the presentation of men in the novel. How do they compare with Rochester? What does this add to our understanding of his character/Jane’s perspective of his character and the nature of their eventual marriage. Consider Bronte’s final view on marriage? What does she want the reader to consider? What does this reveal about shifting attitudes in society at the time? In what ways is Jane Eyre a reflection of Bronte herself? What does this add to her narrative for the reader? Including relevant contextual references where apt.
A model A* response to Wells’ Tono-Bungay.
Detailed and concise, in-depth and perceptive notes on Rossetti’s Goblin Market aimed at A Level English Literature.
FIVE FULL LESSONS on The Duchess of Malfi which would be an excellent staple to begin with. Lessons explore context and critical readings along with comparisons to A Streetcar Named Desire. Designed for Eduqas A Level English Literature
Compiled are some good to know critical quotes for the Duchess of Malfi. These are well worth commiting to memory
Detailed and perceptive reflections on the latter half of the novel, from the “peripetia” encapsulated as Bertha Mason to Jane’s final unity with Rochester at the close of the novel. Suitable for both GCSE and A Level.
Compiled are some well worth memorising critical quotes for A Streetcar Named Desire. There is a lot to be drawn from these and would be good to commit to memory.
A ‘full mark’/A* model unseen poetry response, designed for A Level but suitable for Grade 8/9 GCSE.
Full mark response to The Tempest focusing on analysis of language and imagery of Propsero’s “We are such stuff as dreams are made of” theocratic monologue.