ENGLISH HOME

LANGUAGE
POETRY PAPER 2
LITERAT
URE
STUDY G
UIDE
TABLE OF
CONTENTS

North West Diagnostic Report Recommendations 2

Unseen poem 3
Sonnet 130 8
The child who was shot dead by soldiers in Nyanga 17

At a Funeral 27
Poem of return 36

Talk to the peach tree 47

Prayer to the masks 52
This winter coming 70
Solitude 80
The morning sun is shining 81
It is a beauteous evening, calm and free 95

Fern Hill 104

The shipwreck 124
Reference page 133

ENGLISH HOME LANGUAGE POETRY STUDY

GUIDE
1. NORTH WEST DIAGNOSTIC REPORT RECOMMENDATIONS

How to approach the poetry essay?

In this question the following are examined:

• Topic including different aspects of a theme.
• Three poetic devices that support the theme in the topic.
Each device must be discussed in terms of all aspects of the topic
A combination of any of these devices can be asked: diction, imagery,
tone, mood and punctuation
Example:

The speaker mocks the manner in which women are presented in traditional love poetry.

Discuss the extent to which you agree with this statement with close reference to imagery,
tone and structure.

Your response should be in the form of a well-constructed essay of 250–300 words (about
ONE page). [10]

Aspects of the theme in the topic:

…mocks women’s portrayal in traditional love poetry.

Aspect 1 Aspect 2 Indicate how elements

of each poetic device
● Imagery support the aspects of
● Tone the topic and provide
● Structure examples from the
poem.

Teach and expect questions on the following aspects in the seen poems:
• Identification of figures of speech
• Effectiveness of images/figurative language
• Diction
• Perspective / attitude of the poet
• Perspective / attitude of the reader
• Themes / message / central idea
• Symbolism
• Structure of the poem
• Meaning of the title
• The context of the poem

How to approach the contextual questions:

1. Explain the use of a word.

Give the literal meaning of the word and indicate its meaning/effect in the context of the
line/stanza/poem.

2. Account for the use of a phrase/line.

Give a reason why the phrase was used in the context of the line/stanza/poem.

3. Identify the figure of speech.

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 Say what type of figure of speech it is.

4. Comment on the effectiveness of the figure of speech.

Indicate why the poet used this figure of speech and how it relates to the
central idea/ message of the lines/stanza/poem. Ask yourself if the image is
successful in painting a word-picture and give a reason. Do not provide a definition.

5. Critically discuss how the word/phrase/lines/stanza conveys the central idea/message of the
poem.
Identify and write down the central idea/message and link it to the use of the
word/phrase/line/stanza or poem as a whole.

2. UNSEEN POEM

It is impossible to say what type of poem might come up in the unseen section of the question
paper. The poem may be a short lyric or a longer narrative poem; it may even be the words
of a song.

Above all else, you must read that poem several times. It will probably be very unfamiliar, so to
engage with the poem at all, you do need to get a feel for what is being said or suggested in the
poem.

You would definitely benefit from a second and even a third reading. Remember, the quality
of your answers will depend upon the quality of your reading of the poem, so spend a few
minutes reading carefully and attentively.

First reading – read the poem slowly and carefully to get your first impression of the poem. Aim to
get a sense of what the poem is about. Don’t worry if you cannot understand every line or every
word of the poem.

Second reading – Now re-read the poem. Try to read it ‘aloud’ in your mind and try to ‘hear’ the
tone of the speaker’s voice

Third reading – Now you’re in a better position to think about the way the poet writes his/her poetry.
Areas you may need to focus on include:
● Think about the structure of the poem. Is the poem written in a recognisable form, such as a
sonnet or ballad?
● Look closely at the language. Is the language simple or complex? Is the language concrete or
abstract, informative or emotive? Does the poet use slang?
Does he/she use conversational language or is it more formal? Does the poet use imagery? Can
you see similes or metaphors? What is the impact of such imagery?
● Is the mood of the poem cold or warm? Is the poem one of bitterness, regret, gratitude or
forgiveness? What words and images give you that feeling? Are there any colours in the poem?
Is the setting bright or dark?
● Do the sounds in the poem help to create a particular mood or atmosphere?
Does the poet use alliteration, assonance or onomatopoeia?
● Are there any rhyme patterns? Overall, you want to arrive at a clear sense of what the poet’s
intention is in writing the poem:
● What is the poet’s attitude towards the subject?
● Does the poet attempt to persuade the reader to adopt a similar viewpoint?
● Is the poem persuasive?
● Was there anything in the poem that surprised you or angered you or even shocked you?

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 UNSEEN POEM ACTIVITY 1: WISHING LEAVES
[NSC, NOVEMBER 2017]

Read the poem below and then answer the questions that follow.

WISHING LEAVES – Wayne Visser

1 We sat upon the bench that autumn night

2 And basked beneath the moon's cool silver light
3 While waves of traffic lapped the park's green shore
4 And squirrels rushed to fill their acorn store

5 A gust of wind set off a whispered sigh

6 Among the trees that leaned against the sky
7 We listened hard to catch their secret words
8 Between the chirping chatter of the birds

9 Then as we turned our faces to the moon

10 Our hands entwined, our hearts in sync, in tune
11 We felt the fingers of the silken breeze
12 And made our wishes on the falling leaves

1.1 What impression does the word, 'basked' (line 2) create about the couple? (2)

1.2 Refer to stanza 2.

Discuss the speaker's attitude toward nature. (2)

1.3 Refer to line 3: 'While waves of traffic lapped the park's green shore'.

Comment on the effectiveness of this image in the context of the poem. (3)

1.4 The mood of the final stanza enhances the central idea of the poem.
Do you agree with this statement? Justify your response. (3)
[10]

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UNSEEN POEM ACTIVITY 2: BLESSING
[NSC, MAY/JUNE 2019]

Read the poem below and then answer the questions that follow.

BLESSING – Imtiaz Dharker

1 The skin cracks like a pod.

2 There never is enough water.

3 Imagine the drip of it,

4 the small splash, echo
5 in a tin mug,
6 the voice of a kindly god.

7 Sometimes, the sudden rush

8 of fortune. The municipal pipe bursts,
9 silver crashes to the ground
10 and the flow has found
11 a roar of tongues. From the huts,
12 a congregation: every man woman
13 child for streets around
14 butts in, with pots,
15 brass, copper, aluminium,
16 plastic buckets,
17 frantic hands,

18 and naked children

19 screaming in the liquid sun,
20 their highlights polished to perfection,
21 flashing light,
22 as the blessing sings
23 over their small bones.

2.1 Refer to lines 1–2: 'The skin cracks … is enough water.'

What does the image in these lines suggest about the environment? (2)

2.2 Explain what the word, 'silver' in line 9 suggests about the water. (2)

2.3 Refer to lines 12–17: 'every man woman … frantic hands'.

Discuss how the mood is conveyed in these lines. (3)

2.4 In this poem, water is given spiritual significance by the speaker.

Do you agree? Justify your response. (3)

[10]

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SUGGESTED ANSWERS TO ACTIVITIES

UNSEEN POEM ACTIVITY 1: WISHING LEAVES

1.1 The word, ‘basked’ suggests warmth, cosiness and contentment. It suggests that
they are relaxed and enjoying each other's company and the romantic ambience of the
moonlight.
[Award 2 marks for two relevant and distinct ideas.] (2)

1.2 The speaker's attitude is one of admiration/appreciation. Nature seems

secretive/conspiratorial, making him feel excluded from its mysteries. He might also
associate nature with delightful romantic mystery. The various and contrasting elements
of nature are also appreciated.
[Award 2 marks only if the speaker’s attitude is discussed.] (2)

1.3 'waves of traffic lapped': Traffic is usually seen as intrusive, but the comparison to
'waves' effectively transforms the image into one of freshness, pleasantness and
peacefulness. It might also refer to the ebb and flow of the traffic around the park.
OR
'the park's green shore': The park is compared to an island with a 'green shore'.
This effectively portrays the couple as being set apart and inhabiting a tranquil world of
their own.

[Credit valid alternative responses.]

[Award 3 marks for any ONE image well discussed OR a brief discussion of
each of the images.] (3)

1.4 YES.
The central idea is about how people try to recreate the harmony and oneness of
nature in their relationships. The mood in stanza 3 is peaceful/tranquil, which is consistent
with the gentleness/tenderness the couple have achieved in their relationship. 'Our hands
entwined, our hearts in sync' suggests that the couple share a
close emotional connection. The sense of peaceful co-existence they enjoy echoes the
balance in nature.
OR
NO.
[A 'No' response is unlikely. However, treat all responses on their merits.]

[Award 3 marks only if both the mood and the central idea are discussed.] (3)
[10]

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UNSEEN POEM ACTIVITY 2: BLESSING

2.1 The image suggests that it is so dry that the earth has become dehydrated
and has 'cracked' or shrunk, leaving gaps in its surface. It implies that the area is
drought-stricken.
[Award 2 marks for any two relevant and distinct points.] (2)

2.2 Silver’ suggests that the water is clean and sparkles in the sunlight. In
addition, silver is a precious metal, which suggests that the water is a
precious commodity; it is valuable and something to be treasured.
[Award 2 marks for any two relevant and distinct points.] (2)

2.3 The sudden bounty of water has created a mood of jubilance/

exuberance/excitement among the people who have come from all over to share
in the spoils. The lack of punctuation in 'every man woman/child' emphasises the
chaotic gathering of people, and the word, 'butts' suggests how they are pushing
and shoving to get near the water. The listing of a variety of receptacles in which
to hold the precious water and the use of the word, 'frantic' also convey the
urgent/desperate mood.
[Award 3 marks only if mood is fully discussed.] (3)

2.4 AGREE
The title, 'Blessing' alerts the reader that the water is an offering from 'a kindly god'.
For the people who live in this deprived environment, it is as though a 'god' is
easing their suffering by bestowing on them a gift of water. They gather around the
burst pipe with the same reverence as a congregation attending a prayer service.
The water has a cleansing and purifying effect on them. There is the suggestion
that it has the same uplifting effect as the sound of a congregation or choir singing
in a church.

[A cogent 'Disagree' response is unlikely. However, treat all responses on their merits.]

[Award 3 marks for any two ideas well discussed OR three ideas.] (3)
[10]

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SONNET 130 – William Shakespeare

1 My mistress’ eyes are nothing like sun;

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

Glossary

Word Meaning
coral a hard stony substance, typically forming large reefs in warm seas
known for its bright red or pink colour.
dun a dull, grayish-brown colour.
damasked patterned in pinks and red
grant admit
rare precious, unique
belied falsely portrayed

1. 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.

2. Type and form

This is a Shakespearean or Elizabethan sonnet. It consists of three quatrains (4 lines each)

and a rhyming couplet (2 lines). The sonnet develops an argument through the three
quatrains. The conclusion to the argument is in the rhyming couplet at the end. The rhyme
scheme is consistent with this format: abab cdcd afef gg. The rhythm of the point is consistent,
too, and follows traditional iambic pentameter. There are 10 syllables in each line.

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3. Summary of the poem

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.

4. Line by line analysis

Line 1
My mistress eyes are nothing like the sun:

● Here we are introduced for the first time to the main character in this poem, the speaker’s
“mistress.”
● Today, when we use the word “mistress, “it’s usually to refer to a woman who is dating a
married man. In Shakespeare’s time, though, it was more general like “my love” or “my
darling.”
● The speaker jumps right into his ant-love poem, letting us know that the lady’s eyes are not
like the sun.
● Shakespeare thoroughly refutes the popular comparison of a lover’s eyes to that of the sun
and sunlight in this sonnet by emphasising that this woman’s eyes are not brilliant and
utilizing the words “nothing like’ to do so. The mistress’s eyes are being compared to the
sun in this metaphor.
● The sun gives the impression of something sparkling and brilliant. The mistress’s eyes, on
the other hand, are the antithesis of brilliant and bright since they are “nothing” like the sun
the comparison used by the speaker suggests that the woman’s eyes are nothing
exceptional or out of the norm.
Line 2
Coral is far more red than her lips’ red;

● If you imagined a stereotypical beautiful woman, she would probably have red lips, right?
● Certain types of coral, especially those that are a deep, vivid red, are polished and used to
make jewellery because of their beautiful and striking appearance. In poetry, comparing lips
to coral typically implies that the lips are as vibrantly red and shiny as this rare, polished coral.
● However, the speaker deliberately rejects the hyperbolic comparisons typically found in love
poetry. Instead of claiming his mistress has perfect, coral-red lips, he acknowledges that they
are not as radiantly or intensely red as coral.

Line 3
If snow be white, why then her breasts are dun;

● Next comes the mistress’s breasts.

● They got pretty much the same treatment as her lips.
● This woman’s skin is not white or even cream coloured. Instead, the speaker calls it “dun,”
a sort of a greyish-brown colour.
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● In the first two lines, the speaker only compares his mistress to things like the sun and coral,
stating that she does not resemble these idealized images. Here, he provides a direct
description, giving a more specific—and less flattering—depiction of her physical
appearance.

● While describing her skin as "dun" may seem like a harsh, unattractive comparison, it’s part
of the sonnet's theme of realistic love. The speaker does not exaggerate or idealize her
appearance as other poets might. Instead, he focuses on her real, human qualities, rejecting
the artificial beauty standards of his time.
Line 4

If hairs be wires, black wires grow on her head.

● If a poet wanted to be sentimental and sweet, he might compare his lover’s hair to
something soft, smooth, and shiny, like silk. Here though, the mistress’s hair is compared to
black wires sticking out of the top of her head.
● The word "wires" conjures an image of coarse, stiff hair, contrasting with the delicate, flowing
hair often idealized in romantic poetry. Similarly, "black" contrasts with the golden hair
traditionally celebrated during the Renaissance. By describing her hair in this unflattering
way, Shakespeare rejects exaggerated poetic praise, choosing instead to present his
mistress as she truly is
● Keep in mind that the whole point of this poem is to push back against standard ways of
talking about women in poems. Therefore, it is not necessarily bad that she has frizzy black
Hair.

Line 5-6
I have seen roses damasked, red and white,
But no such roses I in her cheeks;

● There is a tricky word here: damasked. Basically, it just means a pattern of mixed colours
woven into expensive fabric.
● The speaker acknowledges that he has seen stunning roses but asserts that his mistress’s
cheeks do not resemble them. While some conventionally beautiful women may have a fair
complexion with a slight blush, the speaker emphasises that his mistress does not fit this
idealised standard of beauty.
● Maybe some perfectly beautiful women have cheeks that are white with just a little blush or
red, but that is not the woman he is talking about.
Line 7-8
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.

● The speaker tells us that some perfumes smell better (give more “delight”) than this
woman’s lover’s breath. Apparently, she does not smell good, too.
● Let’s recap: so far, the speaker said that his mistress’s eyes are not that great, that her lips
are not red, that her skin is greyish, that her hair is like wires, that her cheeks are nothing
like roses, and that her breath reeks.
● What a way to start a poem.

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Line 9-10
I love to hear her speak, yet well I know
That music hath a far more pleasing sound:

● In lines 9-10 of Shakespeare's Sonnet 130, the speaker acknowledges that while he loves to
hear his mistress speak, he is also aware that music has a more pleasing sound. These lines
continue the poem's theme of rejecting exaggerated comparisons that were common in love
poetry. Instead of claiming that his mistress's voice is sweeter than music, the speaker admits
the truth: music is more melodious, but he still loves her voice.
● This honest portrayal emphasises that the speaker's love is based on reality rather than
unrealistic ideals, showing that his affection is genuine and not dependent on overblown
praise.
● "yet" in line 9 of Sonnet 130 marks the volta, or the turn, in the poem. In a Shakespearean
sonnet, the volta typically occurs at the start of the third quatrain (around line 9), where there
is often a shift in tone, perspective, or argument. In Sonnet 130, the volta is introduced with
"yet," signalling a shift from the speaker's critique of his mistress's physical appearance to an
acknowledgment of his affection for her despite these imperfections. The speaker begins to
transition from the humorous and somewhat critical descriptions of his mistress to expressing
his genuine love and admiration for her.

Line 11-12
I grant I never saw a goddess go;
My mistress when she walks treads on the ground.

● Here’s another thought that is split over two lines. In line 11, the speaker essentially tells us
that he is willing to admit that he has never seen a goddess move. Listen to how smoothly
those words flow together: grant…goddess…go)
● When the speaker finishes his thought in line 12, he is not actually being mean at all, just
stating the facts. His mistress is not a goddess; she does not fly or soar or float along. She
just walks (treads) like a normal person, on the ground.

Line 13-14
And yet, by heaven, I think my love as rare
As yet she bellied with false compare.

● Now we get to the sweet part.

● Here the two lines in plain English: the speaker thinks that his lover is as wonderful (“rare”)
as any woman (“any she”) who was ever misrepresented (“belied”) by an exaggerated
comparison (“false compare”).
● These last two lines are the payoff for the whole poem. They serve as the punchline for the
joke. They drive home the speaker’s main point, that unlike other people who write sonnets,
he doesn’t need flowery terms or fancy comparisons. He can just tell his mistress, plainly
that he loves her for who she is.

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5. Themes

Escape from Idealism: Shakespeare does not idealise his beloved. She is unlike the
Petrarchan ideal- she is “real”, and he loves her despite her imperfections. He states 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: One of the major themes of the poem is love. The speaker expresses his love for his
beloved. He describes his value of love. He states that real love is not based on outwards
appearance and idealised looks. His love is based on connection and emotion, not the
superficial.

6. Tone, mood and intention

Tone
The tone of the poem is satirical. In the first 12 lines the speaker 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.

Speaker
The speaker of this poem is a realist lover. He describes his beloved features that are not so
attractive. However, he has a strong belief in his love and says that his love is as rare as
anyone in the world.

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7. Figurative language/imagery

Figure of
speech/
Line reference Explanation in context
imagery/
literary device
Lines 1-4 Metaphor/simile Lines 1-4 contain a comparison each. He
states that her eyes are not as bright as the
sun, her lips as red as coral, her skin is quite
dull, and her hair is wiry.
Lines 5-12 Comparison 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 “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.

Lines 3-4 Alliteration Look at the repetition of ‘w’ sounds. This poetic
Lines 5-6 device is generally being used to emphasise
Line 11-12 the words/sounds.

Line 11 Alliteration ‘g’ sound, this poetic device is generally used

to emphasise the words/sounds.

Line 1 Alliteration the very first line of the poem starts with an
alliterative sound pattern where the speaker
utters the word “My mistress.” This type of start
suggests the urgency in the speaker’s tone
and shows that he is desperately trying to
convince the readers.

Line 2 “red” and 4 Repetition This again emphasises the importance of the
“wires”. colour and texture – the idealised Petrarchan
woman had blood-red lips and golden,
luscious hair.

Line 6 and 7. Anastrophe This places the emphasis on the “roses” and
“But no such roses (the natural order “perfumes” – again mocking the Petrarchan
see I in her cheeks/ of words is ideal.
And in some inversed)
perfumes is there
more delight”

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 Abounds in the poem Hyperbole This emphasises the absurdity of the
Petrarchan ideals. He exaggerates the
imperfections of his beloved to prove his point.

Line 1-3 Consonance The sound /s/ is repeated three times. In the
second line, the sound/r/ is repeated four
times. Similarly, the /r/ sound is repeated twice
in the third line. This clustering of similar
sounds makes the poem appealing by giving it
a rhyming effect.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 Explain how the structure and tone of this poem allows the poet to
emphasise the central message. (3)

1.2 Are Shakespeare’s observations in the quatrains cynical or not? Explain

your answer (2)

1.3 Who is the speaker ridiculing in the poem? Why does he do this? (3)

1.4 Explain what is meant by: “My mistress, when she walks, treads on the
ground.” (2)

1.5 Refer to line 12. Comment on the effect pace has on the meaning of the (2)
line.

1.6 Show how the last line completes his argument. Refer, in particular, to
the word “false.” (2)

1.7 Identify three sensory images in this poem and how they relate to the
central theme. (3)

1.8 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)

1.9 Explain the use of “by heaven” in line 13.

Why has this phrase been included? (2)
[22]

ACTIVITY 2: Essay question

In ‘Sonnet 130’ the speaker parodies the contemporary views on love and beauty.

With close reference to tone, diction and imagery, discuss the validity of this statement
in a well-constructed essay of 250- 300 words (about 1 page). [10]

14
9. Suggested answers to activities
Activity 1

1.1 The Shakespearean 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.
(Learners must mention structure and tone in both.) (3)

1.2 Women, like men, are not perfect. He is not cynical, he is realistic. He
loves her despite her shortcomings/imperfections. She is real.
(NO only –no mark). (2)

1.3 He ridicules the Petrarchan poet of times who used exaggerations to

describe their lovers. He proves that the idealized woman does not
exist. (3)

1.4 She is REAL-she does not float above the ground, as described by
Petrarchan sonnets, she walks. She is human, not an idealized and
mythical goddess. (2)

1.5 The pace slows down with commas and mono-syllabic words. It
indicates the heavy treading/walking of his mistress’ gait. She walks like
a normal person,
She doesn’t float like a goddess. (2)

1.6 He does not need to make false/ untrue/exaggerated comparisons to

let her know he loves her, or to love her. (2)

1.7 Sight- he sees her features; touch-her ‘wiry’/ hair, smell- her breath;
hearing her voice.
(Learners must quote and explain all to relate to the theme of her
imperfections making her ‘perfect’ in his eyes. She does not fit the
mould of the idealized Petrarchan woman. She is real). (3)

1.8 Tone in 1-12: sardonic/ satirical/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. (3)

1.9 It is a reference to God- he swears by the Almighty to prove his sincerity.

(2)
[22]

15
9. Suggested answers to activities
Activity 2

● Through his use of sarcastic tone, precise diction, and vivid imagery, he challenges the
clichés prevalent in love poetry, thus subverting traditional ideals of beauty.
● the speaker adopts a tone of sarcasm, as he states that his mistress is "nothing like
the sun." This anti-compliment immediately sets the stage for a critique of conventional
beauty standards.
● Shakespeare's diction further reinforces this parody. Describing his mistress's hair as
"black wires" and her breath as something that "reeks" illustrates her humanity and
ordinariness.
● By employing the term "wires," the speaker not only highlights the coarseness of her
hair but also evokes a sense of rigidity, suggesting that she does not conform to
societal beauty standards. This rejection of hyperbolic language underscores the
speaker's preference for honesty over flattery.
● By avoiding exaggeration and celebrating her flaws, the speaker contrasts sharply with
the idealized beauty often glorified in contemporary poetry.
● Instead of portraying his lover as a goddess, he acknowledges her mortality,
suggesting that true love lies in accepting imperfections.
● The volta reveals that despite her flaws, he loves her not for her adherence to societal
standards but for her authenticity.

16
THE CHILD WHO WAS SHOT DEAD BY SOLDIERS IN NYANGA – Ingrid Jonker

1 The child is not dead

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

6 The child raises his fists against his father

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

11 The child is not dead

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

16 The child is the shadow of the soldiers

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

23 Without a pass

Glossary

Word Meaning
heather A plant that grows wild and abundantly. In the poem it gives the idea of an
abundantly growing sense of freedom in everyone’s heart.
siege Forced to surrender
saracens An armoured vehicle troop carrier
baton A club used for beating people
legislations Apartheid Laws of segregation
treks Travels

1. Background of the poet

Ingrid Jonker, a South African poet of Afrikaans descent, was born in 1933 and tragically
passed away in 1965. Her life was marked by immense trauma both during her formative
years and into adulthood. These personal struggles, coupled with her keen awareness of
societal and familial injustices, were poignant themes frequently portrayed in her poetic works
“The child who was shot dead by soldiers at Nyanga” is a poem of protest, written by the
South African poet Ingrid Jonker. Jonker wrote this piece in response to the Sharpeville
massacre of 21 March 1960.
17
 This piece speaks on the brutal massacres occurring across South Africa during the
Apartheid regime. It was a system of institutionalized racial segregation that existed from
1948 to the early 1990s. Jonker witnessed a black baby shot by a white soldier and died in
his mother’s arms. This shattering event made her write the poem Die kind (wat doodgeskiet
is deur soldate by Nyanga) also known as “The child (who was shot dead by soldiers at
Nyanga)”.

2. Type and form

This poem consists of four stanzas and ends with a one-line coda. The first three stanzas
contain five lines each and the fourth stanza has seven lines. It is written in free verse,
meaning it does not have a regular rhyme scheme or meter. This poem is written from the
third-person point of view. The iambic rhythm (daa-dum) that resonates with the footsteps of
protest. Each line contains this rising rhythm that depicts the anger in the child’s heart as well
as of those who were oppressed.

3. Summary of the poem

The child who was shot dead by soldiers at Nyanga” centers on a child who was killed by the
police during the anti-pass-laws protests across South Africa. This piece describes how the
child who was killed during the protest is still alive. He raises his fists against the injustice
happening in his country. His scream resembles the tone of freedom, identity, and protest.
According to the speaker, the metaphorical child has grown bigger than the oppressors ever
thought of. He is present everywhere, regulating the unequal terms that cause South Africans
pain. Ironically, now he does not need a pass to roam in his own land.

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.

4. Line by line analysis

Lines 1-2
The child is not dead
the child raises his fists against his mother

The opening line of the poem begins with an allusion. “The child is not dead”. In Jonker’s
poem, she refutes the fact that the child was killed. According to her, their children cannot
die. They will always be alive in their hearts.
‘The child raises both his fists against his mother’. It shows the child’s keen desire for
freedom and justice. The “fist” is a symbol of resistance and revolution. The poet uses this
image to seek out a revolution that can end the pain of Africans.

18
Lines 3-5
who screams Africa screams the smell
of freedom and heather
in the locations of the heart under siege

The child has raised his fist screaming ‘Africa’.

His screams of freedom for all reaches all corners of the continent. The “heart under siege”
is related to a person who is oppressed or segregated from the mainstream. The poet uses
synecdoche in the usage of the word “heart”.

Lines 6-10

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

In the first stanza the child raises his fist against his mother. This time, the child raises his
fists against his father. His father is present and active in the march of generations. This
march portrays the march of South Africans against the “pass laws”. During the
demonstrations at Sharpeville, several children were killed.

There is another similar repetition of the first stanza. However here the term “armed pride”
is used as a synecdoche (an abstract idea) that depicts the boldness and pride of the
soldiers”. It is also a metaphor, as the speaker talks about the streets where the proud
soldiers were armed against the peacefully protesting Africans. The child is also amongst
these protestors and he screams out his people’s demands.

Lines 11-12

The child is not dead

neither at Langa nor at Nyanga

Line 11 begins with a repetition of the first line of stanza 1. It is meant for the sake of
emphasising the idea concerning the child’s death. He is not dead. The brutal forces cannot
kill him or other protestors like him present in the coloured townships such as Langa,
Nyanga, Orlando, and Philippi.
Langa and Nyanga are townships located in Cape Town, South Africa. On 21 March 1960
in Langa several anti-pass protestors were killed there, the same day as the Sharpeville
massacre. The residents of Nyanga also joined the national call to protest against the
Apartheid laws passed in 1960. The title of this poem refers to a child of Nyanga who was
killed by the soldiers.

Lines 13-15

nor at Orlando nor at Sharpeville

nor at the police station in Philippi
where he lies with a bullet in his head

In line 13 the poet refers to Orlando, a township in the urban area of Soweto, South Africa.
Some of the most important events of the fight against the apartheid system occurred there.

19
Sharpeville is a township in Transvaal, this is where the Sharpeville massacre occurred. On
21 March 1960, South African police opened fire on the protestors, killing 69 people,
including 8 women and 10 children, and injuring 180, including 31 women and 19 children.
The poet says that the children who were killed were not dead. His fight for justice and
liberation is still live and cannot be killed.
Philippi is a large township of Cape Town. In the Apartheid era, it was also designated for
Coloureds, Black Africans, and whites. Line 15 tells readers that the child lies with a bullet
in his head at the Philippi police station. This image depicts the horrors of the apartheid
regime. They were so heartless that they killed innocent children.

Lines 16-19
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

All the lines of the fourth stanza begin with the phrase “The child”. The poet uses this
device to emphasize her ideas that the dead child is now the “shadow of soldiers”. It means
he is walking the same brutal path to avenge the deaths of others like him.

Line 16-17 shows enjambment, the poet shows readers the image of soldiers on guard with
guns, Saracen tanks, and batons. It shows the soldiers’ preparedness in stopping the anti-
pass protests.
These lines give the reader the idea as if they were preparing for war. These instruments of
violence were used against thousands of peaceful protestors.
The poet makes the child omnipresent because he can easily slip into all the meetings and
legislations.
It seems as if he is overseeing everything and informing his countrymen about the things
they were unaware of. He peeps through the windows and into the hearts of mothers. The
child does so in order to infuse the spirit of anger inside the mothers who were silent. They
cannot remain silent. They have to speak up, stand up, and take what they deserve.

Lines 20-23
the child who just wanted to play in the sun at Nyanga is everywhere
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

The child conveys that his demands are simple. He just wanted to play in the sun of
Nyanga, but, after his death, he can roam throughout the whole country without a pass.
Now, he has transformed into a man and treks through Africa. There is no one that can stop
him or demand a pass to verify his identity. This metaphorical child of anger has grown to
the size of a giant. Now it can roam easily wherever he wishes to. His protest can rage
through the world.
Line 23 refers to the pass laws was a system designed to segregate the population, and
restrict movement of the coloured population. According to the poet, the dead does not
require a pass.
The irony is that the coloured population could not move freely in the apartheid era and only
if they were dead than they could.

20
5. Themes

“The child who was shot dead by soldiers at Nyanga” depicts the theme of protest and
resistance. This poem highlights a child who was shot dead at Nyanga during the anti-pass
demonstration. In this poem, the poet represents one dead child, who voices the anger and
agony of his countrymen. The boys scream reveals the growing sense of nationalism,
freedom, and resistance in the hearts of many. This poem also showcases the themes of
brutality, horrors of apartheid, and freedom.

6. Tone, mood and intention

Throughout the poem the tone is bold and expresses firm determination.
In the first three stanzas of the poem, the tone is firm, and it highlights the fact that even an
innocent child understood the value of freedom and equality. After his death, he realized
that the long silence had to end.

Hence, through the poet’s voice, he harks to his countrymen to end their suffering by
standing together for the sake of saving other kids like him.
The mood of the text is angry, protesting, and unrelenting.

7. Figurative language/imagery

Figure of
speech/
Line reference Explanation in context
imagery/
literary device
Stanza 1 and 3 Repetition The poet uses the repetition of the line “The
child is not dead” at the beginning of the first
and third stanzas.
In the first two stanzas, “the child raises his
fists against” and “who screams Africa
screams the smell” are repeated.
Using this device, the poet creates a
resonance of ideas and emphasises her idea
present in the quoted lines.

Lines 1-2 (beginning Anaphora The consecutive lines that begin with similar
with “The child”) words contain this device. It is used for the
sake of emphasis.
Lines 13-14
(beginning with “nor
at”)

Last stanza (all the

lines begin with the
phrase “The child”)

Line 1 metaphor ● “The child is not dead”: Firstly, the child

is a symbol of the growing sense of freedom in
the South African’s hearts against the
Apartheid system. Here, the comparison is
21
 made between a “child” to a thought of
freedom.
Line 2 and 3 ● “the smell/ of freedom and heather”: It
metaphorically hints at the feeling associated
with freedom. Jonker connects it with the
“smell” of “heather”.
Line 5 ● “the locations of the heart under siege”:
In this phrase, individual confinement or
segregation is described as the “heart under
siege”.
Line 8 and 9 ● “the smell/ of justice and blood”: Like
the phrase “the smell/ of freedom and
heather”, here the comparison is made
between the “smell” of blood and the feeling
associated with freedom.
Line 16 ● “the shadow of the soldiers”: Here,
Jonker refers to the child as a soldier. He
follows a similar path of violence shown by the
brutal soldiers.
Line 22 ● “a giant travels through the whole
world”: Jonker compares the child to a “giant”
in order to portray the growing sense of
freedom, justice, and resistance among the
Africans.
Stanza 3 allusion In the third stanza, the poet alludes to the
massacre at Sharpeville. She protests against
the brutality of the armed forces on the
peaceful protestors who were demonstrating
against the draconian pass laws.
The poet also alludes to the protests that
occurred in other townships including Langa,
Nyanga, Orlando, and Philippi. She describes
how innocent children were killed across her
country.

Line 23 irony The last line of the poem “Without a pass”

contains irony. This refers to the child that
does not require any pass (a form of internal
passport for the coloured citizen) to travel in
his own country. However, in reality, natives
required such a pass needed for employment
and living.

Line 11 and 15 paradox ● In the third stanza, the first line states,
“The child is not dead”. While, in the last line,
the speaker remarks, “where he lies with a
bullet in his head”. It is a use of paradox where
two ideas are in conflict.
● The poet tries to convey that the child
died physically, but he is still alive in her heart
and the hearts of the Africans.

22
● Visual Imagery: In the first two stanzas, the poet uses the image of a child who
raises his fists in order to show his resistance towards apartheid. The line “in the march of
generations” depicts a group of protesters’ march. By this line “on guard with guns saracens
and barons” The poet presents an image of armed soldiers with guns, batons, and tanks.

● Auditory Imagery: The line “who screams Africa screams the smell”
resonates with the screaming of a child demanding freedom and revenge.

● Organic Imagery: Throughout this poem, the poet uses this imagery to infuse her anger in
readers’ minds. After reading the lines such as “where he lies with a bullet in his head” readers
feel angry and at the same time sorry for the innocent child.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 What is an important theme developed in “The child is not dead”? (2)

1.2 What is the location/setting of “The child who was shot dead by soldiers at
Nyanga”? (2)

1.3 What are the themes of ‘The Child Who Was Shot Dead by Soldiers in
Nyanga?’ (3)

1.4 Explain the paradox in stanza 3?

(3)

1.5 Discuss the effectiveness of the last, short line of the poem
(3)

1.6 “The child” is repeated ten times in the poem. How does this repetition add
meaning to the poem?
(2)

[15]

ACTIVITY 2: Contextual questions

2.1 Comment on the reference to ‘the child’ in the title of the poem. (2)

2.2 Refer to stanza 1 and stanza 2. What is implied about the relationship
between these children and their parents? (2)

2.3 The title refers to the ‘dead’ child, yet in line 1 ‘the child is not dead’.
Discuss the contradiction by referring to the rest of the poem. (3)

2.4 Critically comment on how the imagery used in lines 20–23 contributes to the
mood. (3)

2.5 Discuss the contradiction/dichotomy by referring to the rest of the poem. (3)

23
 2.6 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)

2.7 How does the diction in stanzas 1 and 2 highlight the difference between
mothers and fathers? (3)

2,8 Comment on the effect of the denials in the third stanza. (2)

2.9 Critically comment how the imagery used in lines 20-23 contributes to the
mood. (3)

[20]

ACTIVITY 3: Essay question

In a carefully planned essay, critically discuss how the poet uses the title, repetition and climax
to highlight events in South African history. Your essay must be 250–300 words (about ONE
page) in length. [10]

9. Suggested answers to activities

ACTIVITY 1

1.1 The main theme of this piece is protest and resistance. Jonker also employs
the themes of brutality, freedom, and the horrors of apartheid. (2)

1.2 This poem is set in South Africa of the 1960s. It was written just after the brutal
killings of innocent protesters at different townships such as Sharpeville and
Nyanga. (2)

1.3 The themes at work in this poem include freedom and resistance.
The speaker emphasises these themes through the symbol of the child. He
stands up for what he knows is right and can never die. He isn’t a physical
person but an idea. (3)

1.4 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. (3)

1.5 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. (3)

1.6 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. (2)

24
 [15]

ACTIVITY 2

2.1 It evokes a sympathetic response. A child is vulnerable and helpless against

soldiers who are armed. It shows the cruelty and senselessness of this death
for a child that did not live long enough to realise his/her potential.
Award 2 marks for 2 points. (2)

2.2 The child lifting his fists against his mother/father suggests a militant
generation violently protesting against apartheid in order to bring about
change quickly. (1) The parents’ generation embarked on peaceful protests
that did not seem to have any impact on ending the injustice of apartheid laws.
(1) (2)

2.3 The child may have died in a brutal and senseless way but this death is not
the end; he will become a symbol of hope. (1) None of the lives lost will be
forgotten as they are ‘everywhere’. They will be remembered in history in the
struggle for freedom. (1) The child will always be ‘present’ to drive the struggle
and ultimately reap the rewards of freedom in travelling ‘without a pass’. (1)
(3)

2.4 The child playing in the sun creates a carefree mood without the violence of
‘bullets’ and ‘rifles’ and ‘batons’. (1) ‘Treks’ and ‘travels’ suggests freedom
and no more restrictions and confinements of ‘pass’ laws. (1) The image of a
‘giant’ shows that the child is now grown and has embraced his potential. This
contributes to a mood of hope, optimism and confidence. (1) (3)

2.5 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)

2.6 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 (2)

2.7 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. (3)

25
2,8 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. (2)

2.9 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 (3)
[20]

ACTIVITY 3

Title: The title reads like the start of a story; the reader is anticipating an explanation or
the rest of the story. It sounds matter of fact, and does not name the victim, and reminds
one of similar reports during the Apartheid era.

Repetition: The poet repeats the phrase ‘the child’ for emphasis. It indicates that children
were the hapless victims during a war because they were killed by soldiers. Soldiers
should kill other soldiers, not children. During Apartheid, states of emergency were
declared, which would legitimise soldiers’ presence in townships. There was no
conventional war. The listing of the many townships shows the pervasiveness of the
oppression. It was not isolated; rather, Apartheid was enforced everywhere. The uprising
was not isolated.

Climax: The poet uses climax in the last stanza to show that the ‘dead child’ is not dead –
it grows beyond the boundaries of townships to extend to Africa and then the world. This
is effective, because Apartheid could not succeed in keeping millions of people (the ‘child’)
from being free; they grew up and became ‘men’. The climax highlights the power that
South Africans have; it allowed them to grow beyond the constraints of ideology.
[10]

26
AT A FUNERAL – Dennis Brutus

At a funeral
(for Valencia Mojombozi, who died shortly after qualifying as a doctor)

1 Black, green and gold at sunset: pageantry

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

7 Oh all you frustrate ones, powers tombed in dirt,

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

Glossary

Word Meaning
pageantry elaborate display or ceremony
stubbled small, sticking out, protruding, rough
expectant expecting, anticipating, awaiting
eternity timeless, infinite or unending in time, endless
gush fast flowing
bounty generosity, abundance
frothing anger foam from the mouth because of illness or excitement
bugled played on a bugle - trumpet like musical instrument usually at funerals
dirging playing a funeral song
ponder think about something carefully, contemplate
hollow empty or meaningless
panoply an impressive display/collection
devours swallows/completely destroys, consumes
carrion rotting flesh of dead animal
brassy brass musical instrument like a trumpet
death’s head human skull, symbol of mortality and death
tyranny cruel/oppressive government/use of power.
scythes cuts down, eliminates
dearth scarcity/lack of something, shortage

1. Background of the poet

Brutus was born in Zimbabwe in 1924 and raised in South Africa. He earned his degree from
the University of Fort Hare. Following his graduation, he taught English and Afrikaans at
several high schools in South Africa starting in 1948. Due to his outspoken criticism of
apartheid, he was eventually dismissed and banned for his political activities. While in
Mozambique, he was arrested and forcibly returned to South Africa, where he sustained
injuries while attempting to escape from custody. Consequently, Brutus was incarcerated on
Robben Island for 16 months, where he crossed paths with Nelson Mandela. Upon his
27
 release, Brutus sought refuge in Britain, only returning to South Africa after the ban on his
activities was lifted in 1990. He then began lecturing at the University of KwaZulu-Natal before
relocating to Cape Town. He continued to advocate for justice, equality, and the eradication
of apartheid until his death from cancer on 26 December 2009.

2. Type and form

The poem consists of two stanzas of six lines each. There is a fixed rhyme scheme:
aaabab cccdcd. The formality of the poem reflects the structured and solemn rites and
rituals commonly observed during a funeral ceremony. Stanza 1 focuses on the funeral
of the late doctor. Stanza 2 shifts focus to the meaningless deaths of the youth in
general.

3. Summary of poem

The poem revolves around Valencia Majombozi, an African woman who achieved the
remarkable feat of becoming a qualified doctor. Despite her humble background, with her
mother working as a domestic servant to fund her education, Valencia successfully earned a
medical degree. Tragically, shortly after completing her internship, she passed away. The
poem unfolds at her funeral, where mourners gather to bid farewell. Through vivid
descriptions of the funeral scene, including the soldiers' crisp salute and the mourners' slow
procession, the speaker evokes a solemn atmosphere. This setting serves to underscore the
gravity of the occasion. Ultimately, the poem delves into the theme of sacrifices made in vain,
painting a poignant portrait of unfulfilled aspirations and the inherent futility of such sacrifices.

4. Line by line analysis

TITLE

The title of the poem, "At a Funeral," immediately sets a sombre and contemplative tone,
signalling to the reader that the poem will explore the atmosphere and emotions surrounding
a funeral ceremony. By placing the reader within this setting, the title invites them to engage
with themes of grief, loss, and remembrance.

The dedication of the poem to Valencia Majombozi adds a personal and poignant dimension,
intensifying the emotional impact and underscoring the significance of the occasion. This
detail intensifies the reader’s feelings of sadness and injustice, as Valencia’s hard-earned
success is abruptly taken away from her. By focussing on Valencia and her tragic destiny,
the poet prompts readers to empathise with her plight while also alluding to broader themes
such as loss, sacrifice, and the pursuit of freedom and self-realisation. As a result, the reader
is primed to empathise with the speaker's reflections on mortality and the human experience,
enhancing their connection to the poem.

28
LINE 1
Black, green and gold at sunset: pageantry

The poem has a political undertone referencing the ANC flag which contains the colours
black, green and gold. The reference to these colours matches the colours of the funeral
goers’ university robes: black caps and gowns, with a gold hood indicating an arts
degree and green a science degree.
at sunset – the end of the day which is symbolic of death. It creates sombre mood.
Connotations of darkness and sadness. It symbolizes the struggle against oppression.
Pageantry – a formal ceremony, characterised by symbolic clothing and rituals,
suggests an elaborate display that may appear superficial or ceremonial. The underlying
implication is that despite the grandeur of these rituals, they ultimately hold little
significance in the face of Valencia's death. The loss of Valencia symbolises the end of
hopes and dreams, making the formalities of the ceremony futile and irrelevant.

LINE 2
And stubbled graves: expectant, of eternity,

stubbled graves – stubble is the stalks of crops left sticking out after a harvest, or the
remains of a person’s beard left on their face after shaving. This implies that the graves
were in a state of neglect, and they looked untidy/unkempt as they are covered in dead
grass stalks.
expectant, – the graveyard is portrayed as being hungry (personification) for more
bodies as death is inevitable. This emphasises that we all have to die. /The grave is
personified as an expectant mother waiting for her child.
of eternity – ambiguous: either the dead will remain in their graves for an eternity, or
the belief that the afterlife will not end.

LINES 3-4
In bride’s-white, nun’s-white veils the nurses gush their bounty
Of red-wine cloaks, frothing the bugled dirging slopes

Nurses from the hospital attended the funeral. In South Africa the nurses wore cloaks
which were lined with bright red - the "red-wine." Other nurses at the funeral wore white,
which echo the nuns in their habits "In bride'-white, nun 's-white veils." The nurses in
the hospital are willing to give everything to save the lives of those who fight for liberation.
The connotations of “brides” and “nuns” implies innocence, purity, holiness and a new
life.
gush – flow out fast.
bounty – refers to something in abundance. Many people are showing their grief.
frothing highlights the number of nurses.
"the bugled dirging." This suggests that it was a military funeral.
slopes – means going up / down. This could be the sound of the bugle. The slopes
around the graveyard are also personified, as though the land itself is mourning the
young doctor.

LINE 5
Salute! Then ponder all this hollow panoply

Salute! – means to honour, or literally salute the dead, as one would a soldier. Gesture
of respect. The ‘!’ emphasises that this is a command.
Panoply – a splendid display. This is a meaningless ceremony with flags and speeches.
29
Meaningless because it changes nothing.
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 display (funeral flowers, all
the people, the sad music), which lacks sincerity.

LINE 6
For one whose gifts the mud devours, with our hopes.

‘one’ refers to Valencia Majombozi. (deceased).

‘gifts’ refers to her ability as a doctor to heal and bring comfort to others.
devour - eat greedily, hungrily or quickly. The mud of a graveyard is compared to a
hungry mouth. The personification emphasises that all her hopes and those of her
people are now buried in the earth. Tone of despair/sadness.

LINE 7
Oh all you frustrate ones, powers tombed in dirt,

The poet uses Apostrophe as he addresses the dead directly. Those whose potential,
goals or dreams have not been able to be fulfilled because of the oppressive laws, which
denied them opportunities. Stanza 2 shifts focus to the meaningless deaths of the youth
in general
frustrate – to prevent the success of something or to cause irritation and anger by
preventing dreams from being realised. They are powerful enough to cause frustration
(to the government) rather than being passively frustrated.
The dead are described as powers tombed in dirt -their potential is buried because of
their deaths.

LINE 8
Aborted, not by Death but carrion books of birth

“aborted” – Ending of life before it has begun

"carrion books of birth," - the life of a Black person begins as a kind of death. From
the moment of birth, you're given this Pass Book, so that you cease to be a human being
from the point of birth. You are devoured. You become carrion- dead flesh. This ties in
with the notion of abortion. The poet regards the Black people as being dead, not
because they died, but because their freedom is taken away due to oppression and the
pass books. The apartheid government is even more cruel and deadly than death itself
- it is not Death that kills people, but the passbook (“books of birth”) which symbolises
the cruel apartheid laws.

Aborted – abortion is the deliberate ending of pregnancy by killing an unborn fetus. The
dead are described as being “aborted” (i.e., killed before they could live), not by Death
but by “books of birth” (a reference/allusion to the dompas or passbooks).

“Death” with a capital letter - Death is personified.

LINE 9
Arise! The brassy shout of Freedom stirs our earth;

The dead are addressed directly and told to rebel or “Arise!” against the government.
- literally - Stand up but also a reference to “rise up!” which means “Start a revolution!”
– another command, defiant tone. Freedom is capitalised to show that it is important, as

30
it is personified as shouting to wake the dead. Describing Freedom’s shout as “brassy”
refers to the bugle in line 4, which was used to play the “dirge”. Here, music does not
send the dead to their rest, but awakens them.
LINE 10
Not Death but death’s-head tyranny scythes our ground

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.
death’s-head tyranny – A death's head is a skull. Here is refers to the tyranny of a
system that cuts down the lives of black people. A human skull. This was the insignia of
the German SS, who were responsible for many of the atrocities in World War 2,
including those in the concentration camps. In doing this he likens the forces of the
government to the German SS. Their badge was like the pirate’s skull and cross bones
Our ground – is a reference to the land, where the Group Areas act excluded people of
colour.

LINE 11
And plots our narrow cells of pain defeat and dearth:

plots = pun: a small piece of land (e.g., a plot where a grave is dug) or to “plot” - to plan
something, often something evil.
narrow cells of pain – could be the graves in a graveyard, the prison cells where
prisoners of the apartheid government had been jailed, or the small houses in
disadvantaged areas that people of colour had been forced to live in, as a result of the
Group Areas Act. The poet refers to the fact that many people were tortured, pain
inflicted, whilst in prison. For many it destroyed their spirit, and they left the cause.
“dearth” is a lack of something, here there is a lack of protective legislation for those who
were part of the struggle
dearth – things that are in short supply (e.g., food or basic necessities).
The poet implies that pain, suffering and death was deliberately caused by the apartheid
government.

LINE 12
Better that we should die, than that we should lie down

The poet ends with the ominous statement that it is better to die in the fight against
oppression, than to accept it without a struggle to bring down the oppressors.
lie down – if a person “lies down” when attacked or arrested, they show that they are
surrendering or submitting. The poet implies that it is better for people to resist apartheid
and die, rather than give up or surrender. There is no full stop after “we should lie
down”. This implies that there is no end to resistance and no surrender.
This line also implies that the poet has come to terms with the tragedy of the young
doctor’s death - she died, rather than choosing to “lie down” or surrender to apartheid,
and the poet sees this as “better”.
The poet uses “we” and therefore identifies with the struggle against apartheid.

31
5. Themes

The poem delves into various themes that critique oppression, call for resistance, and lament
the thwarted hopes of those affected by apartheid in South Africa.

Criticism of Oppression: The poem condemns the oppressive apartheid government for
denying basic human rights, particularly to black individuals who constituted the majority of
the population.

Call to Arms: The speaker urges people to resist and fight against injustice, refusing to
accept complacency in the face of oppression.

Frustrated Dreams: The poem emphasises the tragic reality of young Black lives whose
aspirations are cut short by the oppressive regime, illustrating the thwarted potential and
unfulfilled dreams.

Years of Sacrifice: Despite enduring years of struggle and sacrifice, many lives are tragically
ended without seeing the fruits of their efforts, highlighting the sense of futility and despair.

Aborted Hopes: Valencia Majombozi's career aspirations as a doctor are abruptly halted by
the Sharpeville Massacre, symbolizing the broader theme of dashed hopes under apartheid.

Fight Against Injustice: The poem raises awareness of the ongoing battle against the unfair
practices of the apartheid government, urging resistance and advocacy for equality.

Desire for Freedom: There is a palpable yearning for liberty from the constraints of
apartheid, advocating for a society where individuals can live without fear or limitations.

Human Sacrifice for Justice: The poem honours the sacrifices made by individuals like
Valencia Majombozi and her family, illustrating the resilience and determination of those who
fought for a better future despite immense challenges.

6. Tone, mood and intention

Tone

The tone of the poem is primarily sombre and reflective, as the speaker mourns the tragic
loss of Valencia Majombozi and ponders the senselessness of her death. There is also an
undercurrent of defiance and determination, especially evident when the speaker urges the
oppressed to rise up against the injustice they endure.

Mood

The mood of the poem is melancholic and sombre, evoking feelings of sorrow, frustration,
and indignation. Readers are likely to resonate with the sense of loss and the shattered
dreams of Valencia Majombozi and others like her. Nevertheless, the poem also instils a
glimmer of hope and resilience, as the speaker's rallying call to action ignites a resolve to
confront and resist the oppressive forces responsible for such suffering.

32
 Intention

To highlight the plight of the oppressed and to make a strong political statement, that is, to
voice his opposition to the apartheid regime.

7. Figurative language/imagery

Figure of
speech/
Line reference Explanation in context
imagery/
literary device
“black, green, and Symbolism This evocative imagery resonates with the
gold at sunset” colours of the African National Congress
(Line 1) (ANC) flag, symbolising national pride and the
enduring struggle for freedom.
“stubbled graves” Metaphor/ The depiction of graves as “stubbled” conjures
(Line 2) personification a visual of rough, uneven surfaces, serving as
a poignant symbol of the harsh realities and
challenges faced by the oppressed.
“expectant, of personification This image suggests the graves are poised for
eternity” eternity, underscoring the timeless
(Line 2) significance of the sacrifices made by those
fighting for freedom.
“nurses gush their Metaphor The vivid imagery of nurses draped in red-wine
bounty of red-wine cloaks and the haunting sound of funeral
cloaks, frothing the music creates a sombre ambiance, vividly
bugled dirging slopes” portraying the solemnity of the funeral scene.
(Lines 3 & 4)
“all this hollow Metaphor The description of the elaborate ceremonies
panoply” as “hollow” implies their emptiness and
(Line 5) insignificance in the wake of profound loss and
tragedy.
“the mud devours” Personification This imagery personifies the mud as a
(Line 6) voracious force, emphasising its destructive
nature and the futile sacrifice of Valencia and
her family.
“frustrate ones” Apostrophe The dead is addressed directly.
(Line 7) It could also imply that those who have been
denied the power and recognition deserved.

“carrion books of Metaphor The passbooks are limiting the carriers

birth” thereof. It is like the rotting flesh of an animal
(Line 8) that eats away at the freedom of the people.
Their lives are held captive by the restrictions
placed on them by oppressive laws.

“Not death but death’s-head tyranny scythes

our ground”: (Personification) Death is
personified as the grim reaper with his scythe
which in this case is the tyranny of the
Apartheid government.

33
 “The brassy shout of Metaphor/ The imagery of a “brassy shout” conveys a
Freedom” personification sense of strength, resilience, and defiance, as
(Line 9) the call for freedom resounds boldly and
resolutely
“Death” Personification It is the mortal end of life. Death is often
(Line 10) portrayed as a cloaked skeleton carrying a
scythe – the cutting of life.
“Better that we should Antithesis By presenting these contrasting ideas side by
die, than we should lie side, the line emphasises the stark choice
down” between two opposing courses of action: to
(Line 12) fight and potentially die for one's convictions,
or to passively accept defeat.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

[EC September 2023]

1.1 Refer to line 1: ‘Black, green … pageantry’

What does the word ‘pageantry’ imply about the speaker’s feelings
regarding this funeral? (2)

1.2 Refer to line 3: ‘In bride’s-white, nun’s-white veils …’

Discuss the effectiveness of the compound words (‘bride’s-white, nun’s-
white’) in relation to the deceased. (2)

1.3 Refer to the words ‘Salute!’ (line 5) and ‘Arise!’ (line 9).
Comment critically on the inclusion of these words. Refer to tone in your
answer. (3)

1.4 Comment on the effectiveness of the last line to convey the speaker’s
message. (3)
[10]

ACTIVITY 2: Essay question

The poem, At a funeral, by Dennis Brutus, delves into the theme of sacrifices made in vain,
painting a poignant portrait of unfulfilled aspirations and the inherent futility of such sacrifices.

With close reference to diction, tone and imagery, critically discuss the validity of this
statement.

Your response should take the form of a well-constructed essay of 250–300 words (about
ONE page).

34
9. Suggested answers to activities.

ACTIVITY 1

1.1 ● The speaker feels that this funeral is ‘hollow’ – it is just for show. It
is ceremonial only.
● The speaker implies that it is a spectacle for onlookers only.
● Funerals have lost their true meaning – there have been too many.

[Award two marks for one well-rounded answer or two distinct points.]
(2)

1.2 ● The reference to the ‘bride’s-white’ implies purity/innocence/youth.

● The reference to the ‘nun’s-white’ refers to holiness/godliness.
● Brides and nurses dedicate their lives to a ‘new’ life –
start of something new/good/pure.
● Valencia Majombozi / the deceased is described as pure, innocent
and young. She was at the cusp of a career after finishing her
studies – a new life.
[Award two marks for two distinct points that discuss both connotations. One
mark only for a global response.] (2)

1.3 ● ‘Salute’ is in honour (or tribute) of the deceased and all those who
have passed before her.
● ‘Arise’ is a call to arms – it urges action. People must keep fighting
the Apartheid system.
● The tone is urgent/imperative/commanding/demanding.
[Award 1 mark for tone and 1 mark each for the discussion of the key words.]
(3)

1.4 ● The speaker states that is would be better to die than to surrender to
the oppressive powers. (Do not accept ‘lie down’)
● He is commanding and includes all who are oppressed to fight – ‘we’.

[Award 3 marks only if the central message is discussed.] (3)

[10]

ACTIVITY 2

In "At a Funeral" by Dennis Brutus, the theme of sacrifices made in vain is indeed a prominent
and poignant aspect of the poem.

Through careful examination of diction, tone, and imagery, it becomes evident that the poet
portrays the inherent futility of such sacrifices, ultimately painting a vivid picture of unfulfilled
aspirations and the tragic consequences of oppression.

Brutus employs diction that conveys a sense of loss and disillusionment, emphasizing the
futility of the sacrifices made by individuals like Valencia Majombozi. Words such as "bereft,"
35
"hollow," and "devours" evoke a feeling of emptiness and hopelessness, suggesting that
despite the sacrifices made, they ultimately lead to nothing. This choice of diction
underscores the central theme of the poem and reinforces the idea that sacrifices are made
in vain.

The tone of the poem is sombre and reflective, further enhancing the portrayal of sacrifices
as futile. The speaker's mournful and introspective voice creates a sense of resignation and
acceptance of the tragic reality faced by Valencia and others like her. This tone contributes
to the overall atmosphere of melancholy and underscores the sense of inevitability
surrounding the theme of sacrifices made in vain.

The phrase "hollow panoply" reflects a tone of disillusionment and emptiness. The word
"hollow" suggests that the elaborate ceremonies and displays associated with the funeral are
devoid of true meaning or significance. This conveys the idea that despite the grandeur of
the funeral rites, they ultimately fail to bring solace or redemption, emphasizing the futility of
the sacrifices being commemorated.

The imagery of "the mud devours" carries a tone of inevitability and finality. The use of
"devours" conveys a sense of ruthless consumption, implying that the sacrifices made by
Valencia Majombozi and others like her are ultimately consumed and rendered meaningless
by the harsh realities of oppression and injustice. This tone of resignation reinforces the idea
that despite their sacrifices, Valencia and others face an insurmountable and relentless force
that renders their efforts futile.

The phrase "expectant, of eternity" conveys a tone of solemn acceptance and resignation.
The word "expectant" suggests a sense of waiting or anticipation, while "eternity" implies a
timeless and unchanging state. This tone underscores the idea that despite the sacrifices
made, there is a sense of inevitability and permanence to the suffering and injustice endured
by Valencia and others. It reinforces the theme of sacrifices made in vain, highlighting the
enduring nature of their struggles and the seeming futility of their efforts.

Imagery plays a crucial role in conveying the theme of futility in the poem. The vivid
descriptions of the funeral scene, such as "stubbled graves" and "the mud devours," evoke a
sense of desolation and finality, highlighting the senselessness of the sacrifices being
mourned. Additionally, imagery such as "hollow panoply" emphasizes the emptiness and
insignificance of the elaborate ceremonies and displays associated with the funeral, further
reinforcing the theme of sacrifices made in vain.

36
POEM OF RETURN – Jofre Rocha

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

2 do not bring me flowers.

3 Bring me rather all the dews,

4 tears of dawns which witnessed dramas.
5 Bring me the immense hunger for love
6 and the plaint of tumid sexes in star-studded night.
7 Bring me the long night of sleeplessness
8 with mothers mourning, their arms bereft of sons.

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

10 no, do not bring me flowers ...
11 Bring me only, just this
12 the last wish of heroes fallen at day-break
13 with a wingless stone in hand
14 and a thread of anger snaking from their eyes

Glossary

Meaning
Word
exile The state of being barred/expelled from one’s native country.
dews Moisten with drops of water/liquid.
immense Extremely large or great.
tumid Showing a lack of courage or confidence.
bereft Feeling sad and lonely after someone’s death or departure.
thread A long, thin strand of material.

1. Background of the poet

Roberto António Victor Francisco de Almeida (born 5 February 1941) is an Angolan politician.
He served as the President of the National Assembly of Angola from 1996 to 2008. Besides
being a politician, Almeida is also an established writer, under the pseudonym Jofre Rocha.
'Poem of Return' is one of his poems inspired by his days in exile from his land of birth, when
he was a liberation fighter.

2. Type and form

Type
 Protest or resistant poem.
 While the poem consists of 14 lines, it does not follow the traditional sonnet form, which
typically has a specific rhyme scheme and meter.

37
 Form
 Divided into three stanzas of varying lengths: The poem is structured into three
stanzas, each with a different number of lines, adding to its irregular form.
 Overall, the poem's form, with its irregular structure, enjambment, and lyrical quality,
mirrors the speaker's emotional intensity and longing for reunion and understanding.

3. Summary of the poem

After years of exile due to the Angolan War of Independence against Portuguese colonisers,
the speaker yearns to return home to Angola. The speaker reflects on his expectations for
returning home, contrasting them to those of his community. Following this introspective
moment, he immediately rejects the idea of being honoured like a hero, which is symbolised
by the rejection of receiving flowers from his fellow countrymen.

The speaker insists that true heroes are those who stayed behind and resisted oppression,
enduring imprisonment, torture, and even death. Many of them ‘heroes’ never lived to witness
the "day-break" of a new beginning or the birth of an independent country. The speaker seeks
reconnection by pleading to be informed about the atrocities endured by the freedom fighters
during the war. The focus is on those who died fighting in the war of liberation/ those who did
not live to see Independence Day. The speaker's willingness to return home to Angola
suggests that the war has ceased. Therefore, it is safe or peaceful for him to return home.

Most liberation struggle activists left their home country by choice or force to go into exile in
a foreign country.
Consequences:
● Lose sense of longing and belonging
● Alienation due to cultural differences, language barriers and lack of integration.
● Displacement: left his homeland and all that he knows and understands
● Disconnectedness: physical separation from his homeland and difficulties in
communicating with those that remained behind

The speaker's appreciation for the safety or refuge provided by the host country is
overshadowed by the deep emotional void created by this lack of communication and
connection.

TITLE
 The word "return" suggests not just a physical return, but also a desire to reconnect
with one's roots, culture, and personal history (a country that has changed during his
absence and his attempt to reconcile with this new reality).
 The speaker’s journey involves confronting his past, dealing with feelings of alienation,
and grappling with his identity.

4. Line by line analysis

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

● When – He is absolutely certain that he is going to return to his country. He has not
yet returned, but it is inevitable that he will return.
● land of exile and silence – the country to which he fled
A foreign place where there is no communication “silence”. He has no contact with
his family and friends. This emphasises the pain and suffering he had to endure while
in exile as he was isolated.
38
Line 2
do not bring me flowers.

● do not – commanding tone

● He does not want the customary gifts and celebrations that are normally associated
with the return of an exile.
● This emphasises that the speaker feels guilty about fleeing his country while other
people stayed behind to fight the system.
● He does not see himself as a hero deserving flowers. Flowers are usually associated
with a celebration, and he feels that this is definitely not a time of celebration: He fled
and left the others to fight. Hence, he feels guilty.

Lines 3-4
Bring me rather all the dews,
tears of dawns which witnessed dramas.

● Bring me – imperative/commanding tone.

● all the dews – All the news of the horrors and pains his people experienced.
● dawns which witnessed dramas – dawn is personified as a weeping witness to the
tragedy that took place as a result of colonisation, exile and loss.
● The repetition of “D” - alliteration – emphasises the fact that Nature, too, was horrified
and sad at the oppression of her people.

Lines 5-6
Bring me the immense hunger for love
and the plaint of tumid sexes in star-studded night.

● Bring me – Anaphora(repetition)
● Immense – Describes the hunger as vast and overwhelming, indicating that the
speaker’s need for love is profound and all-consuming.
● hunger for love – Represents a natural, deep-seated need for emotional connection
and intimacy that his people have been deprived of.
Plaint – plea (It conveys a sense of lamentation and desire).
● Tumid – large / swollen. In this context, it conveys the idea of romantic or physical
intimacy as being intense and prominent.
● Tumid sexes in start-studded night – This imagery evokes a sense of passionate or
romantic longing. The “star-studded night” symbolises a romantic setting, while
“tumid sexes” suggests a heightened state of desire or intimacy.
● In these lines, the speaker emphasises the sense of separation from loved ones and
the need for companionship; the poet highlights the losses experienced due to
oppression.

39
Lines 7-8
Bring me the long night of sleeplessness
with mothers mourning, their arms bereft of sons.

● long – emphasises that their pain and suffering continued for a quite some time
● Bereft – to be deprived. Many young men (the sons) were imprisoned or killed. Some
young men also went into exile. They were missed by their mothers.
● night of sleeplessness – people were worried/concerned about the safety of their
loved ones. Mothers were troubled by the death of their sons and family members.
Therefore, they could not sleep.
● He wants to share the grief from mothers who have lost their sons to the conflict,

LINES 9-10
When I return from the land of exile and silence, no, do not bring me flowers ...

● The repetition of the first two lines of the poem, emphasises that his return must not
be seen as a celebration. Exile was not a pleasant experience for him, but he
did not suffer as much as those who had been left behind.
● no, do not – forceful tone of the double negative emphasises that he does not regard
himself as a hero.
● The ellipsis creates a dramatic pause after the speaker emphatically states that he
does not want flowers. /The reader waits with anticipation to find out what it is that the
speaker actually wants.

LINE 11 – LINE 12
Bring me only, just this
the last wish of heroes fallen at day-break

● “Bring me”: an imperative verb is used to show the speaker’s insistence not to be
praised.
● “only, just this”: redundancy is used to emphasise that he wants just one thing, news
of those who died fighting for freedom and liberty.
the last wish – the final words/wishes of the fallen heroes.
● “day- break” the start of a new day. This can also be a sign of new beginning which
the heroes never experienced and witnessed the brink of change or a new dawn.

LINES 13-14
with a wingless stone in hand
and a thread of anger snaking from their eyes.

● wingless stone – a paradox, these men never got the chance to “cast their stone”,
but paid the ultimate sacrifice by dying while fighting
for freedom, and Rocha wants to remember them and the lost opportunities of those
who were forced into exile.
● snaking – connotation of something dangerous and poisonous. This contributes to a
tone of anger and bitterness. and a thread of anger snaking from their eyes – He
demands justice for all the oppressed people
● Their eyes – reflect only a small part of the anger at the colonists who had stolen
their land from them. He does not want to be rewarded with flowers but rather with
what he was fighting for.

40
 ● Their sacrifice needs to be remembered. That which made them angry enough to
fight needs to be remembered, and that is the only “gift” he wants when he returns,
because he is able to return.

5. Themes

Belonging and reintegration: Due to years of being in forced exile, the speaker’s return to
his home country signifies a strong desire to be reintegrated in the society.
The speaker’s efforts to return home emphasises that he is yearning to reconnect with his
community.
The more he remains in his host country the more he remains vulnerable and disconnected
from his community, family and friends.
The speaker believes that the sharing of pre and post-independence stories will immensely
help him to reintegrate back into the society. This time there will be no ‘silences’ or form of
alienation because he will have an opportunity to speak and hear his native language.
To make him fully integrate into the society, he chooses to only focus on what happened in
his country while he was in exile instead of sharing his own experiences of being in exile.

Heroism and sacrifice: The individuals who chose to remain in Angola during the struggle
for liberation. Their decision to stay and actively participate in the fight for freedom is
characterized as an act of immense courage and selflessness. By dedicating their lives to the
cause, they demonstrate unwavering commitment and bravery in the face of adversity.
However, this heroic sacrifice comes with significant consequences, including the loss of life
and the potential inability to witness the fruits of their labour, such as the attainment of
independence. Despite these challenges, their sacrifices are portrayed as noble and
essential in the pursuit of justice and liberation for their homeland.

Loss and longing: A deep sense of loss and longing for the speaker's land, which he has
been exiled from, is created. The speaker requests physical symbols of their absence, such
as "tears at dawn" and the "endless night of sleeplessness," reflecting feelings of sorrow and
yearning.

6. Tone mood and intention

Tone

Earnest Tone
The earnest tone reflects the speaker's sincerity and deep emotional commitment to
conveying their feelings. The speaker's rejection of flowers, a traditional symbol of
celebration, suggests they want the truth of the harsh realities to be acknowledged instead.
Lines like "do not bring me flowers" and "Bring me rather all the dews, tears of dawns which
witnessed dramas" show an earnest desire to honour those who experienced the pain and
suffering directly. The speaker is not interested in superficial gestures but seeks a deeper
acknowledgment of what truly matters—the suffering, loss, and the lives of the fallen heroes.

Nostalgic Tone
The nostalgic tone is present in the speaker's longing for the past and the memories of those
who lived through the war. While the speaker does not explicitly celebrate the past, there is
a sense of yearning for the recognition of those who stayed behind. The memories of "dawns
which witnessed dramas," "the long night of sleeplessness," and "mothers mourning" convey
a deep reflection on the past. The speaker mourns not just the loss of life, but also the lost

41
innocence and the time before the war brought such devastation. This evokes a sense of
longing for what has been irreversibly changed.

Humble Tone
The humble tone is evident in the speaker's refusal to accept a heroic welcome. By saying
"do not bring me flowers," the speaker suggests that they do not view themselves as
deserving of honour or praise. They deflect attention away from themselves and instead place
it on the "fallen heroes" and those who endured the war's hardships. This humility is also
reflected in the speaker's identification with the pain of others, such as the mourning mothers
and the anger in the eyes of the fallen. The speaker acknowledges that their role, while
important, is secondary to the sacrifices of those who stayed behind.

In "Poem of Return", there are elements of both commanding and pleading tones
throughout, but the first and second stanzas primarily use a commanding tone, while the
pleading tone becomes more evident in the third stanza.

Stanza 2 (Lines 5-8):

Again, the tone remains commanding. The speaker continues to use imperative verbs like
"Bring me," listing intense and tragic experiences ("immense hunger for love," "plaint of tumid
sexes," "long night of sleeplessness"). The requests are firm and resolute, showing the
speaker's determination to face these realities head-on. There is no pleading tone, only a
command for specific emotional truths.

Stanza 3 (Lines 9-14):

The pleading tone emerges in this stanza. The repetition of "When I return from the land of
exile and silence" adds a sense of longing and vulnerability. The use of "Bring me only, just
this" softens the tone, indicating a more personal, desperate appeal. The request for "the last
wish of heroes fallen" feels more like a plea for understanding and recognition of the deep
emotional and historical significance of the speaker’s return. This shift shows the speaker's
yearning to connect with the sacrifices and pain of those who suffered during his absence.

Mood

Sombre: believes that those who were physically present during the war
Melancholic: are the true heroes that need to be celebrated and honoured.
Pensive: reflecting his return and his expectations.

Intention

To highlight the fact that the true heroes in a war of liberation are those who remained in their
land of birth and not those who left and sought refuge in foreign lands.
Hence, he insists on not being given a heroic welcome.

42
7. Figurative language/imagery

Figure of
speech/
Line reference Explanation in context
imagery/
literary device
Line 3 and 4 Personification Dawn is personified as a crying witness of the
tragedy that took place. This personification
suggests that even nature is emotionally
involved in the tragedy, highlighting the gravity
of the events and the shared sorrow of the
world.
Metaphor metaphorically represents the emotional
residue of the past events, indicating that
these tears are symbols of the sorrow and
suffering that occurred.
Line 3 and 4 Pun The wordplay between "dews" and "dues"
cleverly combines literal and figurative
meanings. "Dews" symbolize the tears shed
over the tragic events, while "dues" imply a
sense of deserved compensation.

The speaker expresses a desire for

"dews"/"tears" reflecting guilt for not
confronting the horrors of the liberation
movement at home (imprisonment, death, and
harassment). The speaker believes he
deserves to hear about the hardships and
suffering experienced by others as a form of
compensation for his absence during the war.
Line 4 Personification ‘Dawns’ refers to new beginnings.
“dawns” Refer to line 12 ‘day-break’
The reference to dawns symbolises fresh
starts and the passage of time. It suggests that
even nature, through the dawns, witnessed
and bears witness to the struggles and
suffering experienced during the war.
Line 3 and 4 Alliteration The repetition of the "d" sound in "dews" and
“dews … dawns” "dawns" creates a rhythmic and emotional
effect. This alliteration helps evoke a sense of
empathy. It reinforces the speaker’s request
for something deeply meaningful rather than
superficial gestures such as flowers.

Line 3 Hyperbole The phrase "all the dews" is hyperbolic,

“all the dews” exaggerating the quantity to emphasise the
vastness of the speaker’s desire for a
meaningful connection to the past and the
intense emotional impact of the events
described. It suggests a wish for an

43
 overwhelming amount of emotional and
symbolic understanding.
Lines 3,5,7 and 11 Anaphora Emphasizes the speaker’s intense and urgent
“Bring me …” Hyperbole desires and needs. "Immense hunger for love"
uses hyperbole to express a profound and
deep-seated need for emotional connection.
Immense Hunger for Hyperbole stresses the speaker’s profound and
Love desperate need for emotional connection. It
conveys the depth of the speaker’s longing for
what has been missing in his life.
Lines 2 and 10 Repetition Emphasises the passion and forcefulness of
“do not bring me his statement. emphasizes the speaker’s
flowers” strong rejection of superficial gestures like
flowers.
Line 11 Redundancy Used to emphasise what the speaker wants.
“only, just” Only this, nothing else.
The use of "only" and "just" highlights the
exclusivity of the speaker’s request. It
emphasizes that the speaker seeks only one
specific thing, rejecting any other offerings.
This redundancy reinforces the importance of
the request.
Line 12 Metaphor The "wingless stone" metaphorically
“wingless stone” represents a loss of potential or hope. It
suggests that the fallen heroes never had the
chance to fulfil their aspirations or dreams. The
absence of wings symbolizes their inability to
achieve freedom or success, highlighting their
sacrifice and unfulfilled potential.
Line 14 Metaphor The metaphor of a "thread of anger snaking"
“thread of anger conveys a persistent and unresolved feeling of
snaking” rage. It illustrates the enduring emotional
impact and ongoing sense of injustice
experienced by the heroes.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 Account for the repetition of the phrase, ‘Bring me...’ throughout the poem. (2)

1.2 Refer to lines 1-10: ‘Bring me only…from their eyes.’ (2)

Identify and explain the tone conveyed in these lines.

1.3 Refer to lines 11-12: ‘the last wish…stone in hand.’

1.3.1 Refer to lines 11-12: ‘the last wish…stone in hand.’

Identify the figure of speech used in these lines.
(1)
1.3.2 Comment on the effectiveness of this image.
(2)
44
 1.4 Refer to lines 13-14: ‘with a wingless…from their eyes.’
Critically comment on how the speaker’s tone in these lines reinforces the
central idea of the poem.
(3)
[10]

ACTIVITY 2: Essay question

In the poem, ‘Poem of Return’, the speaker explores the devastating effects of exile.

With reference to diction, tone and imagery discuss to what extent you agree with the above
statement.

Your response should be in the form of a well- constructed essay of 250-300 words (about
ONE page). [10]

9. Suggested answers to activities

ACTIVITY 1

1.1 The repetition of the phrase “Bring me..” creates a sense of anticipation and
visualisation
of what should happen when the speaker arrives home from exile. / It
emphasises that the speaker’s return must not be seen as a celebration. / It
indicates the speaker’s insistence on fulfilling the ‘last wishes of the struggle
heroes (those that fought during the struggle to attain freedom).

[Award 2 marks for two distinct points.] (2)

1.2 An Imperative tone – the speaker explicitly instructs people not to bring him
flowers to honour him upon his return because flowers are a symbol of a
hero’s welcome. He feels he is not worthy to be treated as a hero since he
was not residing in home country to fight for the freedom of his homeland
(Lines 1-10). / This tone is decisive and contemplative, indicating the
speaker's preference for deeper, more meaningful experiences over
superficial gestures.

[Award 2 marks for two distinct points.] (2)

1.3.1 Paradox (1)

1.3.2 Wings cannot fly, much like hopes and dreams of men who died. The speaker
views the people who died for the cause as the real 'heroes' because they
fought a difficult and hopeless battle ('wingless stone'). The image also
evokes a sense of struggle or constraint, highlighting the limitations and
challenges faced by those who have sacrificed their lives for the liberation of
the country. / ,.The speaker is angry and insistent that their 'last wish' be
fulfilled.

[Award 2 marks for a comment on the effectiveness of the image.] (2)

45
 1.4 A yearning tone - He wants to be told about the heroes who died on the eve
of the country’s freedom; the ones who fought for his people’s liberation but
never lived to enjoy the victory of setting their country free from the oppressor.
He views the people who died for the cause as the real 'heroes' as they fought
a difficult and hopeless battle ('wingless stone'). The speaker is angry and
insistent that their 'last wish' be fulfilled.

[Award 3 marks only if there is a critical discussion linked to the central

message. (3)
[10]

ACTIVITY 2
Use the following points, among others, as a guideline to answering this question.
● Jofre Rocha wrote this poem when he was in exile as result of fear of imprisonment
by the Portuguese regime during the liberation struggle in Angola.
● People who were not in exile suffered a great deal.
● The poet uses personification to show that even nature was distressed by the suffering
it witnessed …. ‘tears of dawn…’
● Some of them died just before freedom was achieved ‘day-break’ and never got to
witness the new dawn. They died thinking that their attempts were futile. They were
only disgruntled, powerless as they were equipped only with anger ‘thread of anger
snaking from their eyes’ and ‘wingless stone in hand’.
● The speaker uses an imperative tone to insist that he does not want to be given any
flowers.
● Due to alienation, the speakers yearn to be told about the heroes who died before they
could enjoy the country’s freedom.
● The speaker believes that those who went into exile should not be celebrated because
those who fought for freedom never enjoyed the victory of a liberated country. Yet they
were subjected to police brutality and torture.
● showing their determination in seeing their country free, in spite of being poorly armed
in that war.
● The speaker experiences a sense of nostalgia as he wants to be updated on
everything that happened while he was in exile.
● He is prepared to hear about events such as death, birth, romantic relationships,
dream fulfilled and dreams that were never fulfilled. [10]

46
TALK TO THE PEACH TREE - Sipho Sepamla

1 Let’s talk to the swallows visiting us in summer

2 ask how it is in other countries

3 Let’s talk to the afternoon shadow

4 ask how the day has been so far

5 Let’s raise our pets to our level

6 ask them what they don’t know of us

7 words have lost meaning

8 like all notations they’ve been misused

9 most people will admit

10 a whining woman can overstate her case

11 Talk to the paralysing heat in the air

12 inquire how long the mercilessness will last

13 Let’s pick out items from the rubbish heap

14 ask how the stench is like down there

15 Let’s talk to the peach tree

16 find out how it feels to be in the ground

17 Let’s talk to the moon going down

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

19 come on
20 Let’s talk to the devil himself
21 it’s about time

Glossary

WORD MEANING
Swallows Migratory birds
Notations A series of written symbols to represent numbers, amounts or
elements.
Countries Nations
Pets Domestic animals kept for companionship
Misused Misrepresented
Admit Agree
A whining A woman who complains non stop
woman
Overstate her Exaggerates her situation
case
Mercilessness Cruelty
47
 Rubbish heap Dump site
Eyeing Looking at

1. Background of the poet

Born in a township near Krugersdorp, Sipho Sepamla lived most of his life in Soweto. He
studied teaching at Pretoria Normal College and published his first volume of poetry, Hurry
Up to It!, in 1975. During this period, he first joined the Medupe Writers Association, and later
was active in the Black Consciousness movement. Here, he wrote his 1977 poetry collection,
The Soweto I Love, partly a response to the Soweto Uprising of 16 June 1976, which was
subsequently banned by the apartheid regime. The Soweto I Love often centred around
themes of the Black anti-apartheid struggle and the resulting backlash by the apartheid
regime. He was a founder of the Federated Union of Black Artists (now the
Fuba Academy of Arts) and editor of the literary magazine New Classic and the theatre
magazine S'ketsh.

He published several volumes of poetry and novels. He received the Thomas Pringle
Award (1977) and the French Ordre des Arts et des Lettres for his writing. More recently in
democratic South Africa, he was a member of the government's Arts and Culture Task Group.

2. Type and form

It is a protest poem against the apartheid regime in South Africa. The poet reflects on the
predicament facing people who are subjected to the harsh realities in South Africa during
apartheid. The first three stanzas and the last three stanzas follow the same pattern:
● There is a similar pattern of diction and arrangement of stanzas one to nine.
● In stanza ten there are three lines; this is done to make stanza ten stand out from the
rest of the stanzas and to draw attention to the poet’s message.

The poem is a free verse with no recognisable poetic form. There is, however, a pattern of
word choice, length and content in stanzas 3, 7, 8 and 9. The indents in the 4th and 5th stanzas
alert the reader to the fact that these stanzas are in fact commentary on the overall situation.

3. Summary of Poem

The speaker is witty. Initially the speaker seems to be absurd by suggesting that politics
should be discussed with just about anything or anyone from the birds, shadows, pets, the
peach tree and the air itself. Finally, the speaker reveals the serious nature of the poem which
is meant to address the inequalities and oppression. He ends the poem on a serious note
that the “devil himself” (the leaders of Apartheid Regime in South Africa) should be
addressed.

48
4. Line by line Analysis

Lines 1-6
Let's talk to the swallows visiting us in summer
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 / ask them what they don't know of us

 The significance of the ‘peach tree’:

- During apartheid times, there were laws preventing black people from gathering
indoors in numbers.
- It was under the peach trees that political meetings took place in the guise of social
gatherings (beer parties, etc.); in full view of the apartheid police patrolling township
streets.
- It was common to even see one person sitting alone and seemingly conversing
with the peach tree, when in actual fact talking to a comrade inside the house
- is that it was a place of gathering for people in the township where much
discussion, sharing of opinions and information took place.
- ‘When people were forcibly moved from places like Sophiatown to townships like
Soweto, the Apartheid government planted two fruit trees in each backyard – peach
and apricot – which became the place where all the stories were told, beneath the
trees … The roots of those trees represent my identity, and the identity of many
people in the townships, because they heard, witnessed, and knew everything’ (Niq
Mhlongo, on his new short story collection: Soweto, Under the Apricot Tree).

 The repetition of “Let’s talk to”:

- Creates a sense of urgency and indicates the speaker’s strong desire for
discussion.
- It also emphasises the need for open communication and a peaceful resolution.
- It indicates the speaker’s insistence on continuing the dialogue even though
previous attempts at communication were futile.

 Lines 1 – 2
Swallows – personification
The swallows, personified to represent freedom and migration, symbolize people who visit
South Africa. These visitors bring with them valuable lessons from their own experiences,
particularly regarding how they attained their freedom, offering South Africans an opportunity
to learn from those who have achieved independence or liberation.

 Lines 3 – 4
 These lines are metaphorical and invite reflection on the black people’s relationship with
time, nature, and other beings. Here's an explanation:
 "Let's talk to the afternoon shadow / ask how the day has been so far": The afternoon
shadow symbolises the passage of time, particularly the later part of the day, suggesting a
moment of introspection. It invites the idea of pausing to reflect on how the day has unfolded,
as if asking time itself to provide insights or a summary of what has transpired. Shadows
can also symbolise hidden or overlooked aspects of political issues, encouraging
contemplation of the unnoticed details.

49
  Lines 5-6
“Raise our pets” – metaphor
 The figure of speech used here is a metaphor, where "pets" symbolise young or
marginalized individuals, and "raising them to our level" represents giving them equal
footing, acknowledging their ideas, and including them in discussions or decision-making
processes.

Lines 7-10
words have lost meaning / like all notations they've been misused / most people will
admit / a whining woman can overstate her case

 Lines 7 - 8

 The lines are indented (shifted) to show that these stanzas are commentaries.
 The focus is serious ‘words have lost their meaning’- this means that talking has
become useless/ futile. Attempts to negotiate and address the apartheid government
has failed.
 ‘Misused notations’ – a deep level of mistrust. Words have been twisted to convey
propaganda and lies, in other words communication tools and true intentions of words
have become so wrapped that their original intentions have become lost due to
censorship and rife political climate.
 Simile – compares the loss of meaning in words to the misuse of notations using the
word “like.” This comparison highlights how words, similar to notations, no longer hold
their intended significance due to overuse or improper use. The simile emphasizes the
degradation of language and symbols when they are used carelessly or without regard
for their true meaning.

 Lines 9 – 10

 ‘Whining’ – has a negative connotation, high, -pitched complaining without a valid

reason. The words of line 10 lends itself to the saying ‘the lady doth protest too much’.
By emotionally overdoing a statement the real meaning and sincerity of these words
are lost.
 When people complain about the same thing in the same manner, their plight is often
ignored.
 Alliteration of the “w” sound emphasises a droning background noise that is ignored.

Lines 11-12
Talk to the paralysing heat in the air
inquire how long the mercilessness will last

 Personification: The "paralysing heat" is personified as something that has the human
ability to cause paralysis and act with mercilessness. By attributing human
characteristics like "paralysing" and "mercilessness" to heat, the inanimate concept of
‘paralysing heat’ is given agency and power which is likened to be the oppressive
government who had laws that were very restrictive with harsh penalties if they were
broken.

 Apostrophe: The speaker directly addresses the "paralysing heat" and "inquires" how
long it will last. This is an example of apostrophe, a figure of speech in which a speaker
addresses someone or something that is not present or cannot respond, such as an
50
 abstract concept like heat.

 ‘Merciless’ emphasises the effects of apartheid – a lack of empathy/

mercy/compassion for the suffering of the oppressed. This is a reminder that the Black
people were prisoners in a harsh and unforgiving environment.

Lines 13-14
Let's pick out items from the rubbish heap
ask how the stench is like down there

 The diction in these lines tends to be imagery that Black people were regarded as
rubbish to the white government- rubbish that is unwanted and needs to be tossed
aside.
 The stench refers to a bad, horrible or disgusting smell that needs to be rid off. The
‘stench’ also implies that the apartheid system was rotten and unbearable.
 The economic oppression has results in the people being forced to live in inhumane
conditions, and there seems no ways to break out.
 The tone is serious and capture the situation and treatment of Black people.

Lines 15-16
Let's talk to the peach tree
find out how it feels to be in the ground

 The Peach tree is rooted in a permanent place in the garden. Unlike other items or
things, he proposes to have a conversation with the peach tree is the only one that is
fixed. It is rooted to the ground and belongs to the land. A place it calls its own. The
tree can also symbolise growth and success. It can symbolise strength and
abundance. Unlike the peach tree, Black people had no land or home to call their own.
They were uprooted from their ancestral land (Group Areas Act). They are not even
referred to as citizens.

Lines 17-18
Let's talk to the moon going down
ask if it isn't enough eyeing what's been going on

Personification

 The idea of the moon going down means that light is being lost. This implies that they
are losing hope. The moon is personified. It is ‘eyeing’ the situation/witness what is
going on. The whole world can see what is happening but as visible as it is no person
has done anything to intervene or change the situation. As the moon goes down
daylight will soon be felt- a new day should bring new hope/ new possibilities. New
chances but for them it is just hopeless.

Apostrophe

 The use of apostrophe is evident as the speaker is directly addressing the moon. This
technique allows the speaker to express feelings of frustration and hopelessness while
highlighting the idea that the moon is a witness to human suffering and injustices.

51
 Lines 19-21
come on
let's talk to the devil himself /it's about time

 These lines have also been indented as lines 7-10. This makes the lines to stand out.
These lines alert the reader to the fact they are commentary to the overall situation.
 ‘Come on’ he is edging them on/ encouraging them to act.
 ‘Devil’ this refers to the authorities/ the apartheid government
 ‘It’s about time’ – the time has come to speak to the powers that be.
 There is a change in the tone in these last three lines. No more walking on egg shells
and being afraid. The time is now, it has been too long. Action needs to be
implemented and an end to oppression must finally happen.

5. Themes

● Predicament of facing people who are subjected to the harsh realities of life in South
Africa.
● Proper communication without physical injury
● Harsh realities of apartheid
● The burning desire for change
● Walking in another person’s shoes
● Emancipation of the oppressed.
● The wrongs of the Apartheid government
6. Tone, Mood and Intention

● A harsh and unforgiving tone- the words ‘rubbish heap’ and ‘stench’ implies the
attitude towards black people.
● Serious tone with the intention to describe the reality of the situation for Black people
under white oppression.
● Cynical
● Absurd
● Despair
● Conversational
● Frustration

Stanzas Who is being addressed? Figurative explanation

1–2 The speaker addresses the Symbolize the visitors or
swallows. migrants who bring
different perspectives
and experiences of
freedom.
3–4 The speaker addresses the Moments of
afternoon shadow. introspections/reflections
5–6 The speaker addresses pets. This interaction
suggests elevating the
voices of young people,
emphasizing the
importance of listening
to their insights and
understanding their
experiences.

52
 7–8 The speaker speaks about Words and symbols
words. (notations) have lost
meaning due to
censorship, propaganda
and rife political climate
9 - 10 The speaker comments on People who express
people and a whining woman. their grievances but are
often dismissed or
perceived as overstating
their case.
11 – 12 The speaker addresses the Apartheid government
paralysing heat in the air.
13 – 14 The speaker addresses items Inhuman conditions
from the rubbish heap.
15 – 16 The speaker addresses the The speaker is
peach tree. encouraging people to
speak to the peach tree
and ask it how it feels to
have its own place.
17 – 18 The speaker addresses the (Silent observer of
moon. human struggles.)
The moon represents an
entity that watches over
the world, suggesting a
broader awareness of
the ongoing injustices
and struggles faced by
people.
19 – 21 The speaker addresses the Apartheid government
devil.

7. Figurative language/imagery

The poet talks in a relaxed and everyday way all through the poem. Because the speaker's
ideas are so silly, there's lots of talk about things like they're people. This makes it clear how
pointless the ideas are. But it also shows how the speaker wants everyone to think about
things from both sides.

Figure of
speech/
Line reference Explanation in context
imagery/
literary device
Lines 1-6 Hyperbole The exaggeration/hyperbole in the talk can be
“Let’s talk to…” seen as really big claims, meant to be funny
“Lets raise …” but also to share political ideas. The speaker
keeps asking: What do you know about our
situation? This shows how they see 'us' and
'them' differently. The pure silliness, along with
the speaker's tendency to talk about things
that don't last long, makes it seem like the
53
 conversation won't achieve anything It seems
like only one point of view is getting noticed,
but the speaker is trying to reach out to others,
maybe meaning white South Africans.
Line 1, 3, 5, 13.15,17 Anaphora Creating a sense of urgency or resistance.
“Let’s”
Line 11 Metaphor The apartheid government's oppression is like
“paralysing heat” really hot weather that makes the marginalised
groups feel powerless, like they cannot move.
Line 11 Personification The air seems like it's talking to the speaker,
“Talk to the paralysing and hyperbole making them feel like they can't do anything.
heat in the air …” It's like saying talking to the oppressor won't
make any difference.
Line 14 Metaphor The tough way of life is likened to a really bad
“stench … down smell. It shows how some people are left out
there” and how society is set up with unfair
differences.
Line 15 and 16 Contrast The tree is different from how things were for
“peach tree …in the the oppressed black people. Talking about
ground” "ground" reminds us they weren't allowed to
own land during apartheid.
Line 17 and 18 Personification The moon is compared to a person that is able
“moon … eyeing to see everything that is happening. It is an eye
what’s been going on” in the sky.
Line 20 Metaphor The devil is the Apartheid government or the
“the devil” oppressors.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 Explain the underlying meaning of the actions/ instructions in

lines 1-6 (2)

1.2 Why would swallows be a good source of information about ‘other

countries’? (2)

1.3 Discuss what the speaker is saying in stanza 4. (2)

1.4 Discuss the connotations of the word “whining”. (2)

1.5 Why does the speaker describe heat as paralysing and

merciless? (2)
[10]

ACTIVITY 2: Essay question

In the Poem “Talk to the Peach Tree” the speaker reflects on the predicament facing people
who are subjected to the harsh realities of life in South Africa during apartheid.
With close reference to diction, imagery and tone, discuss the validity of this statement.
Your response should be in a form of a well- constructed essay of 250-300 words. [10
54
9. Suggested answers to activities

ACTIVITY 1

1.1 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. (2)

1.2 Swallows migrate for the summer. They would be able to talk about other
countries. (2)

1.3 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. (2)

1.4 Whining has negative connotations of high-pitched complaining. This would

be unpleasant. (2)

1.5 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. (2)
[10]

55
ACTIVITY 2: Essay question

In this poem the speaker reflects on the harsh realities of life in South Africa under apartheid
rule.
● The oppressive laws of the apartheid government restricted the freedom of
movement and speech- there was a restriction on the number of people who could
gather at any specific time. This hindered communication amongst those who
opposed the apartheid regime.
● Since the oppressed were not permitted to express their feelings and opinions freely,
they had to find other ways to do so.
● Throughout the poem, the speaker alludes to various ways in which politics was
discussed, thereby highlighting the irrational laws that suppressed all those who
opposed apartheid.
● The speaker uses personification in stating that there should be talks with the
‘swallows, ‘shadow’, etc.
● To highlight his message on different ways of communication during apartheid.
● The speaker refers to the ‘swallows’ that fly in from other countries. The swallows
represent the people who visited South Africa from the outside world. They
symbolise freedom of movement which is in direct contrast to the lack of freedom of
the majority of South Africans who were not exposed to the outside world. The
government’s propaganda machine and censorship also controlled the narrative of
the regime that wanted to curtail the actions of the ‘terrorists’ and ‘communists’
● The word ‘summer’ symbolises optimism, positivity and hope for the future.
● In stanza 2, the poet reflects on the time of day (afternoon shadow) when people
gather to discuss their progress, however, they do not discuss their ideas for change.
● The theme of talk versus action is highlighted in the poem. There seem to be very
little progress in finding a resolution to the crisis in South Africa. It is a country in
which animals (pets) seem to have more freedom that humans.

56
PRAYER TO MASKS – Léopold Sédar Senghor

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

Glossary

Word Meaning
rectangular A four-sided plane figure containing four right angles. Opposite sides will
necessarily be parallel and of equal length.
ancestor A person who was in someone's family in past times/ one of the people from
whom a person is descended.
feminine Having qualities or an appearance traditionally associated with women or
girls.
mortal A human being subject to death.
altar A usually raised structure on which sacrifices are offered or incense is burned
in worship.
despotism The exercise of absolute power, especially in a cruel and oppressive way.
immobile not moving, motionless
ejaculate Say something quickly and suddenly.
leaven yeast
agony extreme physical or mental suffering.
pitiable deserving or arousing pity.

1. Background of the poet

Léopold Sédar Senghor (9 October 1906–20 December 2001) was a Senegalese poet,
politician, and cultural theorist who was the first president of Senegal (1960–1980).
Ideologically an African socialist, Senghor was one of the major theoreticians of Negritude.
He was a proponent of African culture, black identity, and African empowerment within the
framework of French-African ties. Senghor became the first president of
independent Senegal. He was the first African elected as a member of the Académie

57
 Française and won the 1985 International Nonino Prize in Italy. Senghor is regarded by many
as one of the most important African intellectuals of the 20th century.

2. Type and form

3. Summary of poem

A narrator calls out to various masks—black, red, white—and the rectangular masks, which
spirits breathe through. The narrator is exclamatory (Expression of awe) but also greets the
masks silently. The narrator calls out to other ancestors, who stand guard, shielding the
afterlife from femininity, joy, and mortality. The ancestors cleanse the eternal air, and the
narrator breathes in the air of past fathers. The masks can be found on maskless faces, and
the masks are free of impurities and wrinkles. The masks have helped compose the narrator’s
own face, which hovers over a page of paper, writing.

The narrator cries out to the masks again, asking them to listen. Africa is changing. Those
that wield power cruelly are fading, sad royalty dying out in agony. Europe is changing too,
and the two continents are connected, like a foetus to a mother. The narrator asks the masks
to look closer at the people of Africa. They sacrifice, even when impoverished. As the world
is reborn, it is the people of Africa that can stand at the center. They are the nutrition the
world needs. They can teach the world rhythm again, a world that has been lost to machinery
and weapons.

Who else, the narrator asks, can spread joy that awakens the dead and inspires the living to
create a new world? It is Africans who can bring back the sensation of living to a world without
hope. They might be called slurs, seen as mere labourers and bringers of death, but Africans
are full of life. They’re full of dance. As they dance and beat the soil of the earth, they only
become more powerful.

4. Line by line analysis

TITLE
Prayer to Masks

Prayer is an appeal to a higher power / ancestors and it has a positive connotation.

The title implies a ‘thank you’ to the ancestors for their divine intervention.

By appealing to the masks and the culture they represent, the poet asserts the enduring
significance of African traditions and values in the midst of external pressures and societal
changes. The masks, as repositories of cultural memory, stand as symbols of resistance
against colonial forces seeking to erase or suppress indigenous cultures.

Through this invocation, the poet calls upon the collective wisdom and resilience of the
ancestors to guide and sustain the present generation in navigating the challenges of the
modern world.

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LINES 1-4

Masks! Oh Masks!
Black mask, red mask, you black and white masks,
Rectangular masks through whom the spirit breathes,
I greet you in silence!

The poem begins with an "apostrophe," an address to an object or spirit. As the title indicates,
this address is a prayer to the masks, which appear in the poem both as works of African art
and as more general spirits of African culture, society, and history.

The poet lists the colours of the masks as black, red, black-and white, thus also suggesting
the reference of the masks as symbols of race and skin colour.

Senghor implies that these masks embody the spirits of nature, intertwined with the winds
emanating from the four directions: north, south, east, and west. Given their association with
the blowing winds, they also suggest a connection to the poet's breath and creative
inspiration.

The poet greets them quietly, as though he is attuned to the whispers that the mask-spirits
may convey to him through the wind.

LINES 5-7

And you too, my lionheaded ancestor.

You guard this place, that is closed to any feminine laughter, to any mortal smile
You purify the air of eternity, here where I breathe the air of my fathers.

The poet introduces his family's guardian animal, the lion, symbol of aristocratic virtue and
courage. Traditionally these animals were thought to be the first ancestor and the protector
of the family line. In mentioning his lion-headed ancestor, Senghor refers to the name of his
father, Diogoye, which in his native Serer language means
lion. In ceremonies the family might be represented by a lion mask.

In lines 6 and 7, Senghor emphasises the enduring significance of tradition and patriarchal
authority. The lion stands as a guardian over territory inaccessible to women and short-lived
beings, prioritising the preservation of values, memories, and customs rooted in ancient
mythological origins.

LINES 8-10

In these lines a complex association is formed between the faces of the ancestors, the masks
and the poet’s face.

The masks are idealised representations of previously living faces.

The masks eliminate the mobile features and signs of age in the faces of the living ancestors,
but in doing so outlive their death.

Consequently, they mold the appearance of the poet, hunched over the paper, writing down
his invocation/prayer to the masks.

59
He implores them to heed his words, as he embodies the essence of those very masks to
which he directs his prayer.

LINES 11-12

These lines juxtapose Africa's illustrious history, characterised by black-led empires spanning
the continent, with the current reality where African people have been subjected to domination
by the imperial conquests of European nations.

The depiction of the "pitiable princess" serves as a symbol of the dignity inherent in traditional
African society. Her demise signifies not only the broader afflictions and deterioration of
traditional African culture but also the relinquishment of political autonomy by black
communities. However, the poem does not exclusively portray the connection to Europe in a
negative light.

“Prayer to the Masks” was published in 1945, as World War II was ending, and the narrator
pities the damaged state of the world, adding a sense of grief and melancholy to the poem’s
tone. Europe is described as connected to Africa like a developing foetus to a mother,
creating a vivid image of Europe’s dependence on Africa for resources.

LINES 13-14

The masks are summoned to observe the sombre narrative of modern Africa, their
unchanging faces resembling those of gods. Senghor implies that traditional customs and
values have seemingly failed to adapt to the significant upheavals of history.

Implicitly, the poem poses a question and pivotal moment: do the masks offer a valuable
perspective from which to understand the present, or are they merely relics of a bygone era,
incapable of offering solace or insight to those enduring exploitation and suffering in the
contemporary world?

LINES 15-16

The poet appeals to the mystical essence of the masks (spirits), urging their aid in hastening
the renewal/rebirth implied by the imagery of the umbilical cord linking Africa and Europe in
line 12. Implicitly, revitalising the ancestral spirits represented by the masks will facilitate the
breaking of dependence. Consequently, a revitalised/reborn African creativity can guide
Europe toward a more life-affirming utilisation of its material and scientific resources, akin to
the necessity of brown yeast in bread-making from white flour.

LINES 17-18

These lines further develop the idea that Africa will provide the life-impulse
to a Europe that is oriented toward mechanical values, materialist
gain, and war. It is the rhythm of African music and dance that can change the thud of
machines into something better. A reborn Africa will lend its youthful energy to a senile
Europe, bringing joy and hope where there has been isolation, exhaustion, despair, and
death.

Senghor concludes the poem by further imbuing his people with strength and shifting the tone
to an optimistic note. The world might be dying, changing, but the narrator sees no one better
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 to bring back joy than African people. “for who else” becomes a refrain, a repeated phrase
that builds in significance, emphasising how Africans, and their culture, can bring rhythm and
joy back into the world. With the Negritude movement, Senghor wanted to promote pride in
African culture and identity, and in “Prayer to the Masks,” he shows African culture can be
the spark that helps reignite the world and transform it into a better place.
LINES 19-21

In the imagery of "men of cotton, of coffee, of oil," Senghor refers to the exploitation of Africa
for its raw materials and to European conceptions of black Africans as merely a source of
cheap labour and economic profit.

Looking back to the figures of death and rebirth in the previous lines, he ironically notes how
"they," the Europeans, view the black African as a fearful image
of death, "the waking dead."

But rather than allowing their humanity to be reduced to the economic value of the agricultural
goods, the African of the future will have a different, creative relation to the soil and the natural
world. Like the participants in a traditional ceremony in which masks are used, these new
Africans absorb the powers of the natural spirits through the rhythm of dance, music, and
poetry.

Despite slurs and prejudices, as the narrator’s people dance and work, they gain power.
Senghor thereby ends the poem on an image of resilience and strength. By honouring their
history and ancestry, African people can heal the world.

5. Themes

Role of the ancestors

Early in the poem, as the narrator prays to the masks—the spirits of the dead—the spirits are
portrayed as powerful and meaningful. The spirits of the past guard and purify, imbuing them
with positive attributes that the narrator acknowledges and admires. In their eternal state, the
spirits of the dead are smooth and perfect, and the narrator’s very existence is indebted to
them. The narrator’s ancestors are beautiful in their eternity and aspects of their admirable
traits are impressed on the narrator’s appearance, showing a deep appreciation for one’s
ancestry. The spirits have positive attributes, agency, and beauty, and they pass these traits
onto the living, showing the beneficial relationship that can flourish when a person honours
the past.

As the narrator prays, the poem shifts focus to the troubled present, but the present becomes
more manageable with the help of African history and culture. The narrator asks the masks to
look toward the children of Africa, and their impoverished state. The narrator thinks of their
community, but they aren’t alone anymore, aided by the presence of their ancestors. The
poem progresses, and the narrator sees that African people are well-suited to heal the world.
Through the narrator’s prayer, Senghor shows that honouring one’s past can lead to new
realizations about the present and imbue the living with strength.

Oppression and resilience

“Prayer to the Masks” portrays the world as one fraught with tension and decay, but the poem
sees this as an opportunity to be resilient and rebuild. Written during World War II, Senghor
describes a changing political landscape: “Now while the Africa of despotism is dying—it is
the agony of a pitiable princess,” In the present moment, Africa is in a dire state. Whereas
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 the spirits of the narrator’s ancestors are breathing, eternal, and purifying, the physical
world—reeling from war—is portrayed as dying and damaged.

Not all hope is lost, however. Senghor pivots to optimism at the end of the poem, embracing
a message of resilience and growth. Leading into the final lines, the narrator repeats that no
one is better suited to rebuild the world than Black people. By being resilient, despite racism
and prejudices, their culture and labour will thrive. The narrator’s people aren’t only capable
of combating racism, their culture of dance and endurance makes their power grow, and the
image of them dancing on the soil of the earth implies joy and future prosperity.

Healing power of prayer

The tone of “Prayer to the Masks” is of pleading and desperation for answers from the
ancestors/Gods and Senghor structures the poem to show the healing abilities of prayer. The
title informs the reader that the poem is formatted as a type of prayer. As the narrator prays
to the masks, they remind the spirits that they need help: “In the name of your image, listen
to me!” Towards the end of the poem, despite whether the spirits hear the narrator’s prayer
or not, the narrator leaves the poem feeling renewed and strong. Through the act of prayer,
the narrator feels connected to their history and culture, then sees how that culture gives their
people power, showing that the simple action of prayer can be a beneficial and healing
practice.

6. Tone, mood and intention

Tone

The tone of this well-known poem by is solemn. This is displayed through the choice of certain
words and expressions, such as "I greet you in silence."

Senghor was a Senegalese statesman and also the president of this state from 1960 to 1980.
The tone of the poem, in accordance with Senghor's strong political spirit, is exhortative. He
does not demand the masks, which represent his ancestors, to listen to him; rather, he pleads
them to listen. This is a sign of a strong and determined personality, as ancestors are usually
addressed with an almost reverential fear in many cultures.

The tone is also hopeful and meditative.

Mood

Exclamation points, question marks, and alliteration contribute to the poem’s mood and flow.
In the first half of the poem, Senghor enhances multiple lines with exclamation points for
dramatic effect, giving the narrator’s prayer urgency and desperation.

The speaker is also suggesting a rebirth of Africa, and pride in Africa. This poem is hopeful,
pleading and celebratory. The following moods can also be identified: praise, respect and
reverence.

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 Intention

The poet wants to:

● create an awareness of the effects of colonialism in Africa.
● explore the culture of West Africa
● build a sense of pride in one’s African heritage and identity
● highlight the appeal to the ancestral spirits to help the oppressed Africans overcome
the present state of subjugation and hopelessness.

7. Figurative language/imagery

Figure of
speech/
Line reference Explanation in context
imagery/
literary device
“Masks! Oh Masks!” Symbolism Masks appear frequently in the first half of the
(Line 1-3) poem, becoming a physical representation of
history, culture, and the dead. In the opening
lines, Senghor establishes the masks as
vessels spirits live through: “Masks! Oh
Masks! / Black mask, red mask, you black and
white masks, / Rectangular masks through
whom the spirit breathes,”. The various
colours suggest a multitude of masks used for
various ceremonies, each one a unique
identity. By addressing multiple types of
masks, the speaker addresses a
larger audience of spirits, showing Senghor is
considering a wide scope of his people’s
history as he writes. Using masks, Senghor
quickly creates an image that represents an
expansive history while still being concise.
“Masks! Oh Masks!” Apostrophe The speaker addresses the masks directly.
(Line 1)
“lionheaded ancestor” Metaphor The poet’s father’s name was Diogoye,
(Line 5) meaning lion. He calls upon his
father/ancestor (lion) to guard over him. A lion
appears in the coat of arms of Senegal. It
represents strength. Historically, it was the
symbol for the power of Kings, before the
French colonised Senegal.
“you purify the air of Metaphor The masks become symbols of purity that
eternity” surpass the mortal world.
(Line 7)
“Masks of maskless Paradox The paradoxical nature of this phrase
faces” underscores the symbolic significance
(Line 8) of the masks within African culture.
While masks may physically obscure the
face, they simultaneously serve as
conduits for spiritual expression and
connection to ancestral traditions.

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 The masks, which are traditionally worn to
conceal or disguise the face, are paradoxically
described as revealing the true essence of the
wearer's identity. By referring to the faces as
"maskless," Senghor suggests that the masks
serve to unmask or reveal the underlying truths
and spiritual essences of the individuals
wearing them.
”Now while the Africa Metaphor pitiable princess – someone who has been
of despotism is dying spoilt. Conveys the idea that the European
– it is the agony of a countries were forced to grant independence
pitiable princess, to their colonies.
Like that of Europe to pitiable princess also symbolizes the nobility of
whom she is traditional Africa, and her death represents
connected through both the general suffering and decline of
the navel – “ traditional African culture and the loss of
(Line 11 & 12) political power of blacks to rule themselves.
”Now while the Africa Simile Like that of Europe to whom she is connected
of despotism is dying through the navel – This image reminds the
– it is the agony of a reader of the connection of Africa to Europe,
pitiable princess, much like a baby is connected to its mother via
Like that of Europe to the umbilical cord – nourishment, blood flow
whom she is etc. The colonial powers in Europe were
connected through referred to as the ‘mother country’. However,
the navel – “ they did not act like a mother should: there was
(Line 11 & 12) 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.
“And who sacrifice Simile The people have sacrificed their lives like a
their lives like the poor poor person would sacrifice his last clothing –
man his last garment” they sacrificed everything.
(Line 14)
“being the leaven that Metaphor In this metaphor, "white flour" symbolises the
the white flour needs” dominant European culture or society, which
(Line 15) may be perceived as lacking in vitality or
spiritual richness. Meanwhile, "leaven" refers
to a substance, typically yeast, that is added to
dough to make it ferment and rise, resulting in
the production of bread. By describing African
culture as "the leaven that the white flour
needs," the speaker suggests that African
traditions and values have the potential to
enrich and enliven European society.
“at the rebirth of the Hyperbole The revival of the nation/continent is equal to
world” that of the world.
(Line 15)

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 “the world that has Hyperbole The speaker employs hyperbole to emphasize
died of machines and the destructive consequences of
cannons” modernization and militarisation on society. By
(Line 16) portraying the world as having died, the
speaker underscores the idea that
industrialisation and warfare have had
profoundly negative effects on humanity,
leading to the figurative death of certain
aspects of human civilization such as peace,
harmony, and traditional ways of life.
“For who else …?” Rhetorical Reflection. The questions encourage
(Lines 16-18) questions introspection and contemplation on the part of
the reader. By asking who else could fulfil the
roles described in the questions, the speaker
prompts the reader to consider the unique
significance and irreplaceable nature of the
resilient nature of the people of Africa
“cotton heads … Metaphor The African people is named after the resource
coffee men … oily their colonies provided the colonisers with. It is
men” derogatory in nature, dehumanising the
(Line 19) original people of the land. The people are
stereotyped and labelled.
“They call us” Anaphora Emphasise the stigmatisation of the African
(Lines 19 & 20) people by the Europeans who colonised them.

Poetic devices

The speaker uses direct speech as he speaks to the masks, allowing the reader to listen in
on his conversation with the masks.
● The use of ‘you’ in the opening lines of the poem engages the reader.
● The phrase ‘listen to me!’ (line 9) is emotive, and alerts the reader that something
important will follow.
● The use of the rhetorical questions is an added device to involve the reader, as we
know that the answer to ‘who else’ (lines 15, 16 and17) is ‘nobody’.

The speaker makes us of figurative language in his metaphor of the ‘leaven that the white
flour needs’ (line 14) and ‘torn hope’ (line 17).
The simile of sacrificed lived being compared to the poor man giving up ‘his last garment’
(line 13) is effective, as is the hyperbole of the ‘world that has died of machines and cannons’
(line 15) and in returning the ‘memory of life’ (line 17).

The spontaneity of those who ‘ejaculate the cry of joy, that arouses the dead’ (line 16) is
persuasively established, while the warning tone of the ‘men of death’ (line 19) ‘whose feet
only gain power when they beat the hard soil’ (line 20) ends
the poem effectively.

The poem makes reference to sound, or the lack thereof, in ‘I greet you in silence!’ (line 3)
the ‘cry “here”’ (line 14) and the ‘cry of joy’ that bursts forth with such enthusiasm that it
‘arouses the dead’ (line16).
The alliteration of the ‘pitiable princess’ (line 10) catches the ear, while the powerful sound of
men pounding the earth is suggested by the rhythm of the final line of the poem.

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8. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 Explain what “masks of unmasked faces” refers to. (line 8) (2)

1.2 What does the technique of personifying Africa as “a pitiful princess”

achieve? (2)

1.3 In what ways would Africa and Europe metaphorically have been “joined by
the navel” (line 12)? (2)

1.4 Refer to line 15: “ …being the leaven that the white flour needs”

1.4.1 Identify the figure of speech (1)

1.4.2 Discuss the meaning of the figure of speech in the context of

the poem. (2)

1.5 Explain the effectiveness of the fertility images used in the poem. (3)

1.6 Do you agree that the title of the poem is suitable? Provide a well
substantiated reason for your answer. (3)
[15
]

ACTIVITY 2: Essay question

The poem Prayer to Masks by Léopold Sédar Senghor, carries several intertwined
messages, rooted in the speaker's deep reverence for African cultural heritage and
spirituality.

With close reference to diction, tone and imagery, critically discuss the validity of this
statement.

Your response should take the form of a well-constructed essay of 250–300 words
(about ONE page). [10]

9. Suggested answers to activities

ACTIVITY 1

1.1 Explain what “masks of unmasked faces” refers to. (line 8)

The masks are imbued with a sense of authenticity or genuineness, even

though they physically conceal or alter the wearers' faces. The masks serve
as a means of unmasking or revealing the inner truths and identities of those
who don them. The masks are celebrated as symbols of African cultural
heritage and spirituality and depicted as conduits for ancestral wisdom and
guidance, connecting the living with the spirits of the dead. (2)

66
1.2 What does the technique of personifying Africa as “a pitiful princess”
achieve?

Evoke Sympathy: The poet elicits sympathy from the reader. The image of
a princess typically evokes notions of nobility, grace, and beauty. However,
describing Africa as "pitiful" suggests that she is in a state of suffering or
distress. /

Highlight Tragic Decline: It underscores the tragic decline of traditional

African culture and power. Historically, Africa was home to rich and diverse
civilizations, but colonisation and exploitation by European powers led to the
erosion of African sovereignty and the loss of cultural autonomy. /

Imply diminished authority: It suggests a loss of authority and control over

her own destiny. This symbolises the broader loss of political power and self-
determination experienced by African nations during the colonial period.
(2)

1.3 In what ways would Africa and Europe metaphorically have been
“joined by the navel” (line 12)?

European powers imposed their political, economic, and cultural dominance

over African nations, shaping the course of African history and society. This
historical connection between Africa and Europe is metaphorically
represented by the image of being "joined by the navel," suggesting a deep
and inseparable bond forged through centuries of colonial interaction. /

The metaphor may also refer to Africa's economic dependency on Europe,

particularly during the colonial and post-colonial periods. European
colonization exploited Africa's resources and labour for the benefit of
European powers, establishing economic ties that continued long after
formal colonial rule ended. (2)

1.4 Refer to line 15: “ …being the leaven that the white flour needs”

1.4.1 Identify the figure of speech

Metaphor (1)

1.4.2 Discuss the meaning of the figure of speech in the

context of the poem.

By describing African culture as "the leaven that the white flour needs," the
speaker suggests that African traditions and values have the potential to
enrich and enliven European society. (2)

1.5 Explain the effectiveness of the fertility images used in the poem.

The metaphor of the umbilical cord connecting Africa to Europe, represents

the potential for new life and growth. The umbilical cord suggests a nurturing
connection between the two continents, akin to a mother-child relationship,
and implies the possibility of a revitalized Africa emerging from its colonial
past. /
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 The fertility imagery serves as a metaphor for cultural renewal and
regeneration. Just as the umbilical cord nourishes a developing foetus, the
cultural exchange between Africa and Europe has the potential to nourish
and revitalise African societies. This imagery conveys a sense of hope and
optimism for the future, suggesting that Africa can reclaim its cultural
heritage and thrive once again. (3)

1.6 Do you agree that the title of the poem is suitable? Provide a well
substantiated reason for your answer.

The title accurately reflects the central theme and focus of the poem, which
revolves around the speaker's invocation of ancestral spirits through the
medium of masks. Throughout the poem, the speaker addresses the masks
as embodiments of ancestral wisdom and spiritual power, seeking guidance,
inspiration, and protection. /

In the context of the poem, the title "Prayer to Masks" suggests a ritualistic
and ceremonial engagement with cultural tradition, underscoring the
importance of honouring and preserving African cultural practices in the face
of external influences and challenges posed by colonialism. (3)
[15]

ACTIVITY 2: Essay question

● In the poem "Prayer to Masks," the poet appeals to his ancestors for guidance and
inspiration in revitalising African culture and proud traditions following a prolonged
period of colonisation by European powers. The speaker directly addresses the masks
as representations of the ancestors, seeking a connection to the past rather than
embracing Western culture.
● The narrator communicates directly with the spirits of the deceased, keeping their
memories alive and stressing the importance of honouring the past to maintain a
connection with their ancestors. The speaker's silent greeting to the ancestors
demonstrates profound respect and admiration.
● Furthermore, the speaker references the lion, symbolising power and courage and
reinforcing the patriarchal dynamics within African society, where male domination is
prevalent.
● Senghor evokes the glorious past of Africa, when countries were governed by Africans
with pride, contrasting it with the present reality of European colonisation and
oppression of African peoples. The image of Africa as a princess symbolises the
nobility of traditional African culture, with her death representing the decline of these
traditions and the loss of political power.
● The metaphor of the umbilical cord suggests that European conquest has nurtured a
new Africa, yet it must eventually sever ties with its European "mother" to thrive
independently. The poet implores the magic spirits of the masks to facilitate this
rebirth.
● Additionally, the poem emphasizes the transformative power of African music and
dance, which can counteract the negative influence of industrialisation. A revitalised
Africa will bring hope and joy to an aging Europe, transcending feelings of isolation,
exhaustion, and despair.
● Senghor also critiques the exploitation of Africa for its resources and the reduction of
black Africans to sources of cheap labour and economic profit by European powers.

68
● Ultimately, the poem concludes on a hopeful note, envisioning a future where Africans
regain their freedom and express themselves freely through the cultural forms of song
and dance that are intrinsic to their identity.

OR

● In "Prayer to Masks" by Léopold Sédar Senghor, the speaker begins by addressing

the masks directly, invoking their spiritual presence and significance within African
culture. This initial address serves as a focal point for the poem's exploration of
identity, tradition, and the interconnectedness of past and present.
● Through carefully chosen diction, the speaker imbues the masks with a sense of
reverence and importance. Words like "prayer" and "magic spirits" convey a solemn
respect for the masks' spiritual power, while phrases such as "god-like" and
"changeless faces" emphasize their timeless and immutable nature. This diction
elevates the masks to a position of reverence, highlighting their symbolic importance
within the poem.
● The tone of the speaker's address is one of reverence and introspection. There is a
sense of awe and wonder in the speaker's words as they contemplate the masks'
significance and their role in connecting past and present. This tone underscores the
speaker's deep respect for African tradition and culture, while also hinting at a sense
of urgency and longing for connection with the past.
● Imagery further enhances the message of the poem by evoking powerful mental
pictures of the masks and their spiritual significance. The image of the masks as "god-
like with their changeless faces" conjures a sense of awe and mystery, while the idea
of them bearing witness to the "sad history of modern Africa" highlights their role as
guardians of cultural memory. This imagery serves to emphasize the importance of
preserving and honouring African tradition in the face of external pressures and
societal changes.
● Overall, through the speaker's address to the masks, the poem highlights themes of
cultural identity, tradition, and the enduring significance of the past. Through the
careful use of diction, tone, and imagery, the speaker underscores the importance of
connecting with and honouring African heritage in order to navigate the complexities
of the modern world.

69
THIS WINTER COMING – Karin Press

1 walking in the thick rain

2 of this winter we have only just entered,
3 who is not frightened?

4 the sea is swollen, churning in broken waves

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

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

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

18 on every corner men standing

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

24 into the rain the children are running

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

Glossary

WORD MEANING
churning Violent continuous motion
shroud Something that covers or conceals
sated More than satisfied
kindle Start a fire

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1. Historical context

Karen Press, a South African writer and freelance editor, founded a project called 'The
Writer’s Network' to support and advise South African writers. She is also a co-founder of
Buchu Books. Born in Cape Town in 1956, she currently resides in Sea Point. Press has a
background in teaching Mathematics and English and has published seven poetry
collections. Additionally, she has written textbooks and educational materials in Mathematics,
Science, Economics, and English, along with children's stories. Her poem "This Winter
Coming" was written in 1986, a crucial year in South Africa's history. In 1986, white political
leaders imposed a nationwide State of Emergency to suppress the 10th anniversary
commemorations of the 1976 Soweto Uprisings. During this time, the state police arrested
and detained people without charges, leading to widespread violence. Many black political
activists were forced into exile, and daily protests resulted in numerous deaths as the army
and police used excessive force against protestors.

2. Type and form

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.

 This poem exemplifies protest poetry, where the poet subtly addresses political issues
by disguising the poem as a "nature poem" to avoid arrest by state police. The poet
intentionally breaks conventional writing rules by avoiding capital letters and using
minimal punctuation, a style known as stream of consciousness writing, which reflects
the speaker's thought process.
 The focus is on conveying the message rather than adhering to traditional form. The
poem lacks a rhyme scheme, and the stanzas vary in length.
 Enjambment is used throughout, allowing lines to flow into each other, mirroring the
natural flow of thoughts.
 The rhetorical questions at the end of each stanza engage the reader, encouraging
them to reflect on the poem's subject matter.

3. Summary of the poem

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.

Title
The use of the demonstrative pronoun ‘This’ is suggesting the impending fear of the coming
winter. Winter could be read literally. However, in the poem, it can be interpreted as an
extended metaphor for transition and social change that marks the death of an old order,
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 and the emergence of a new order coming – suggests that the looming arrival of this
season and what it represents, cannot be averted.

4. Line by line analysis

STANZA 1
LINES 1-3 walking in the thick rain / of this winter we have only just entered, /
who is not frightened?
• The poem begins with somebody walking in the rain. The poet does not mention a
specific person.
• thick –relates to the rain, very heavy rain. Poet does not use the word ‘heavy’
because this links with the cold that is normally associated with winter; it is thick, like
a blanket.
• thick reinforces not just the heaviness of the rain but is also suggestive of an
oppressive atmosphere.
• this winter – specific reference to the winter that is approaching, not winter in
general, only just entered create an ominous tone, suggesting that the experience of
fear will increase as the season progresses.
• Things will get far worse before they get better. There is an allusion to possible
violence / uprising against the oppression.
• who is not frightened? – The rhetorical question does not provide an explanation for
the cause of the fear. This suggests a universality to the experience of fear. The poet
is referring to all South Africans. Everybody should be afraid as there will be violence
in response to oppression.

STANZA 2
LINES 4-5
the sea is swollen, churning in broken waves (violent continual motion) / around the
rocks, the sand is sinking away

• At first glance, that stanza is describing the speaker’s observation of the natural
environment. However, the imagery, sound devices and diction suggest an
atmosphere of hostility and destructiveness that is broader than the literal reading of
the lines.
• The sea is described as swollen, churning in broken waves – this is a destructive
ocean, not a peaceful and serene ocean. This emphasises that it is dangerous.
• The sinking of the sand is symbolic of a world which is disappearing; in which one’s
sense of security and stability is eroded. Therefore, there reason to be afraid.

LINES 6-8
the seagulls will not land / under this sky, this shroud falling (something that covers
or conceals) / who is not frightened

• seagulls will not land – even the birds (symbolic of the natural element) can sense
the impending danger and violence, adding to the ominous mood.
• under this sky – the present conditions
• this shroud falling – 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 (the violence that is
soon going to follow) and cold can kill those unprotected from it.
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• who is not frightened? – anaphora; repetition of the line emphasises the fear caused
by the impending violence amongst the people. 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.
• There is also a literal meaning: 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.

STANZA 3 LINES 9-11

in every part of the city, sad women climbing onto buses, dogs barking in the
street, and the children / in every doorway crying,

• In this stanza, the speaker moves from an observation of nature to an analysis of the
social state of the city.
• The stanza describes the return of domestic workers to their families, at the end of
their work day.
• The stanza emphasises the inequality created by the apartheid policy which also
segregated the areas where people could live.
sad women – The women work in the city in the homes of the whites. They are going
home to their families in the townships which are in stark contrast to the suburbs
where they work: ‘children /In every doorway crying’,

LINES 12-14
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;

● “the world is so hungry” – (both literally and figuratively) They suffer from poverty, do
not have sufficient food. Also, they are deprived of their rights.
● madam’s house is clean – they do everything for their employers. They do not have
time to take care of their own homes and families. return with slow steps – they are
exhausted. Also, they do not have anything to look forward to in their homes
because of their desperate plight.
● the sky tolling like a black bell – The simile compares the sky to a black bell. The sky
is not only black but is also ‘tolling ‘. A bell is rung at funerals, to announce a death
or a sad event.

LINES 15-17
these women are a tide of sadness / they will drown the world, / who is not
frightened?
● Metaphor – the extent of their sadness is so great that it can be compared to a sea.
Just as a sea can drown anything, their tiredness will drown anything in its path. This
emphasises how tired they were.
● The women’s heavy sadness is a high tide coming in, so high it will drown their world
and that of others. This continues the extended metaphor of a sea that is swollen
and dangerous. The danger arises, not from anger, but sadness. The women are
seemingly helpless to make a change in their situation, but the words suggest that
this is not true: this sadness is so overwhelming it will drown (cause death) to many.
● who is not frightened? – the anaphora (repetition of the rhetorical question) provides
an explanation for people to be afraid of this winter.

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STANZA 4
LINES 18-23
on every corner men standing / old stumps in the rain, tombstones / engraved
with open eyes / watching the bright cars full of sated faces (more than on every
corner men standing –

● The men have no jobs and are standing at street corners, waiting for someone to
come along and offer them work for the day.
● old stumps in the rain, tombstones / engraved with open eyes – the double metaphor
compares the men to tree stumps which are compared to tombstones. They are
more dead than alive.
● The men watching the bright cars full of “sated faces” symbolise the rich in their fancy
cars (more than satisfied).
● The men are able to see the reality of their situation. This is in contrast to the sadness
of the women. These men cannot get jobs.
● They seem stuck in their place, not moving like the tide of the women’s sadness.
● The stanza continues with the idea of social breakdown and describes the despair
and dehumanization of the men. The stanza reinforces a social divide, in which the
lives of the privileged few is juxtaposed alongside the hunger and deprivation of the
masses, watching the bright cars full of sated faces pass by and realise that the
owners of these passing cars are not interested in offering them jobs This repetition
stresses how terrible the situation is for the half dead men and their families and how
invisible they have become to those passing them by each day.
● The repetition of pass them is suggestive not just of fear – but also of guilt and a
refusal to confront the visible reality of social inequality. The sense of urgency
conveyed in the repetition is ironic: one may pass “them”, but one is unable to
escape the all-pervading sense of fear.
● who is not frightened? – the repetition of the rhetorical question (anaphora) is a
reminder that oppressive regime has to change

STANZA 5
LINES 24-31
into the rain the children are running / thin as the barest twigs they
kindle a fire / to fight the winter, the bare bodies / a raging fire of dead
children

 “into the rain the children are running” – The reaction of the children differs from that
of the adults (who are fearful). The children run freely, they are active and alive.
Children are symbolic of innocence, but they are also victims of apartheid. The children
enjoy the rain (literal meaning). The rain, in this stanza, is related to something life-
giving, while the rest of the poem presents its negative connotations.
● thin as the barest twigs they kindle a fire / to fight the winter – The children are
extremely thin, emphasising their extreme poverty. The simile compares them to
twigs. They use a fire to warm themselves, because they are so thin. to fight the
winter, the bare bodies – fight conveys a struggle to survive the cold of winter. They

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 do not have sufficient clothing to keep themselves war. This is the result of their poor
living conditions.
● raging fire of dead children – This seems to refer to the children who died in violent
uprisings and provides those that are alive the courage to fight on.
● 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.

LINES 28-29
and the sky collapsing under centuries of rain / the wind like a
mountain crying,

● collapsing under centuries of rain – Figurative meaning: The sky is symbolic of their
oppression. It is now falling. The people sense that their oppression is going to end
soon.
● centuries of rain – emphasises their pain and suffering that they had to endure for so
long. The system of apartheid, legalised or not, has become untenable. The system
has been operating for many centuries but in South Africa the time for change has
arrived. The time for change has arrived, however, things are going to get worse
before they get better.

LINES 30-31
who is not frightened of this winter / coming upon us now?

● The single repeated line ending each stanza becomes two lines with the addition of
the idea that ‘this winter’ is on the verge of arriving. It is imminent and frightening for
everyone.
● The purpose is to conclude with a strong warning that the children will fight the
oppressive system (literally) and end the winter (figurative).

5. Themes

The effects of apartheid.

The desire for change.
Impending danger - social upheaval, and a foreshadowing of the writer’s view of change,
accompanied by violence, death and destruction

6. Tone mood and intention

Tone
● Contemplative
● Slightly Melancholic

Mood
● Sombre
● Gloomy
● Anticipatory

Intention
● To explore the human experience: the poem touches on universal themes like
mortality, loss and the fleeting nature of life.

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 ● to reflect the social, political, and economic oppression
● to reveal the hardships faced by the people during the State of Emergency.

7. Figurative language/imagery

Figure of speech/
Line reference imagery/ Explanation in context
literary device
Line 1 metaphor relates to the rain, very heavy rain. Poet does
“thick rain” not use the word ‘heavy’ because this links with
the cold that is normally associated with winter;
it is thick, like a blanket.
Line 3 Rhetorical question Emphasises the uneasiness and involves the
“who is not reader.
frightened?”
Line 8 Rhetorical question Emphasises the fear caused by the brewing
“who is not storm.
frightened?”
Line 11 Hyperbole Emphasis is placed on the emotional turmoil of
“in every the upheaval and to indicate that everyone is
doorway crying” affected.
Lines 12-13 Juxtaposition Contrast is shown between rich and poor, chaos
and order to highlight the social inequality.
Line 14 Simile The sky is compared to a bell that announces
“the sky tolling the impending doom; thus the colour of the bell
like a black bell” is black.
Line 15 Metaphor The women’s sadness is immense, it is
“these women overflowing, like a sea tide coming in and
are a tide of covering the beach.
sadness”
Line 17 Rhetorical question/ Fear is pervasive.
“who is not anaphora People are vulnerable in the face of oppression.
frightened?”

Line 18 and 19 Metaphor Men are compared to tree stumps and

“on every corner tombstones. old stumps in the rain, tombstones
men standing / engraved with open eyes – the double
Old stumps in metaphor compares the men to tree stumps
the rain, which are compared to tombstones. They are
tombstones more dead than alive.

Line 19 and 20 Personification Tombstones have the human ability to see and
“tombstones witness what is happening, yet they feel
engraved with paralysed/unable to do something.
open eyes”
Line 22 Repetition of “pass The repetition of pass them is suggestive not
them” just of fear – but also of guilt and a refusal to
confront the visible reality of social inequality.
The sense of urgency conveyed in the repetition
is ironic: one may pass “them”, but one is unable
to escape the all-pervading sense of fear.
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 Line 24 and 25 Simile The children are compared to bare twigs which
“the children are emphasises that they are thin and underfed due
running thin as to extreme poverty.
the barest twigs”
Line 28 Hyperbole It emphasises how long the oppressive system
“centuries of has reigned.
rain”
Rain Pun It emphasises that the “rain” oppressive reign
ended.
Line 29 Simile “mountain crying” – personification
“the wind like a Or The mountain is the giant that represents the
mountain crying” Personification children pressing for change.

8. Informal assessment activities

ACTIVITY1: Contextual questions

1.1 In the context of this poem, what does winter symbolise? (2)

1.2 What is the poet’s intention in describing the weather in Stanza’s 1 and
2? (2)

1.3 Refer to stanza 3.

Why are the children crying? (2)

1.4 Discus the significance of ending every stanza with the refrain, ‘who is not
afraid? (3)
[9]

ACTIVITY 2: Contextual questions

2.1 Refer to line 1 ‘walking in the thick rain’

Comment on how mood is conveyed in this imagery. (2)

2.2 Refer line 5 ‘who is not afraid?’

Explain the effect of the repetition of this rhetorical question in this poem
(2)

2.3 What mood is created in lines 4-7 ‘the sea is swollen…this shroud falling’?
Substantiate your response by referring directly to the diction used.
(3)

2.4 Identify and explain the figure of speech used in lines 15-16 ‘these women
are tide of …the world’ ()

2.5 Comment on appropriateness of stanza 5 as a conclusion for this poem (3)

[12]

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9. Suggested answers to activities

ACTIVITY1

1.1 Hardships/the harsh political atmosphere of 1986/the political unrest (2)

which saw many people lose their lives/suffering. To set the
mood/atmosphere for the hardships the people will undergo in the rest of
the poem.

1.2 To set the mood/atmosphere for the hardships the people will undergo in
the rest of the poem (2)

1.3 They are alone at home. Their mothers have gone to work at ‘madam’s
house’.
They are hungry.
They are scared (3)

1.4 To emphasize the prevailing fear characteristic of the State of Emergency

in 1986 in South Africa.
To create a sense of urgency
To draw the reader’s attention to causes of the fear in each stanza. (3)
[10]

ACTIVITY 2

2.1 This line introduces impending fear and hardships as Winter brings ‘thick
rain’. This suggests the hard times ahead. This line creates the mood of
imminent danger. (2)

2.2 A rhetorical question is usually asked to make a point rather that to get an
answer. In this poem the repetition of ‘who is not afraid’ acts as refrain. It
emphasises the constant fear that everyone is subjected to.
(2)

2.3 The reference to ‘swollen sea’, ‘churning in broken waves’, ‘sinking of

sand’ and ‘seagulls’ unable to land suggests destruction and nature’s
hostility. This again paints a picture of impending danger, restlessness or
discomfort. The speaker wants us to note that when the atmosphere is
like this, there is nowhere to run. No place is safe.
(3)

2.4 Metaphor: The overwhelming sadness of women is compared to ‘tide’. It

is so visible that if it were liquid form it would make up a sea, as a wave
of the sea moves to the shore, it will overwhelm and ‘drown’ anything
that comes its way. (2)

2.5 This stanza brings the theme of hope and resistance. Although there is
still rain but children are running ‘into the rain the children are running’. In
spite of children being fragile and vulnerable ‘barest twigs’ but they are
not intimated, they have a potential to ‘kindle a fire’ and fight ‘Winter’.

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 (3)
[12]

Question 3

3.1 How does the use of the word “sad” (line 9) contribute to the melancholic tone of the
poem? (2)

3.2 Refer to line 14. Explain the image “…the sky tolling like a black bell.” (2)

3.3 Refer to line 19 - 21: “old stumps in the rain, tombstones/ engraved with open eyes/watching
the bright cars full of sated faces…” Discuss how the contrast in these lines connects to the
message of the poem as a whole.

3.3 Refer to lines 27-30: ‘A raging fire … upon us now?’ Critically discuss how the images in line
27-29: “A raging fire … like a mountain crying,” explains the poet’s rhetorical question on line
30.

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SOLITUDE – Ella Wheeler Wilcox

1 Laugh, and the world laughs with you;

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

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

16 Feast, and your halls are crowded:

17 Fast, and the world goes by.
18 Succeed and give, and it help you live.
19 But no man can help you die.
20 There is room in the halls of pleasure
21 For a long and lordly train.
22 But one by one we must all file on
23 Through the narrow aisles of pain.

Glossary

Word Meaning
mirth humour/ delight/ joy
nectared sweet/ tasty
gall A bitter substance

1. Historical context

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 kindness and
compassion. 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.

2. Type and form

This poem follows a strict structure. The three stanzas consist of 8 lines (octaves) each
and the same rhyming pattern is used throughout. The first two stanzas focus on attitude,
behavior and actions. The last stanza focuses on the end of one’s life and suggests a
particular approach to deal with this inevitability. Each of these octaves follows a consistent
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 rhyme scheme ABCBDEFE.

3. Summary of the poem

The poem overall describes the gain of support in times of happiness and the loss of
support in times of sorrow. The poem is about the relationship between the individual
and the outside world. Wilcox wrote this poem after encountering a grieving woman on her
way to Madison. Despite her efforts, Wilcox was not able to comfort the woman over her
loss. Distraught, Wilcox returned to her hotel and after looking at her lonely face in the
mirror, began to write this poem. The context of the poem suggests that what follows is not
a parade of moral platitudes but a series of choices. If you laugh, sing, rejoice, or feast, the
world will be drawn to you. If you weep, sigh, fast, or grieve, the world will abandon you.
The poem is neither an anthem of positive thinking nor a dour account of existential
loneliness. It is an invitation to move through the world with practicality and self-reliance.

4. Line by line analysis

Stanza one
Lines 1 Laugh, and the world laughs with you
2 Weep, and you weep alone;

Wilcox begins what came to be known as her most popular poem, with two very striking lines.
Her speaker is making a pronouncement about how the world either accepts or pushes away,
human emotions. The first line tells a reader that if one were to laugh then the world would
‘laugh with you:” – the world is after pleasure and joy and does not want to listen to sad
stories.
The second line adds a more complicated dimension to the relationship between humans
and society. Here she describes the opposite emotion, sadness displayed through weeping.
If one were to “Weep,” it would happen alone. People do not flock to the side of someone
who is upset; human beings are not attracted to negativity.
In the next set of eight lines of “Solitude’,” the speaker presents another five statements that
outline how the world at large reacts to positivity and negativity. The first line says that if you
are to spend days rejoicing then others will seek you out and want to spend time with you.
She once again presents contrast that if you grieve then the same men will turn and go.

Lines 3 For the sad old earth must borrow its mirth,
4 But has trouble enough of its own.

In the two lines of “Solitude” the speaker rearranges the two previous statements to show
how the “world’ deals with emotions. The earth is described as being “sad and old.” It does
not have a well of happiness to draw from it so I must seek “mirth” (joy) somewhere else. This
is why it “laughs with you.” In regards to sadness, the speaker says that the earth has
enough sadness without taking in other people’s troubles. This is a very perceptive
generalized statement about how many people view the problems of others. No one wants
the burdens of someone else’s unhappiness if it can be avoided.

Lines 5 Sing, and the hills will answer

6 Sigh, it is lost on the air

The statements act in the same way as the previous one. First, the speaker says that if you
were to “sing’ then the “hills” would “answer”. One would receive a response from the world
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or society, and happiness would be multiplied. In contrast’ if you were to “Sigh” it would be
“lost on the air.’

Lines 7 The echoes bound to a joyful sound.

8 But shrink from voicing care.

The first stanza concludes with the two emotions being translated into sounds. The sound of
singing will “bound” like a joyful echo while the sigh will be ignored. The word “shrink”
suggests that the world will not share problems/ issues.

Stanza 2
In the next set of eight lines of “Solitude” the speaker presents another five statements that
outline how the world at large reacts to positivity and negativity.

Lines 9 rejoice, and men will seek you, Grieve, and they turn and go.
10 They want full measure of all your pleasure,

The first line says that if you are to spend your days “Rejoicing,” then others will “seek you’
out and will want to spend time with you. She once again presents contrast, that if you
“Grieve,” then the same men will “turn and go.”

Lines 10 They want full measure of all your pleasure

11 But they do not need your woe.

The people do not want “your woe” but are happy to take on” your pleasure.”

Lines 12 Be glad, and your friends are many:

13 Be sad, and you lose them all.

The speaker gives the reader some advice in the lines that if you want to have friends, then
you need to be “glad.” If you are not, then you are going to “lose them all.” These people do
not want your woe but are happy to take on your pleasure.

Line 14 There are none to decline your nectared wine.

15 But alone you must drink life’s gall.

In the last two lines of this stanza, the speaker describes how if you are happy and drink
“nectared wine,” then you are never going to be short of a friend to drink it. Continuing the
metaphor of drinking, she states that “life’s gall,” must be consumed alone.

Stanza 3
In the final stanza of “Solitude,” speaker presents her final set of comparison between what
a happy life and a sad one are like, and the reactions they provoke.

Lines 16 Feast and your halls are crowded:

17 Fast, and the world goes by.

She begins by utilizing another comparison to the way meals can bring people together. If
one was to hold a “Feast:” then their hall would be “crowded.” Just as if one is “Fast{ed}”
then the whole world would pass by. These two examples meant as metaphors for a larger
way of being in everyday life. A welcoming community, companionship, and happiness are
going to inspire even more of the same.

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 The following lines are different than those which preceded them. In the last section, she
makes larger statements about life and death and the way that humans deal with pain.

Lines 18 Succeed and give, and it helps you live,

19 But no man can help you die.

She describes how success and willingness to “give” will help one live a longer life but there
will be no one here when you “die,” Similarly, pain has to be faced alone.

Lines 20 There is room in the halls of pleasure

21 For a long and lordly train.

No one wants to pile onto a train that is headed for that kind of unhappiness. The world would
much gather in a “hall …of pleasure,”

Lines 22 But one by one we must all file on

23 Through the narrow aisles of pain.

In difficulties we usually suffer alone. Prosperity brings friends but adversity separates them
from us. The author ends by summarizing the main point that during pleasurable times there’s
room for many friends, but we must go through pain alone. One can say the picture of a
human life as drawn in this poem is real.

5. Themes

● Happiness/Pain-thorough 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 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 realize that happiness and grief are part of the human
condition, and we must remain steadfast and resilient in the face of that.

● Solitude-no one should go through anything by themselves. They should always be

surrounded by people that love them. Sometimes though, you have to be the
“surrounder” to make people feel better.

● Pessimistic view of society

● Happiness and pain

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6. Tone, mood and intention

The tone of this poem is observant and melancholic. The poet’s speaker uses
blunt realism throughout this piece and does not hesitate to point out the less flattering
aspects of human behaviour. The poem talks about how people can feel alone when
they're sad. It says that when people feel sad, they often stay away from others and
spend more time by themselves, which can make them feel even more lonely. The
poem has an atmosphere of sorrow and depression, hopelessness and loneliness.

7. Figurative language/ imagery

Figure of speech/
Line reference imagery/ Explanation in context
literary device
Line 3 Personification Extensive use of personification gives the poem
“sad old earth” a personal and intimate feel.
Line 5
”and the hills will
answer”
Line 7 Echoes are being personified as being happy
“echoes bound when they hear the joyful sound.
to a joyful
sound”
Line 16 and 17 Alliteration Emphasises the opposite action.
“Feast”
“Fast”
Line 21 Alliteration This alludes to the view that spaces and places
“long and lordly of pleasure attract people in numbers, whilst
train” those who suffer and endure pain and
bitterness, will do so in Solitude.

Line 18-23 Enjambment Creates a flow and fluidity in these lines,

building momentum with a prose-like quality.
Wilcox reminds us that the journey through pain
must ultimately be experienced alone.

Throughout the Metaphor ● E.g. “Nectared wine”- means pleasant

poem things in life such as rewards and happiness.
This is because nectar is sweet, and wine is
known as an enjoyable beverage. Comparing
sweet wine to optimism. Ella uses this phrase to
show that people will accept your ideas if you
look at the better side of the situation.
● “Life’s a gall”- describes that all that is
unpleasant and negative in life. Gall refers to
bitter things such as bile. This also means
metaphorical bitterness, such as grief and
sadness. Whatever life throws at you, you take
it and deal with it. Comparing life’s gall to
pessimism. Wilcox is showing that if you think
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 negatively of a situation, you will have to face it
alone. Gall-bitterness.
● Wilcox is describing pain as a narrow isle
which is hard to get through. Therefore, pain is
difficult to overcome. Comparing pain to narrow
aisles, Wilcox is using this comparison to
explain how pain is a difficult and strenuous
obstacle that we all must conquer.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

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

1.2 Describe the reaction of the “echoes (line 7) (2)

1.3 What does “Shrink “mean as used in line 8? (2)

1.4 Suggest a possible example of “life’s gall.” (2)

1.5 Why does the speaker suggest that “pain” is travelled through “narrow
aisles? (2)

1.6 Paraphrase and explain the line: ”Succeed and give, and it helps you live.”
(2)

1.7 Discuss the effectiveness of the title of the poem in reflection to its contents.
(3)

1.8 Is the speaker in this overly cynical? Discuss your opinion. (3)

1.9 Would “Loneliness” have been a better title for the poem? Discuss your
answer and make reference to the connotations/denotations of both
solitude and loneliness in your answer. (3)
[22]

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9. Suggested answers to activities

ACTIVITY 1

1.1 The world” laughs”- when you are happy the world around you is happy.
The earth also “borrows” mirth-joy/humour- there are enough
sadness/problems. The hills “answer” your happiness- literally an echo and
figuratively like the earth “laughing” with you. NOT AT YOU! The echoes
“shrink” from back from
issues/problems/worries. (3)

1.2 In reaction to the “joyful sound” the echoes will repeat the sound eagerly
however, there will be no reaction if the sound is not happy- expression of
“care” concern or worry. (2)

1.3 Pull back- the world will not share your problems/issues/cares. (2)

1.4 Sadness, poverty, loneliness- all things that make us bitter. (2)

1.5 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. (2)

1.6 A person who succeeds in life and then shares his good fortune with others
will derive most joy from the act of giving. They will have a more rewarding
life. Their life will be better. (2)

1.7 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. (3)

1.8 I believe so- not all people are as “mean” and uncaring as she states. Think
of your own best friend- are they there for you in good times and bad?
(3)

1.9 Perhaps a better choice. Loneliness is not a choice, just like the person
would CHOOSE to be left alone in their worst times. Solitude is a chosen
state. Not necessarily a bad thing (3)
[22]

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THE MORNING SUN IS SHINING – Olive Schreiner

1 The morning sun is shining on

2 The green, green willow tree,
3 And sends a golden sunbeam
4 To dance upon my knee.

5 The Fountain bubbles merrily,

6 The yellow locusts spring,
7 Of life and light and sunshine
8 The happy brown birds sing.

9 The earth is clothed with beauty,

10 The air is filled with song,
11 The yellow thorn trees load the wind
12 With odours sweet and strong.

13 There is a hand I never touch

14 And a face I never see;
15 Now what is sunshine, what is song,
16 Now what is light to me?

Glossary

Word Meaning
Willow tree a tree or shrub of temperate climates which typically has narrow
leaves. This type of tree is characterised by long, slender, drooping
branches and leaves. Willows are often found near water sources
and are known for their graceful, sweeping appearance.
Yellow thorn A thorny tree that bears yellow flowers or have a yellowish
tree appearance. They are often found in arid or semi-arid regions.
Merrily Happily, in a cheerful of joyful manner
Sunbeam A ray of sunlight that is visible. Usually shinning through clouds or
into a dark space.
Fountain A structure or natural source where water flows or is projected
upward, often used decoratively in parks and gardens.
Odours distinctive smell, especially an unpleasant one
Locust A type of grasshopper known for its ability to form large swarms that
can cause significant damage to crops.

1. Historical context

Olive Schreiner (1855-1920) was born at a mission station called Wittebergen near Herschel
in the Eastern Cape. She is best known for her critically acclaimed novel The Story of an
African Farm, initially published under the pseudonym Ralph Iron because of a contemporary
prejudice against women authors. After achieving recognition as a writer, Schreiner wrote
extensively on a range of political and social issues as an opponent of racism and an early
feminist. Her book, Women and Labour, written in 1911, was considered the bible of the
women's emancipation movement in England and America. She was also a pacifist and did
not agree with British imperialism in South Africa or with the South African (Anglo-Boer) War
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 that was fought to achieve it. This poem conveys a strong sense of place and the natural
environment, as often found in Schreiner’s works.

2. Type and form

 It is a nature poem- that shows the beauty of nature but highlights the poet’s loneliness
as she has no one with whom to share it.
 A 16-line Poem- made up of four distinct parts. In line 1-4 she discusses the sense of
sight, 5-8 hearing and 9-12 smell. All these senses enjoy the morning with the sun
shining.
 There is a regular rhyme scheme and rhythm throughout lines 1-12. The last four lines
deviate from this pattern.
 The break in pattern increases the impact of the unexpected contents of the last four
lines.
 The poem is composed of two stanzas, each containing eight lines. It follows a regular
rhyme scheme, where every second line ends in a rhyme.

3. Summary of the poem

This is a lyric poem that shows the beauty of nature but highlights the speaker’s loneliness
as she has no one to share it with. Initially, the speaker praises the beauty of nature around
her by highlighting the various elements of nature (the morning sun shines brightly, birds sing,
and the earth is full of life) that make the morning beautiful. Despite the surrounding beauty,
the absence of the poet’s only child, a daughter, who died within a day of being born who can
no longer be touched or seen which leaves the speaker feeling empty/lonely/detached and
unable to fully enjoy the sunshine and song.

3. Title
The title of the poem evokes a feeling of warmth and happiness, as a "bright sunny morning"
usually symbolises life, hope, and positivity. However, there is an underlying irony because,
in the context of the poem, the speaker is grieving the loss of her child. The word "shining,"
which is often associated with being full of life or vibrant, is used metaphorically. The child
(her sun), once full of life, is no longer alive (no longer shinning).

4. Line by line analysis

Lines 1-2
 Setting: The poem begins with the morning sun, symbolising the start of a new day and the
promise of life.
 Figure of speech: The repetition of "green" emphasizes lushness and vitality, symbolising
fertility, life, and nature.
 Connotation: Willows often symbolise mourning or grief, which foreshadows the underlying
sadness that contrasts with the vibrant life around it.
 Punctuation: The comma here serves to slow down the reader, creating a pause that draws
attention to the vividness of the tree's green.
 These lines focus on the beauty of nature. It is a pleasant day ‘the sun is shining’.
 The sense of sight is sued to show the beauty of the morning.

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Lines 3 – 4
● Metaphor/Personification – the "golden sunbeam" is likened to a messenger, as though the
sun is actively sending out light. This adds to the mood of joy and entertainment because the
benevolent sun “golden” gives riches to the earth causing happiness.
● Diction: "Golden" connotes warmth, richness, and value, suggesting something precious.
● Connotation: Light often represents hope, life, and clarity, but in this case, there may be an
implied tension between light and the speaker’s emotional darkness.
Lines 5-6
● The beauty of nature continues on a sensory level, this time with the sense of sound
“fountain bubbles merrily”.
● The onomatopoeic word "bubbles" mimics the sound of water in motion, enhancing
the playful and joyful atmosphere. It vividly describes the fountain’s action as water
playfully bursts forth, contributing to a carefree and light-hearted mood in the scene.
This sound reinforces the sense of liveliness and movement in nature, reflecting the
surrounding beauty and harmony.
 Figures of Speech: Synecdoche – the "locusts" are part of the larger scene,
representing the movement and life of the natural world.
 Diction: "Spring" conveys sudden, energetic movement, adding vitality to the scene.

Lines 7 – 8
● Figures of Speech: Alliteration – the repeated "L" sounds in "life" and "light" create a rhythmic
flow, reinforcing the harmonious theme of nature's beauty.
● Diction: "Life," "light," and "sunshine" are all positive, universal symbols of growth, vitality,
and happiness.
● Connotation: These words emphasize the abundance of positive energy in nature, but they
begin to contrast with the speaker's emotional reality.

Line 9-10:

● Personification – the earth is "clothed," suggesting that nature wears its beauty like a
garment. "Beauty" is a simple yet powerful word that sums up the scene's aesthetic
appeal but also sets up a contrast with the speaker's inner turmoil.
● Every part of the world is covered “clothed” and “filled” in a beauty that makes the
poet happy.
● Schreiner was a South African Poet, so her reference to the “thorn trees”
contextualises the poem. The trees are also full of flowers and sense of smell is used
to show how their smell is pervasive “… load the wind with odours sweet and strong’.
● “… sweet and strong…” again alliteration is used to reinforce the strength of the
smell.
● Metaphor – the air being "filled with song" suggests that nature is so full of life and
music that it surrounds the speaker.
● Punctuation: The comma creates a pause before the next vivid image, allowing the
reader to absorb the sensory experience.

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 Lines 11 – 12
 Personification – "thorn trees load the wind," suggesting an active relationship
between nature and the elements.
 "Sweet" and "strong" refer to the scents carried by the wind, implying that the natural
world is both gentle and powerful.
 The period/full stop marks the end of this sensory experience, preparing the reader for
the emotional shift that follows.
Lines 13-16
● The poet’s tone attitude changes in these lines from happiness to melancholic.
● She mentions the sense of touch and sight, but is a touch she never has, or
someone she will never see.
● The repetition of the word ‘never’ emphasises that there is absolutely no possibility of
her being able to touch or see her child who died.
● Line 14: The semicolon connects this line to the next, showing that the following
questions stem from the same sense of longing and grief.
● She ends the poem with a bitter tone which is evident in the rhetorical question, asking
‘What is the point/use of experiencing a beautiful natural morning if there is no one to
share it with’.
● The anaphora of the rhetorical question in the last two lines— “Now what / Now
what?”—repeats the word “Now” at the beginning of both lines. This repetition
emphasises the speaker’s deep sense of loss and disillusionment. By repeatedly
questioning the value of sunshine, song, and light, the speaker underscores the
emptiness they feel in the present moment. The use of anaphora intensifies the
emotional weight, highlighting how the once-joyful aspects of nature now seem
meaningless without the presence of the lost loved one. It conveys the speaker’s grief
and sense of disconnection from the beauty of the world.
● "Light," previously a symbol of hope and life, now carries no meaning for the speaker,
who feels enveloped in darkness due to grief.

5. Themes
Grief and Loss:

The speaker reflects on the absence of her child, which transforms her perception of the
world. The beauty of nature becomes insignificant in the face of profound loss, and the poem
contrasts the lively, vibrant natural setting with the speaker’s deep sorrow.

Disconnection from Life:

Although nature is full of life and joy, the speaker feels alienated from these elements
because of their grief. The questions in the final lines—about the value of sunshine, song,
and light—emphasize the speaker’s emotional disconnection from the world.

6. Tone, mood and Intention

o The tone of the first 12 lines is cheerful/happy/positive/ joyful.
o Nature is beautiful and celebrated. The joyous tone creates a celebratory mood as the
speaker admires the bustling beauty of nature in the morning.
o In lines 13-16, she switches from enjoyment to resentful, bitter tone, and sorrow
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 which creates a sense of loneliness and frustration that she is alone, so what is the
point of the sun shining. The beauty is lost on her. Companionship is more valuable.
Intention:
The intention of the speaker is to express feelings of loss and loneliness in the midst of the
beauty of nature which is surrounding her. This juxtaposition highlights the disconnect
between nature's perpetual joy and the emotional turmoil experienced by the speaker.
7. Figurative language/ imagery

Figure of speech/
Line reference imagery/ Explanation in context
literary device
Line 2 Repetition It places emphasis on willow trees colour and
Repetition of purity of nature.
“green”
Line 3-4 Personification The sun bestows blessings on the planet and
brings joy and amusement emphasises the
beauty of the morning and contributes to the
development of a joyful/ enjoyable/ happy/
cheerful attitude.
Line 5 Onomatopoeia It is used to describe the action of the fountain
as water spurts a carefree mood is evident. The
morning personification is successful in
conveying a picture-perfect scene of the lovely
morning that highlights the sensation of
enjoyment and well-being.

Line 7 Alliteration Alliteration of “I” emphasis on the movement.

The recurrence of “I” (life and light) creates an
air of freedom and an unburdened life in the
joyful dawn.

Line 9 Personification The earth is dressed in her beauty and

adornments. The earth is personified and is
dressed in lovely garments. Every area of the
universe is clothed and filled with beauty that
the poet finds to be delightful.
Line 12 Alliteration Alliteration of “s” wonderful smells of the
morning- The alliteration emphasises how
powerful and pleasant the fragrance is. The
sibilant “s” sounds in song, sweet and strong
add to the Poems’ lyrical charm.
Line 15-16 Rhetorical question It challenges the reader to think about her
predicament: a lovely day spent alone with no
prospects of companionship. She does not find
comfort in her lovely surroundings.

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SENSORY EXPERIENCES:

Sense Imagery/Description Example from the Poem Explanation

Bright sunlight "The morning sun is This image evokes a clear,
shining" bright day, suggesting warmth
and positivity.
Lush greenery "The green, green willow The repetition emphasizes the
tree" vibrancy and freshness of
nature, creating a serene visual
landscape.
Sight Colourful elements "Yellow locusts" and The use of color adds richness to
"yellow thorn trees" the scene, enhancing the overall
beauty of the environment.
bubbling water sound "The Fountain bubbles The onomatopoeic word
merrily" "bubbles" creates a joyful, lively
sound, contributing to a carefree
mood.
Singing birds "The happy brown birds The mention of birds singing
sing" adds to the cheerful
atmosphere, symbolizing life
Sound and happiness.
Pleasant ambient "The air is filled with song" This phrase suggests an overall
sounds sense of harmony and joy in the
surroundings, enhancing the
mood.
Touch Warmth of sunlight "To dance upon my knee" This tactile imagery conveys a
sense of comfort and warmth,
creating a personal connection
to nature.
Smell Pleasant and strong "With odours sweet and This line evokes a sensory
scents strong." richness, suggesting the
presence of blooming flowers or
fresh earth, enhancing the
overall experience of the setting.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 Name one sense that is engaged in this poem. Give a quote to support
your answer. (2)

1.2 What figurative device is used in lines 3 and 4? Identify the device and
comment on its effectiveness. (3)

1.3 Explain the shift in tone from lines 1- 12 to lines 13-16. (2)

1.4 Discuss how the rhetorical question used in lines 15 and 16 assists the
message of the poem. (3)
[10]
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 ACTIVITY 3: Essay question

“In this poem, the poet recognises that enjoying something alone is a pointless experience”.
With reference to imagery, structure and tone, discuss this statement.

Your response should be in the form of a well-constructed essay of 250–300 words (about
ONE page). [10]

9. Suggested answers to activities

ACTIVITY 1

1.1 Sight- “sunbeams dance upon my knee”, shining on the green, green
willow tree”

OR

Hearing- “Fountain bubbles merrily”, “happy brown bird sings”

OR

Smell- “with odours sweet and strong” (2)

1.2 Personification - The sun beam moving on her skin looks as if it is dancing,
a happy movement. (3)

1.3 She switches from enjoyment to a sense of loneliness and frustration that
she is alone. She highlights her loneliness as she has no one with which
she can share the morning. (2)

1.4 A rhetorical Question engages a reader to think about the speakers’

attitude towards a particular thing. She wants the reader to wonder what
the point of it doing alone is. It is so beautiful in the sun, in the morning,
but if you are alone, it is pointless. (3)
[10]

ACTIVITY 3

1.1 The word ‘golden’ creates an impression that the morning is beautiful as it
is filled with warmth and richness. / The speaker feels blessed to be
embraced by the warmth of the sun.

1.2 Personification

1.3 The image reinforces the idea that the morning light has the power to
transform and beautify as it decorates the earth (‘clothed’) with a new
beginning. / The personification of the earth gives it a sense of life and
consciousness, making the natural world appear more relatable and alive
to the reader.

1.4 The speaker questions the meaning of the ‘sunshine,’ ‘song’ or ‘light’ in her
circumstance of grief and loss. The rhetorical questions highlight the
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 contrast of the beauty/happiness of these aspects of nature – ‘sunlight’,
‘song’ and ‘light’ in her own world of sorrow and despair. The poem
captures how deep emotional trauma – the loss of a child – cannot be
overshadowed by one’s surroundings; as the speaker finds no solace or
comfort in what she sees.

ACTIVITY 3

● In this poem, the poet conveys that enjoying beauty alone is ultimately futile,
highlighting the disconnect between external beauty and internal isolation.
● images of nature (e.g., “bubbling fountain,” “singing birds”) that evoke beauty but
contrast with the speaker’s loneliness.
● Ultimately, the poem illustrates that without shared experiences, the beauty of nature
loses its significance, leaving the speaker in solitude
● Imagery- all the imagery in the first 12 lines is positive
● They describe the beauty of the morning, the peace and joy “sunbeam dance upon
my knee”.
● The colours are ‘yellow and ‘golden’ colours symbolising happiness.
● The sense of sight, hearing and smell all reinforce the beauty of the morning
● “fountains bubbles merrily”
● “golden sunbeam”
● “happy brown bird sings”
● “odours sweet and strong”
● Although she can see, smell and hear she cannot see and touch this person,
“face” that she would like to share the morning with.
● Structure- The first 12 lines show her joy and bliss, but line 13 brings about a change
to her consideration of doing it alone.
● Tone bliss turns to frustration and sadness at being alone.
● She asked a rhetorical question about what the point is of doing it alone.
[10]

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IT IS A BEAUTEOUS EVENING, CALM AND FREE – William Wordsworth

1 It is a beauteous evening, calm and free;

2 The holy time is quiet as a Nun
3 Breathless with adoration; the broad sun
4 Is sinking down in its tranquillity;
5 The gentleness of heaven broods o'er the Sea:
6 Listen! the mighty Being is awake,
7 And doth with his eternal motion make
8 A sound like thunder—everlastingly.
9 Dear child! dear Girl! that walkest with me here,
10 If thou appear untouched by solemn thought
11 Thy nature is not therefore less divine:
12 Thou liest in Abraham's bosom all the year,
13 And worshipp'st at the Temple's inner shrine,
14 God being with thee when we know it not.

Glossary
Word Meaning
Adoration Deep love and respect
doth Does
tranquillity Calmly
Being God
walkest Walking
Awestruck Filled with wonder or astonishment
Thy Your
Solemn serious/genuine
Liest - lie lie
Abraham's bosom heaven (a place of comfort with God)
Shrine Place of worship

LINE QUOTED TEXT MODERN ENGLSH

1. It is a beauteous evening, calm and It is a beautiful, peaceful, leisurely night.
free;
2. The holy time is quiet as a Nun The hour of evening prayer services is as
3. Breathless with adoration; the broad hushed as a nun whose love of God takes her
sun breath away. The giant sun is setting calmly
4. Is sinking down in its tranquillity;

5. The gentleness of heaven broods o'er Heaven (the sky or God) seems to watch
the Sea: tenderly over the ocean.
6. Listen! the mighty Being is awake, Pay attention: God is at work here
7. And doth with his eternal motion make and his movements make an eternal,
8. A sound like thunder—everlastingly. thundering sound (i.e., the sound of the sea)

9. Dear child! dear Girl! that walkest with Oh, beloved little girl walking beside me:
me here,
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 10. If thou appear untouched by solemn If you do not seem awestruck in this setting, it
thought, does not mean you are any less spiritual by
nature.
11. Thy nature is not therefore less divine:

12 Thou liest in Abraham's bosom all the It is just that you feel divine comfort all the time,
year;
13. And worshipp'st at the Temple's inner and (as a child) have special access to the
shrine, holiest experiences;
14. God being with thee when we know it you feel God's presence even when we adults
not. are not aware of it.

1. Historical context

 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.
 Romantic Movement poets focused on the relation of human beings and nature, the
beauty of nature (spiritual connection), the power of nature and God and how nature
can be a source of inspiration, moral guidance or wisdom.
 He had a great love for Nature because it is God’s creation e.g., Nature, the sea, brings
tranquillity
 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.

2. Type and form

Type
● Petrarchan Sonnet / Italian sonnet form, consisting of 14 lines divided into an octave and a
sestet.

● Lyrical Poem: The poem is lyrical, meaning it expresses personal emotions or thoughts,
often in a reflective or introspective way.

Form
Octave:
 Octave (First 8 lines): This section introduces a theme or narrative.
 It describes the beauty of the evening, setting a serene and reflective tone.
 Rhyme scheme: ABBA ABBA.

 Line 9: Volta – the poet is changing perspective and tone.

Sestet:
 Sestet (Last 6 lines): This part provides the resolution or emotional reflection. Here, the speaker
comments on his relationship with his daughter and draws a parallel to God’s relationship with
Caroline (likely a reference to the speaker’s daughter, Caroline).
 The sestet also involves direct address to the daughter, personalising the tone.
 The rhyme scheme: CDECED

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3. Summary of the poem

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.
● On a beautiful evening, the speaker thinks that the time is “quiet as a Nun,” and as
the sun sinks down on the horizon, “the gentleness of heaven broods o’er the sea.”
● The sound of the ocean makes the speaker think that “the mighty Being is awake,”
and, with his eternal motion, raising an everlasting “sound like thunder.”
● The speaker then addresses the young girl who walks with him by the sea, and tells
her that though she appears untouched by the “solemn thought” that he himself is
gripped by, her nature is still divine.
● This poem is thought to have originated from a real moment in Wordsworth’s life,
when he walked on the beach with the daughter he had not known for a decade.
● William Wordsworth was fascinated by the innocence of children, and their natural
connection to nature; he viewed it as an expression of their deeper innocence that
they were not affected by the beauty of the natural surroundings the same way that
he was, were not moved to tears the same way that he was.
● Thus, he came to the conclusion that nature – to Wordsworth akin to the divine –
was lost when men grew older

4. Line by line analysis

LINE 1
It is a beauteous evening, calm and free,

• Describes the poem’s setting: a calm, beautiful evening, complete with a lovely
sunset
• beauteous synonym for beautiful
• The atmosphere is very peaceful and tranquil. A person is completely at ease, no
worries or stress.
• evening – is often the gentle and quiet time of day.
• calm – suggests a mood that is peaceful, tranquil and utterly quiet.
• free – implies free of stress/worries/pain.

LINE 2
The holy time is quiet as a Nun

Personification and simile add a religious element to the poem.: “holy time” (the evening)
refers to the time of evening worship in some Christian denominations - is compared to a Nun
that is quiet as she is in prayer. She is close to God. She loves God.

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 LINES 3-4
Breathless with adoration; the broad sun / Is sinking down in its
tranquillity;

• Breathless – cannot even hear her breathe. This emphasises the silence. Just as the
nun is ‘breathless with adoration’ so does the feeling of this time and place take
away the poet’s breath with awe at the beauty of God’s creation.
• The speaker links the beauty of Nature to God, the creator of Earth and its beauty.
• the broad sun – As the sun sets it seems to become a large orange-red ball and the
colours of sunset stretch out across the
• horizon. This adds to the serene, peaceful atmosphere.

LINE 5
The gentleness of heaven broods o'er the Sea;

• Personification – heaven- here is “sky” described as being gentle. This adds to the
peaceful atmosphere.
• The gentleness of heaven – The sea is reflecting the skies/Heaven. It is calm and
gentle. It is beautiful and Godly.
• Broods – Contemplates deeply: heaven seems to watch over the sea below.
Figuratively God is watching over the world.

LINE 6
Listen! the mighty Being is awake,
● Listen – is a command and the exclamation mark intensifies it and indicates the
excitement of the speaker. A very quiet moment is broken by this imperative order.
The poet wants his companion to be an active participant in the scene.
● mighty Being – Literally refers to the sea. Figuratively refers to God. The capital letter
in Being implies that 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.

LINE 7
And doth with his eternal motion make

● doth – does
● eternal motion – God and the sea are eternal and will go on for ever
● motion make – the constant movements of the waves emphasise the thunderous
sound of the sea

LINE 8
A sound like thunder—everlastingly.
• Simile: breaking waves sound like thunder. Indicates power of nature and God The
thunderous sound of waves contrasts with the calm and quiet of lines 1-3.
• The dash creates a pause and emphasises the word which follows – everlastingly-
constantly. Without the pause there would not be such a strong emphasis. It is the
end of the octave, but it indicates that God’s creation, and, by inference, God, is
forever

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 LINE 9
Dear child! dear Girl! that walkest with me here,

• Dear child! dear Girl! – is said in a loving tone. He expresses his love and adoration
for his daughter.

LINES 10-11
If thou appear untouched by solemn thought, / Thy nature is not
therefore less divine:

• untouched by solemn thought – She seems oblivious to the beauty around her.
• Wordsworth tells his daughter that although she doesn’t seem to have been affected
by the depth of feeling in the scene, he can assure her that it makes no difference to
what is true. Even if she doesn’t know or understand it now, she is still made of the
same ‘divine’ material as all creation. Even if she is not touched by the beauty of the
scene, it does not mean she is removed from God or less spiritual.

LINE 12
Thou liest in Abraham's bosom all the year;

• in Abraham's bosom – Metaphor – refers to heaven: Like a father holds a baby to

protect it, the girl is unknowingly protected by God.
• all the year – at all times. God is always present to protect her.

LINE 13
And worshipp'st at the Temple's inner shrine,

• the Temple's inner shrine – Reference to nature: even if she does not express
devotion to God or spend time in a physical place of worship (like a church), God is
always present in nature.

LINE 14
God being with thee when we know it not.

• Assonance (repetition of the ‘e’ sound in being, thee, we) emphasises God’s
presence.
• God is with you, even if you are not aware of it.

5. Themes

 Beauty - The poet describes and expresses his appreciation for the beauty of God’s
creation in the natural world, particularly, the tranquillity of the sea and the setting sun.
 Relationships – the relationship between father and daughter /between man and
God /between man and nature.
 Childhood and faith – the poet states that children are innocent and have a special
connection with God.
 The power of nature and God.

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6. Tone, mood and intention

Tone
• Reverent/ Respectful
• Affectionate
• Amazed / awe / tranquillity

Mood
 Contemplative
 Calm/serene
 Spiritual
 Idyllic

Intention
• To celebrate the beauty of the natural world
• To appreciate the beauty of nature of life in general.
• Reflecting on the fleeting nature of life.
• Connect with the divine (natural world to the higher power).

7. Figurative language/ imagery

Figure of speech/
Line reference imagery/ Explanation in context
literary device
Personification and simile add a religious
element to the poem
“Holy time” (the evening) refers to the time of
Line 2 Simile evening worship in some Christian
denominations - is compared to a Nun that is
quiet as she is in prayer. She is close to God.
She loves God.
"Holy Time": The evening is described as "holy
time," which attributes a sacred or revered
Line 2
Personification quality to a period of the day. By personifying
this time, it suggests that the evening holds a
spiritual or divine significance.
Line 4 Personification "The broad sun / Is sinking down in its
tranquillity": Here, the sun is described as
"sinking down" and experiencing "tranquillity,"
which gives it human-like qualities of peace and
calm. The sun is depicted as having a serene,
almost contemplative quality as it sets,
reinforcing the mood of calmness and
reverence established in the previous lines.
Line 4 Alliteration The repetition of the “s” sound emphasises the
serene atmosphere as the sun is setting down.
Lines 5 - 6 Personification heaven- here is “sky” described as being gentle.
This adds to the peaceful atmosphere.
It also enforces the spiritual theme.
Line 6 Personification "The mighty Being": This phrase personifies a
divine or powerful entity (often interpreted as
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 God or a higher power) by attributing human
qualities to it. The term "mighty Being" suggests
a grand and powerful presence.
Line 7 Personification “Gentleness of heaven” has a Spiritual
Significance: By describing heaven in terms of
human qualities like gentleness, the poet
emphasizes the idea that the divine or spiritual
presence is benevolent and caring. It reinforces
the notion of heaven as a place of peace and
serenity.
Line 8 Personification breaking waves sound like thunder. Indicates
power of nature and God. The thunderous
sound of waves contrasts with the calm and
quiet of lines 1-3.

Line 9 Repetition The repetition of “dear” to focus the reader on

the subject (his daughter). This highlights his
love for his daughter. The exclamation marks
show the tone and depth of his love.
Line 10 Metaphor "Touched by solemn thought": In this context,
"touched" is used metaphorically to represent
being influenced or affected by serious or
reflective thinking. The metaphor implies that
being "touched" by solemn thought is like
having a physical mark or impression, even
though it’s an emotional or intellectual state.
What is compared to make this a metaphor
Line 12 Metaphor in Abraham's bosom –– refers to heaven: Like a
father holds a baby to protect it, the girl is
unknowingly protected by God.

8. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 What type of sonnet is ‘It is a beauteous evening, calm and free’? Justify
your response. (3)

1.2 Who is being addressed in this sonnet? (1)

1.3 What does the phrase "holy time" refer to? (2)

1.4 Why is the nun "breathless"? (2)

1.5 How can the sea have the gentleness of heaven on it? (2)

1.6 What is the purpose of the capital letter in ‘Being’ line 6? (2)

1.7 What is the function of the dash in line 8? (2)

1.8 What does the phrase "Abraham's bosom" refer to? (2)
[16]
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 ACTIVITY 2: Contextual questions

2.1 The poem is an Italian (Petrarchan) sonnet. Provide the general theme in
the octave and the sestet as set out by the poet. (2)

2.2 Explain the mood or atmosphere that is depicted in line 1. (2)

2.3 Refer to, ‘The holy time is quiet as a nun’ (line 2).
Account for the speaker’s use of the image in this line. (3)

2.4 In line 6, the speaker uses the word ‘Listen!’ to …

A reprimand his daughter.

B command the reader to pay attention.
C listen to the silence of the surrounds.
D assert his authority on his daughter. (1)

2.5 Comment on the impact of the simile in line 8. (2)

2.6 Account for the repetition of the word ‘Dear’ in line 9. (2)

2.7 Refer to lines 12 – 14: ‘Thou liest in … know it not’

Critically discuss how the diction in these lines conveys the speaker's
view about his daughter. (3)
[15]

9. Suggested answers to activities

ACTIVITY 1

1.1 Italian/ Petrarchan sonnet. It has an octave and a sestet, with a volta at
line 9. (3)

1.2 Caroline, the illegitimate child of Wordsworth, is addressed. (1)

1.3 It refers to the evening - the time of prayer. (2)

1.4 She is "breathless" because she is completely absorbed in her prayer to

God. (2)

1.5 The sea is reflecting the skies/Heaven. It is calm and gentle.

It is beautiful and godly. (2)

1.6 Although the speaker is referring to the sea, the capital links the sea to
God, the mighty Being. Both the sea and God are awake and eternal and
neither stop moving. (2)

1.7 The dash creates a pause and emphasises the word which follows-
everlasting. This states again that God, like the ocean, is forever.

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 (2)

1.8 Refers to the place of comfort in the Bible where the righteous dead await
Judgement Day. (2)
[16]

ACTIVITY 2

2.1 In the octave, the speaker (poet) expresses his strong belief in the natural
God- made beauty of life. In the sestet, the poet addresses his daughter
and tells us about the special relationship that children have with God and
their faith. (2)

2.2 The words ‘beauteous’, ‘calm’ and ‘free’ create a beautiful, peaceful and
leisurely serene atmosphere. The word free suggests free from
stress/pain/busyness. (2)

2.3 The speaker uses the simile to compare the evening, which is prayer time,
to a nun who is silent or breathless as she is completely absorbed in her
prayer to God. This comparison emphasises the silence and tranquillity of
the evening. (3)

2.4 B (1)

2.5 The sound of the ‘sea’ is compared to that of the thunder, highlighting its
power. The speaker commands his daughter to listen to this sound, which
emphasises the power of God and Nature.
(2)

2.6 The ‘Dear child or dear girl’ is Caroline, the illegitimate child of
Wordsworth. The word ‘Dear’ indicates the speaker’s deep affection for
his daughter. (2)

2.7 The speaker views his daughter as pure, innocent and closely connected
to God and nature. ‘Abraham's bosom’ refers to a place of comfort in the
afterlife. ‘The Temple's inner shrine’ suggests that she has the highest
and closest possible connection with God. He further states ‘God being
with thee when we know it not’ meaning his daughter experiences the
presence of the ‘divine’ even when adult (‘we’) do not feel it at all.
(3)
[15]

103
FERN HILL – Dylan Thomas

1 Now as I was young and easy under the apple boughs

2 About the lilting house and happy as the grass was green,
3 The night above the dingle starry,
4 Time let me hail and climb
5 Golden in the heydays of his eyes,
6 And honoured among wagons I was prince of the apple towns
7 And once below a time I lordly had the trees and leaves
8 Trail with daisies and barley
9 Down the rivers of the windfall light.

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

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

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

28 And then to awake, and the farm, like a wanderer white

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

37 And honoured among foxes and pheasants by the gay house

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

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

Glossary

Word Meaning
Easy Relaxed; easygoing;
Lilting It can mean both singing and a certain quality of accents that seem to go up
and down in a songlike manner. In this poem the speaker suggests that
there's something songlike about the house.
Dingle A forested valley
Hail Hail is an old-fashioned word that canmean to call out to someone in greeting
or refer to where someone comes from.
Heydays The best days of someone's life
Honoured revered, celebrated, popular
Lordly Like a lord—that is, a king or ruler, or even a god.
Barley A type of edible grain
Windfall a stroke of luck.
Sabbath The holy day in Christianity and Judaism, commemorating God's day of rest
after creating the world.
Bearing Carrying
Nightjars Nocturnal birds that feed on insects.
Ricks Stacks of hay
Cock A rooster or a male chicken
simple light God's creation of light, which seemed simpler at the beginning of the world
spinning place the speaker may be referring to the Garden of Eden
Whinnying Neighing.
Pheasants A colourful ground bird, similar to a chicken or turkey
Gay Happy.
Heedless Not paying attention
Trades Skilled work, such as carpentry or mechanics
Grace A state of being close to God's love.
Swallow A type of small bird
Thronged Filled with crowds

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1. Historical context

Dylan Thomas, in full Dylan Marlais Thomas, (born October 27, 1914, in
Swansea, Glamorgan. A Welsh poet and prose writer whose work is known for its comic
exuberance, rhapsodic lilt, and pathos. He died November 9, 1953, New York.
Dylan’s mother was a farmer’s daughter, he had a country home he could go to when on
holiday. It is set on Fern Hill, just outside Llangain in Carmarthenshire, the farm owned by
Dylan Thomas' aunt, Annie.His poem “Fern Hill” (1946) describes its joys. In it, he reminisces
about his joyful childhood and reflects upon the inevitability of aging. “Fern Hill” is an
arcadian poem, meaning that it describes the beauty of the countryside in an idyllic way

2. Type and form

Type:
Arcadian/Elegiac Lyric: "Fern Hill" is both Arcadian and elegiac. It is Arcadian because it
idealizes the natural beauty and joy of the countryside, reflecting on a time of innocence and
peace. It is elegiac in tone, as it mourns the loss of that innocence and the inevitable approach
of aging and mortality.
Overall, "Fern Hill" is a reflection on the passage of time and the bittersweet nature of
memory, capturing the joy of youth and the melancholy realization of its fleeting nature.

Form:
Structure: The poem consists of six stanzas, each with nine lines.
Meter: The meter is irregular, with a mix of iambic and anapaestic rhythms, contributing to
the poem's musical quality and the sense of fluidity and nostalgia.
Rhyme Scheme: The rhyme scheme is also irregular. While there is some rhyming and half-
rhyming, it doesn't follow a consistent pattern throughout the poem.

3. Summary of the poem

The poem begins with the speaker happily reminiscing spending time outside in a picturesque
landscape with green grass, apple trees, and a sky filled with stars where he feels like royalty
--a “prince.” He highlights his adventures as a youth, recalling how he acted as both a
“huntsman and herdsman” and he also states that time allowed him to play in the sun “once
only”—this is the first clue that this happiness of childhood will not last.

All the way through the first three stanzas, the speaker continues to share his detailed
memories of his adventures and their landscape. He rules his natural dominion, referring to
himself as "prince of the apple towns" and "famous among the barns," He makes it seem as
if he is alone in this natural world along with the animals.

In the second stanza, he elaborates on his adventures as a "green and carefree" boy, his
greenness (or youth) matching that of the landscape. He repeats the phrases "time let me
___" and "golden in the ___ of his ___," beginning lines with them just as he did in the first
stanza.

In the third stanza, he continues his detailed elaboration on the landscape, getting caught up
in his descriptions as he lists thing after magical thing, beginning several lines with "and..."

In the fourth stanza, he compares witnessing the coming of the day to Adam and Eve in Eden
and God creating the universe.
106
 In the final two stanzas the speaker begins the poem’s ending tone of regret, as the speaker
begins, with the phrase "nothing I cared," to describe himself as "heedless," indicating his
later regret. The speaker ends the poem lamenting his carelessness and mourning the loss
of his childhood and innocence, beginning the stanza by repeating the phrase "nothing I
cared" from the previous stanza.

4. Line by line analysis

Stanza 1

LINE1
Now as I was young and easy under the apple boughs

"Now" is interesting because it evokes the present tense, while the rest of the poem is in the
past tense ("I was") the poem begins with the speaker's memory of a typical day at Fern Hill.
The speaker lounges "under the apple boughs.

LINE 2
About the lilting house and happy as the grass was green,

"Lilting" means singing or speaking with a gentle rising-and falling sound. A house that sings
suggest something magical, where a house can be so wonderful that it sings. The simile
"happy as the grass was green" suggests that the intensity of the speaker's happiness
matches the vividness of the grass. An emotion (happiness) and a color (green) can be
compared to each other. This comparison suggests that the speaker's inner world of emotions
and outer world of natural sights are mixed up to heighten a beautiful version of reality.

LINES 3-5
The night above the dingle starry,
Time let me hail and climb
Golden in the heydays of his eyes,

In line 3 the comparison between the speaker's happiness and the natural world continue...”
A dingle” is a forested valley. It suggest that the speaker had as much happiness as the sky
had stars.
In line 4 "Time" appears as a godlike figure, personified. This metaphorical description
suggests the whole landscape of the speaker's childhood is like an "eye".
"Golden" also suggests the idea of a "golden age," or a time of particular joy. A heyday is a
period of time when something or someone was at their best. This creates the image of a
young, "Golden" child climbing in giant, godlike eyes. This captures the adventure and joy of
childhood.

LINES 6
And honoured among wagons I was prince of the apple towns

"Wagons" and "apple towns" aren't usually associated with royalty, but the speaker feels
princely around them. The speaker evokes the magic of being a kid on a farm. This captures
the essence of how children are capable of transforming humble things like ‘Wagons’ and
‘apple towns’ with their imaginations.

107
Line 7
And once below a time I lordly had the trees and leaves

The phrase "once below a time" is more commonly used as "once upon a time." It suggests
that the speaker is trying to remember a memory. The word "lordly" refers to God. Just like
God walking through the Garden of Eden, the speaker also creates life and beauty wherever
he goes.

Line 8 and 9
Trail with daisies and barley
Down the rivers of the windfall light.

These flowers and grasses create a path "Down the rivers of windfall light." The word
"windfall" refers to apples that have been knocked to the ground by the wind, this inturn
creates a "windfall" that describes the light, this light in turn becomes a river. a whole crowd
of apples, gleaming in the light, rolling down a hill like a river.

Stanza 2
The second stanza mimics the first stanza in several ways. The speaker talks about
how happy childhood was before again invoking "Time" as a godly figure.

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

The word "green" describes being youthful and inexperienced. This comparison links children
with nature, suggesting that children and plants are not so different. The speaker compares
the joy of running around in nature to a princely feeling, to being "famous among the barns."

LINE 11
‘About the happy yard and singing as the farm was home,’

The speaker repeats the word "happy," and singing echoes “lilting” in Stanza 1. These.

LINE 12
‘In the sun that is young once only,’

This mirrors how people only get to be young once; growing up is permanent.

LINE 13
‘Time let me play and be’

Line 13 re- emphasises how time allows the joys of youth to exist in the first place, the speaker
also hints out how those joys are fleeting.

LINE 14
‘Golden in the mercy of his means’

Time allows people only as much childhood as it can afford to give them.

108
LINE 15
‘And green and golden I was huntsman and herdsman, the calves’

The speaker repeats "green and golden" These words echo a joyful, royal, magical, idyllic
feeling. The speaker compares this feeling to being "huntsman and herdsman," The speaker
does not really hunt or herd animals, rather animals respond to the speaker as if he has
importance in their world.

LINE 16
‘Sang to my horn, the foxes on the hills barked clear and cold,’

The use of alliteration in lines 15 and 16 "green and golden," "huntsman and herdsman," and
"clear and cold" contributes to the feeling of harmonious connection to the speaker and the
animals around him. Capturing the speaker's enthusiasm for being out among calves and
foxes.

LINE 17 AND 18
‘And the sabbath rang slowly’
‘In the pebbles of the holy streams’.

The suggestion that the Sabbath "rang slowly / In the pebbles “is a metaphor. The speaker
compares a holy day to a ringing sound, like a church bell. Thus the ringing sound seems to
come from the tiny stones at the bottoms of streams. This description suggests that the
speaker doesn't just view few Fern Hill as a place of childhood fun, but also as a holy place.

STANZA 3

In the third stanza, the speaker again begins by evoking fun times at Fern Hill,
emphasizing how the farm's landscape is part of that fun:

LINE 19 AND 20.

All the sun long it was running, it was lovely, the hay

The phrase "All the sun long" means that The repetition of "it was" then refers to what things
were like for the young speaker.

LINE 20
Fields high as the house, the tunes from the chimneys, it was air

The speaker runs through fields of grass that has probably grown taller than the speaker.
“high as a house “tunes from the chimneys." This echoes the phrases "lilting [singing] house"
and "singing as the farm was home" The sight of smoke from the chimneys connects with the
sound of music. The smoke seems like beats or streams of ‘tunes’.

LINE 21
And playing, lovely and watery

The following words "playing," "lovely," and "watery," makes the air seems like a kind of water
full of wonderful things. It also suggests that the child's play is flowing and fluid; something
that feels easy and endless.

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LINE 22
And fire green as grass

The speaker states that the fire itself is as green as the grass. This simile captures how vivid
childhood and his memories of childhood.

LINE 23
And nightly under the simple stars

Day turns to night. This creates a feeling of everything dissolving together in the darkness.

LINE 24
As I rode to sleep the owls were bearing the farm away,

The speaker does not fall asleep, but rides to sleep. As owls take flight, "bearing the farm
away", it carries the whole farm with them. They also seem to carry the speaker away as he
falls asleep, allowing his body to fly away with owls.

LINE 25-26
All the moon long I heard, blessed among stables, the nightjars
Flying with the ricks,

The whole night long the speakers hears the sounds of night. He hears the sounds of (‘Night
jars’), as well as horses in the stables. The use of the word "blessed", subtly hints at a
religious undertone. The nightjars are "blessed" by God as he looks after them.

LINE 27
Flashing into the dark.

This imagery evokes the light of the moon gleaming on horses' hair, making them majestic
as the go into the stables to sleep

LINES 28
And then to awake, and the farm, like a wanderer white

The farm awakens as light shines on it. The speaker personifies the farm as "a wanderer
white. Here the farm is personified as a traveler.

LINE 29
With the dew, come back, the cock on his shoulder: it was all

With dew," a traveler suddenly appearing after the night. This traveler has a "cock [a rooster]
on his shoulder," suggesting how the day on the farm begins with a rooster crowing at dawn.
With dew everywhere, the farm gleams with light.

LINE 30
Shining, it was Adam and maiden,

The speaker creates a biblical allusion. The speaker says, "it was Adam and maiden." This
refers to the story of Adam and Eve in the Bible. By using this allusion the speaker implies
that Fern Hill is like the Garden of Eden, a paradise where a child feels at one with the natural
surroundings.

110
LINE 31 AND 32
The sky gathered again
And the sun grew round that very day.

In these lines it is as if the speaker is witnessing the creation of the sky. It's just another
morning on the farm; the sun "grew round" reflects the way it takes its shape as it rises above
the horizon. When the speaker was a child, even regular mornings felt like it was the
beginning of the world.

LINE 33
So it must have been after the birth of the simple light

This lines refers to a biblical phrase ("And God said, Let there be light: and there was light.")
This is first step in the creation of the world, according the Bible.

LINE 34
In the first, spinning place, the spellbound horses walking warm

The speaker connects images from the farm with those of Eden. The horses and their stable
are familiar from the previous stanza, where they were "Flashing into the dark" of night. Now,
the speaker imagines these horses as the first horses in the world.

LINE 35 AND LINE 36

Out of the whinnying green stable
On to the fields of praise.

The horses walk out of their "green stable" (note that word again, "green") and "On to the
fields of praise." The horses walk "spellbound"—that is, mesmerized—into fields that are full
of such praise. In the beginning all the creatures in the world praised God, yet another
example of relation to God and Religion

LINE 37
And honoured among foxes and pheasants by the gay house

The speaker is frolicking all over the farm, the farm is still portrayed as ‘happy’

LINE 38
Under the new made clouds and happy as the heart was long,

The speaker heightens the description of happiness with a new simile: "happy as the heart
was long." this suggests that the young speaker has a big heart and that it's full of happiness.

LINE 39
In the sun born over and over,

The sun is reborn this suggests that every day at Fern Hill was like the first day of the world.
The speaker continues to address the allusion to the Garden of Eden and its comparison to
Fern Hill.

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LINE 40 AND 41
I ran my heedless ways,
My wishes raced through the house high hay

The speaker is still frolicking all over the farm, saying, "I ran my heedless ways."
The speaker also repeats the "high hay" which has grown as tall as the house. This captures
a feeling of happiness/elation, which is matched by the image of "house high hay’

LINES 42
And nothing I cared, at my sky blue trades, that time allows

"sky blue trades" suggests that imaginative tasks that children often get up to., such as being
a carpenter or mechanic. Busy with such "trades,"

LINE 43
In all his tuneful turning so few and such morning songs

The phrase "tuneful turning" suggests that the turning of the planet, the cycle from night to
day is the music of time. "These "morning songs" are a metaphor for childhood, if a whole life
is compared to a day, then childhood is like the morning.

LINE 44 and 45
Before the children green and golden
Follow him out of grace,

"In Christianity, "grace" is an important concept. In most religions. In the context of this poem,
it suggests the closeness to the natural world that the speaker felt as a child, the feeling that
everything was "blessed. The speaker has to "Follow" time out of childhood.

LINES 46 and 47
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,

Meanwhile, the speaker's trip to the "swallow throng loft" (i.e., an attic full of birds), suggests
some kind of initiation/ transition that leads the speaker into the world of adulthood. The
swallows could symbolize any number of experiences that begin to alter a child's innocence.
Thus emphasizing being led not by the hand, but by "the shadow … hand".

LINES 48- 51
In the moon that is always rising,
Nor that riding to sleep
I should hear him fly with the high fields

The speaker wakes up one morning and all the joy has been sucked out of the world. Looking
back on one's life, it can feel like childhood suddenly ended, especially if adult life seems
especially miserable. That's how the speaker feels. For this speaker, there's a huge difference
between being a child and being an adult, all the magic of childhood is gone.

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 LINES 52-53
Oh as I was young and easy in the mercy of his means,
Time held me green and dying

In the final three lines of the poem, the speaker offers a succinct lamentation for the end of
childhood.
childhood was great but short. The speaker is still "green,” inexperienced, this suggests that
people do not necessarily become wiser even though they grow older. This could also mean
that children have to experience adulthood and death even before they are ready—before
they've really grown up.

LINE 54
Though I sang in my chains like the sea.

The "chains" However in though the speaker is chained he still sang out.

5. Themes

Childhood's joy and innocence

“Fern Hill” is a celebration of childhood.

The harmony and wonder of nature

The speaker's childhood joy is very closely linked to his experiences whilst playing outside.
Childhood happiness, the poem suggests, comes in part from feeling a strong sense of
connection with the natural world.

The power of time

Throughout the poem “Fern Hill,” the presence of time is evident. Time grants the speaker a
short period of
childhood happiness, yet it also emphasises that nothing lasts forever and that all pleasures
come to an end.

The end of childhood grace

When time and nature runs its course, the poem implies, that children grow up, losing the
“grace” of childhood. According to Christianity, grace is the experience of God’s love and an
awareness that all of God’s creations are good.

7. Tone, mood and intention

In the first five stanzas it is joyful, as he describes his happy childhood surroundings, and
actions. While in the last stanza it is sorrowful because he tells the listener that he is now
chained by time, and has grown older, but still sings joyfully, just like he did in his youth.

The poem brims with positive descriptions of the speaker's childhood at Fern Hill (an aunt's
farm that Thomas often visited as a child), indicating how the speaker looks back on these
experiences as a time of joy and innocence.

The tone of the poem is honest, and the narrator openly reveals the desires he has through
remembering the landscapes of youth. This is seen in line one which reads "I was young
and easy" while line 19 states “it was lovely"

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 Generally, the tone of a speaker is found by closely examining the diction and syntax in a
piece of writing. In Dylan Thomas' "Fern Hill," studying the diction in the poem (the
word choice, in other words) should learly show you that the tone is idealistic and nostalgic.

"Fern Hill" is essentially a look back at childhood, and most of the language is playfully
infused with a sense of magic. Take, for instance, the first five lines of the poem:

Now as I was young and easy under the apple boughs

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...

Notice the nostalgia inherent in phrases like "happy as the grass was green" and "Golden in
the heydays of his eyes." Additionally, notice the playful diction, such as "lilting house" and
"the dingle starry." Thomas' diction signals two things: first, this is an examination of a
child's perspective, as the word choice clearly reflects a child's perception of the magic
inherent in everyday life. Second, this perspective is viewed through a lens that is primarily
nostalgic for the loss of a magical childhood.

Accordingly, it's apparent that the speaker laments the loss of childhood, and it's clear that
there is a certain vibrant quality that is lost once childhood passes. As a whole, the poem is
largely also lamenting the passage of time, as is evidenced by the last few lines: "Time held
me green and dying / Though I sang in my chains like the sea" (44-5). In this passage, it is
obvious that Thomas is reflecting on the passing of time with sadness and yearning for
days of happy and carefree youthfulness.

7. Figurative language/ imagery

Line reference Figure of speech/

Throughout the imagery/ Explanation in context
poem literary device
Rhythm Throughout much of the poem, a gentle rhythm
carries the reader along like the boy enjoying the
summer. The sharp break in rhythm in the last
line is a rude awakening to the demands of time
and that childhood has ended.

Repetition Most of the poem's repetition simply consists of

repeated words that reflect the poem’s ideas.
Note how the speaker returns again and again
Throughout the
throughout the poem to the words "house,"
poem
"time," "green," "young," "happy," "sun," "moon,"
"hay," "field," "farm," "horses," and "sky." From
this repetition alone, it's easy enough to see that
the poem has something to do with joy, youth,
and the natural world. That the speaker keeps
returning to the same words suggests how strong
and vivid his memories are.

The most obvious repeated words in the poem

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 are
"green," "golden," and sometimes "green and
golden.
" The color "green”, refers to the inexperience
and innocence children, while also capturing their
connection to nature. "Golden," meanwhile,
captures the magic and majesty of childhood.
Alliteration is an extremely important part of "Fern Hill." It
adds to the poem's musicality and it creates an
almost chant-like sound, leaving the reader
"spellbound" by the poem's extravagant music.
"eg: And wake to the farm forever fled from the
childless land," "My wishes raced through the
house high hay"- This alliteration briefly speeds
up the rhythm of the poem and help to make us
think of play or breathless speed.

The second stanza contains some of the poem's

most intense alliteration:

In this stanza, the speaker first expresses the joy

of feeling like all the animals respond to the
speaker. The phrase, "And green and golden I
was huntsman and herdsman," with its repetition
of /h/ and /g/ sounds, captures the speaker's
excitement.

"the sabbath rang slowly / In the pebbles of the

holy stream." The delay of the last /s/ sound
suggests time slowing down to a standstill, a
sense of peace at the end of the stanza.

In the last stanza, the phrase "the farm forever

fled from the childless land" conveys the sudden
sadness at realizing that childhood is over
forever. The repeated /f/ sounds suggest that the
speaker speaks this line emphatically and
sorrowfully, spitting out these words in sadness
and frustration.

The final lines, "Though I sang in my chains like

the sea," have an even more sorrowful, wistful air
to them. These /s/ sounds again convey a sort of
slowing down. This time, however, they don't
convey any sort of peace, but rather an
experience of intense melancholy, even
suffering.

Assonance contributes to the musical rhythm of "Fern Hill."

The first and last stanzas are some of the most
assonance heavy. This creates a melodic feel,

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 almost as if this were the beginning of a
reminiscent folk song. The assonance continues
throughout the stanza, the subsequent rhythm
and melody reflecting the joy of the speaker's
youth.

Take lines 4-5, with their clear repetition of long

/i/ and /ay/ sounds:

Time let me hail and climb

Golden in the heydays of his eyes,

Similarly, the last two lines employ a great deal

of assonance:

Time held me green and dying

Though I sang in my chains like
the sea.

The long /i/, /ee/, and /ay/ sounds again make the
poem feel vividly lyrical. This time,the melody is
a lot sadder. The speaker mourns the loss of
childhood.

Consonance "Shining, it was Adam and maiden" — The

repetition of the "m" and "d" sounds is pleasing
and helps to make the text flow by, just as time is
flowing by in a carefree way.

Onomatopoeia "Out of the whinnying green stable" — This

device helps us to hear the sound in a way that
goes beyond mere description: it helps us to
share the experience of the boy in the poem.

Personification The speaker's uses personification in "Fern Hill"

to compare time to a godlike figure. The speaker
invokes time as a powerful force that both allows
people time to be children and then takes it away.

In these examples of personification - "Time let

me hail and climb / Golden in the heydays of his
eyes." Time is depicted as an a powerful figure
who allows the speaker to be a child, however it
clear that what time gives it will take back.
The speaker says, "time allows / In all his tuneful
turning so few and such morning songs." The
speaker in these lines have personified ‘Time’ as
making music; this music is the days of people's
lives.

If a whole life were compared to a day, then

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 childhood would be its "morning." Just a few
morning songs, and then it's on to the dreary
music of adulthood.
In these ending lines, time would take me / Up to
the swallow thronged loft the shadow of my
hand."time is not that merciful.

This moment captures the feeling of being

inducted into a new adulthood world from which
there is no going back to the innocence of
childhood.

The speaker has also personified the personified

in the fourth stanza, comparing it to "a wanderer
white / With the dew, come back." At dawn, the
farm reappears in the early light like a traveler
who has just arrived. Covered in the dew drops,
the farm gleams as white as "the lamb white
days," that the speaker invokes in the final
stanza.

In the final lines, the speaker says, "Time held me

green and dying / Though I sang in my chains like
the sea." Here, the speaker is simultaneously
young and old, "green and dying." Time holds the
speaker in this state of both life and death.
Simile "happy as the grass was green" in stanza 1,
"fire green as grass" in stanza 3, and "happy
as the heart was long" in stanza 5. These three
similes are interlinked and convey a sense of
childhood's vivid joy. First, the speaker compares
the intensity of childhood happiness to the
intensity of the grass's green.
The speaker says that the fire is green, just like
grass. It might imply that the grass is like a green
flame, evoking the intense beauty and magic that
children are capable of perceiving in the natural
world.

"happy as the heart was long" is another simile

from stanza three, the simile here suggest that
the speaker's heart has grown long, just like the
hay. The height of the heart corresponds to the
speaker's happiness, as if the longer the
heart/hay, the happier the person.
Metaphor In the poem Fern Hill metaphors are used to
transform personal memories into much more
general and exquisite imagery. For instance, in
the third stanza, the speaker references "tunes
from the chimneys." Here, the speaker compares
the smoke from a chimney to "tunes"—that is,
music. This magical image transforms an

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 ordinary sight into something wonderful and
joyful. It captures how children find magic and
happiness in ordinary things. The speaker uses a
sort of imaginary effect to describe falling asleep,
comparing it to "riding to sleep." In the third
stanza, this connects with the speaker's
description of owls taking flight at night.
The speaker also combines the personification of
time with Metaphors. For an example the speaker
states.
"Time let me hail and climb / Golden in the
heydays of his eyes."
‘Time’ in this incident is personified as a giant,
godlike figure whose eyes the speaker can climb
in. The speaker also compares these eyes to
"heydays"— which is the best days the speaker
ever had as a child. The speaker also
metaphorically compares being a kid to being
"Golden," which suggests a feeling of joy and
specialness.
Allusion The speaker alludes to Christian stories and
beliefs throughout the poem. The most prominent
allusion is to the biblical story of Adam and Eve,
who lived in the Garden of Eden. The speaker
compares childhood to Adam and Eve's
experience in Eden. For the speaker, childhood
was just like that, it "was Adam and maiden."
Every morning was like the creation of the world
Symbolism Fern Hill is not named anywhere in the poem
except the title. However, every line in the poem
unpacks the farm's symbolic resonance, whether
capturing the speaker's childhood joy, or hinting
at how the passage of time would eventually
cause that joy to be lost.

WHITE
The colour white often represents innocence, and
here it captures.
the role the farm played in the young speaker's
innocent perception of the world. At the beginning
of the last stanza, the speaker uses white in a
more overtly symbolic manner: ‘in the lamb
white days’ ,A lamb is white and in Christianity
symbolizes innocence –
the reference to the innocence of Jesus, which is
sacrificed. The speaker's innocence is like that
too and it is eventually sacrificed to make way for
adulthood.

GREEN AND GOLDEN

Colour plays as important to the poem as green
and gold. Green symbolizes youthful

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 inexperience. Green is often used as an idiom to
mean inexperienced, comparing a child to a
green sapling. In the poem, "green" captures how
inexperienced children really are like sprouts.
Gold symbolizes the joy and magic of childhood.
"Golden,” meanwhile, captures the majesty of
childhood. It first appears in the first stanza: The
phrase "prince of the apple towns" gives a sense
of how the speaker means for "golden" to be
taken. It captures the specialness the speaker felt
being out in the world as a young child, of feeling
like royalty amongst humble things.
Golden also suggests the joy and magic of
childhood.
The colours "green and golden" symbolise how
inexperienced and youthful imagination
intertwine together to create childhood's best
memories.
Enjambment Fern Hill" uses a good deal of enjambment,
adding to the poem's energetic recollections of
childhood. For example, lines 1-2 and 7-9:

Now as I was young and easy under the apple

boughs About the lilting house and happy as the
grass was green,
[...]
And once below a time I lordly had the trees and
leaves
Trail with daisies and barley Down the rivers of
the windfall light.

9. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 What is the main idea of "Fern Hill?"

(2)

1.2 What does the speaker in "Fern Hill" mean when he says he sang in his
chains? (2)

1.3 How is childhood glorified in Dylan Thomas's poem "Fern Hill" (2)

1.4 How does Thomas explore nostalgia in "Fern Hill"? (3)

1.5 Comment on the alliteration used in stanza 2? (3)

[12]

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 ACTIVITY 2: Contextual questions

2.1 What effect does the poem’s ending in the “sea” have? (3)

2.2 What is the speaker’s tone and lament in Dylan Thomas’s “Fern Hill”?
(3)

2.3 What does the speaker mean by “he sang in his chains” in “Fern Hill”?
(2)

2.4 What negative aspects of childhood does Dylan Thomas touch on in “Fern
Hill”? (2)
[10]

ACTIVITY 3: Essay question

In the poem Fern Hill, Dylan Thomas glorifies his childhood on the farm, through positive
imagery.
With clear reference to imagery, diction. Write an essay of 250-300 words discussing his
child hood on the farm [10]

ACTIVITY 4: Essay question

Alliteration is an extremely important part of "Fern Hill." In an essay of 250- 300 word.

Critically discuss the importance of this poetic device in highlighting the melodic nature of
the poet’s experience on the farm as a child. [10]

9. Suggested answers to activities

ACTIVITY 1

1.1 In "Fern Hill," Dylan Thomas describes a happy childhood spent blissfully
unaware that his time, like all living things, is limited. He will one day die, but
he is perfectly happy at the farm before he comes to understand this truth.
(2)

1.2 The speaker sings in his chains because he is unaware that death awaits
everyone. He does not realize that his lifetime is constrained by time,
depicted as chains in this line. (2)

1.3 Childhood has been glorified in "Fern Hill" through positive imagery of the
author's childhood life and the happy, yet reminiscent tone throughout the
poem. (2)

1.4 Thomas presents the theme of nostalgia in "Fern Hill" by reminiscing about
his glorious childhood days from an adult point of view. First, he emphasizes
youth, innocence, vitality, and strength through the repetition of the colors
green and gold. Second, he describes how carefree and powerful he felt and
acted as a boy. Finally, Thomas reveals that as a youth, he did not
appreciate the beauty of his life until time took him out of this idealized world.
(3)

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1.5 In these lines, the speaker first expresses the joy of feeling like all the
animals respond to the speaker. The phrase, "And green and golden I
was huntsman and herdsman," with its echoing /h/ and /g/ sounds, captures
the speaker's excitement. Then, the speaker describes how the landscape
itself feels holy. The lines shorten and the alliteration begins to slow down,
mimicking how "the sabbath rang slowly / In the pebbles of the holy stream."
The delay of the last /s/ sound suggests time slowing down to a standstill, a
sense of peace at the end of the stanza.
(3)
[12]

ACTIVITY 2

2.1 The sea is compared to “chains,” making it a sort of prison. Though the boy
is able to travel freely in Fern Hill, seas are dominated by rough tides and
strong winds that determine one’s course of motion. Time in Fern Hill ends
up having a similar power: it controls the boy, despite his resistance. By
ending with the sea, Thomas acknowledges the darker impact nature can
have. (3)

2.2 The speaker’s tone is both celebratory and mournful. While he revels in the
beauty of his childhood experiences, there is an underlying sadness—a
lament for the fleeting nature of time. The poem captures the inevitable
transition from innocence to adulthood, leaving the speaker wistful and
reflective. (3)

2.3 The phrase “he sang in his chains” refers to the speaker’s joyful innocence
during childhood. The chains symbolize the constraints of time and
mortality. Even within these limitations, the speaker sang—celebrating life
and freedom—before realizing the weight of existence.
(2)

2.4 Despite the idyllic portrayal, Thomas subtly hints at the impermanence of
childhood. The passing of time, the loss of innocence, and the realization
that youth is ephemeral all contribute to a sense of melancholy. The poem
acknowledges that even the most magical moments are transient.
(2)
[10]

ACTIVITY 3

“Fern Hill” is a poem by Dylan Thomas. In this poem, the poet reminisces about his
childhood. We can see that in the first line, which reads “as I was young,” a clear indication
of the fact that the poet is talking about the time when he was a child.

He recreates his childhood by describing the physical surroundings of his memories in

detail, such as the “lilting house”, the “apple boughs” and the “daisies and barley,” which
help the reader to imagine the rural landscape in which the poem is set. This positive and
inviting description of his surroundings clearly create an optimistic image, which underline
the poet’s fond childhood memories.

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The poet also uses very positive words, such as “happy yard” and “it was lovely,” which
further underline the fact that the poet is glorifying his childhood.

In addition to describing the surroundings, the poet also recreates his happy childhood
memories by describing his activities on the farm. He tells us that he was “singing” and that
“time let (him) play.” The poet also tells us that he used to engage in imaginative play by
pretending to be a “huntsman and herdsman.” These are all activities that a reader would
easily associate with a happy childhood. Therefore, these descriptions further help the reader
to imagine the poet as a child. They send a clear positive message about the poet’s innocent
days as a child.

This is further underlined by the lamenting tone of the very last stanza. Here, the poet shows
us how he misses his innocent childhood days. We can see that the poet is lamenting the
loss of his childhood, for example, in the line “oh as I was young.” The exclamation “oh” has
been chosen by the poet in order to express his regret. This highlights the poet’s fond and
glorified memories of his childhood. [10]

ACTIVITY 4

Alliteration is an extremely important part of "Fern Hill." Not only does it add to the poem's
musicality, but it creates an almost chant-like sound, leaving the reader "spellbound" by the
poem's extravagant music.

The second stanza contains some of the poem's most intense alliteration:

Golden in the mercy of his means,

And green and golden I was huntsman and herdsman, the calves
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.

In these lines, the speaker first expresses the joy of feeling like all the animals respond to the
speaker. The phrase, "And green and golden I was huntsman and herdsman," with its
echoing /h/ and /g/ sounds, captures the speaker's excitement. Then, the speaker describes
how the landscape itself feels holy. The lines shorten and the alliteration begins to slow down,
mimicking how "the sabbath rang slowly / In the pebbles of the holy stream." The delay of the
last /s/ sound suggests time slowing down to a standstill, a sense of peace at the end of the
stanza.

A similar effect occurs in the fourth stanza:

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

Here, the speaker imagines the beginning of the world, according to how the Bible tells it.
This is a truly rapturous event, where light, the earth, and animals are all created. After being
created, the horses are "spellbound," mesmerized by what has happened, and the alliteration
captures this amazement. The hushed sibilance of those /s/ sounds works with the quiet /w/
sounds to create a feeling of wonder and reverence, while the stronger /b/ and /p/ sounds
add yet more interest and excitement to the lines.

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At the end of the poem, the rapture of alliteration has turned into a much sadder sound. For
instance, in the last stanza, the phrase "the farm forever fled from the childless land" conveys
the sudden sadness at realizing that childhood is over forever. The repeated /f/ sounds
suggest that the speaker speaks this line emphatically and sorrowfully, spitting out these
words in sadness and frustration.

The final lines, "Though I sang in my chains like the sea," have an even more sorrowful,
wistful air to them. Separated by a bit more space than other occurrences of alliteration (such
as the previous example), these /s/ sounds again convey a sort of slowing down.
This time, however, they don't convey any sort of peace, but rather an experience of intense
melancholy, even suffering. [10]

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THE SHIPWRECK – Emily Dickinson

1 Glee! The great storm is over!

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

5 Ring, for the scant salvation!

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

9 How they will tell the shipwreck

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

13 Then a silence suffuses the story,

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

Glossary

Word Meaning
Glee Expressing immense joy, jubilation, excitement or happiness.
Toll Slow ringing of a bell, often associated with funerals.
Scant Limited amount/barely sufficient
Salvation Deliverance or protection from harm, danger or destruction
Bonnie souls "Bonnie" is a Scottish term meaning attractive or beautiful. Together, "bonnie
souls" could refer to beloved or cherished individuals who have passed away.
Shoals A place where the water is shallow such as a sea, lake, or river, where the
depth of the water is less than usual often a hazard to navigation.
Suffuses To gradually spread through or over
Teller Narrator or storyteller (a person who shares the narrates the story of the
shipwreck and its aftermath).

1. Historical context
 Emily Dickinson was born in Massachusetts in the United States of America in 1830,
and she died at the age of 56 in the year 1886. She has produced nearly 2000 poems
but only 10 were published during her lifetime. After Dickinson’s death, her sister,
Lavinia, discovered Dickinson’s work which has since gained widespread recognition.
The discovery and publication of Dickinson’s literature work has cemented her status
as the most significant and influential literary figure.
 In this poem, it is unknown what is the real cause of the shipwreck. However, in the
past, shipwrecks happened frequently due to unforeseen weather conditions such as
storms and rough sea, mechanical failure, lack of warning equipment and overloaded
ships beyond legal limits.

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Type and form

Type:

The poem is a narrative with a sonnet-like structure, featuring four quatrains and an irregular rhyme
scheme, which together convey a story of loss, remembrance, and the passage of time.

Form:
 The poem has 16 lines, divided into 4 quatrains (each stanza consists of four lines).
The first stanza focuses on the joy of the four individuals that survived the dangerous
storm, with lines 1 and 2 conveying exciting news about their safe return to the shore
‘land’. However, this jubilation is soon overshadowed in the second stanza, where the
impact of death on the community is explored.
 The poem consists of a rhyme scheme (abcb defe ghih jklk), every second line
rhymes within the four-line stanzas.
 This poem takes form of a conventional ballad without a refrain. Nonetheless, when
the poem is recited, it mirrors the rhythmic flow of a story being shared with the
audience. The ballad grabs the audience attention, engages them and enhances their
connection with the story being told.
 The poem is structured in a way that the positive news is highlighted at the beginning
of the poem (lines 1,2 and 5) and the news gradually diminishes as more attention is
given to the forty individuals who lost their lives during the shipwreck. This is to
contrast the joy of the survival of the four with the sorrow that forty people died.

3. Summary of the poem

• The Shipwreck initially celebrates the return of four survivors (‘scant salvation’). However,
this jubilation is soon overshadowed by the harsh and mournful reality that the shipwreck
claimed the lives of forty individuals (‘bonnie souls’).
• This poem narrates the story of a shipwreck that occurred during severe, ominous and
dangerous storm. It portrays the relief felt upon discovering four survivors after the storm
subsided. Yet, alongside this joy, there is profound sorrow for the forty lives lost.
• The poem highlights human tendency to focus solely on survivors, neglecting to honour the
memory of the deceased.
• It shifts to children asking about the lost lives, leading to a moment of silence. Ultimately, only
nature's voice, represented by the waves, persists, symbolising its enduring strength and
significance.

5. Line by line analysis

1. Glee! The great storm is over!

 The poem begins with the commanding word “Glee!’ to encourage readers, children and
adults to appreciate and affectionately celebrate the life that is spared from the treacherous
storm.
 The adjective ‘great’ hints at the fact that the storm was considerably above average (in its
intensity and scale) hence it caused destruction and death.
 The exclamation mark ‘Glee!’ signifies a huge sense of relief that the violent storm that has
caused death and destruction has finally ended. This is further emphasised by the two
exclamation marks indicating the speaker’s joy at the fact that the tumultuous storm has
stopped.

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 2. Four have recovered the land;
 This line signifies that four individuals have managed to survive the shipwreck and
reached the safety of the shore ‘land’.
 The use of the semicolon in line 2 emphasises the abrupt shift in focus from the
survival of four individuals (line 2) to the tragic loss of forty others (line 3).

3. Forty gone down together

 ‘Forty’ individuals did not survive the storm; they were drowned by its strength.
 The word "gone" serves as a euphemism for the sailors' deaths, softening the harsh
reality of their death.
 ‘together’ shows that nature is so ferocious that it drowned many people at once.
 The tone is mournful, reflecting the sorrowful loss of lives.
 The inclusion of "together" emphasises the collective nature of their fate, highlighting
the overwhelming power of nature to claim many lives at once.

4. into the boiling sand.

 This line employs a metaphor to describe the sand on the seabed churned by the
violent waves of the storm. The sand, stirred by the turbulence, twists and swirls like
boiling water in a kettle.
 This imagery depicts the chaotic and tumultuous nature of the ocean's depths. It
symbolises the fate of the forty sailors, who were dragged down to the bottom of the
ocean by the powerful forces of the storm. It further portrays the ocean as a hazardous
and volatile environment, where danger lurks at every turn.

5. Ring, for the scant salvation!

 “Ring”: despite the significant losses suffered, there is still a reason for joy and
gratitude among those who have been spared from harm.
 The term "scant" underscores that only a small number of people have survived,
highlighting the magnitude of the tragedy. In addition, the word "salvation" implies that
the four that survived were saved by the grace of God.
 The exclamation mark and the word “ring” emphasise the celebratory tone, as if calling
for bells to ring out in acknowledgment of the few who have been saved.

6. Toll, for the bonnie souls, -

 The word "toll" signifies the solemn ringing of a bell, signalling the passing of the forty
sailors. Readers are urged to honour and remember those who have died.
 The term "bonnie souls" suggests that the departed were known, cherished and loved
individuals.
 The comma and dash create an abrupt pause, as if the speaker is grappling with the
weight of their loss, attempting to recall their names and explain their significance. These
punctuations also contribute to the sombre mood, as they underscore that those who
perished were valued members of society.

7. Neighbor and friend and bridegroom,

The deceased sailors are not just nameless individuals, but people with personal
connections and roles within the community. By describing them as "neighbor,"
"friend," and "bridegroom," the poem personalises their deaths, imbuing their loss with
deep meaning and emotional quality. It suggests that the poet had personal
connections with these individuals, implying that their absence would be keenly felt
and deeply mourned.
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8. Spinning upon the shoals!
 Spinning suggests that the drowned sailors are swept along by the relentless, swirling
and uncontrollable movement of the ocean's currents.
 "Shoals" refers to shallow and dangerous areas of the sea, further emphasising how
the ocean is a dangerous place.
The repeated "s" sound mimics the sound of the sea, emphasizing the chaotic and
turbulent nature of the shoals. This alliteration helps to convey the sense of rapid
motion, and the dangerous conditions faced by those caught in the storm.

9. How they will tell the shipwreck

This line anticipates the survivors or others recounting the story of the shipwreck. They
will share their experiences and memories, possibly on cold winter nights when stories
are often told. The mention of telling the shipwreck suggests that it will become a
narrative passed down through generations, becoming a part of the community's
collective memory. This storytelling serves as a time of introspection, allowing listeners
to reflect on the fragility of life and the power of nature.

10. When winter shakes the door,

 Personification: “Winter” is shaking the door to get inside.
 Symbol: Winter is symbolic for death and loss of life.
 The story of the shipwreck is told during a cold evening.
 Nature is once again presented as powerful and forceful.
 Winter metaphorically brings isolation and emotional turmoil.

11. Till the children ask, ‘But the forty?

12. Did they come back no more?
 The innocence and curiosity of children take centre stage as they grapple with the
concept of loss. Their inquisitive nature about the world and the gravity of losing
someone prompts a moment of deep introspection for both the children and the adults
around them.
 Presented in direct speech, their innocent questions resonate, vividly portraying their
earnest desire to understand the death of the forty sailors. The memory of the
shipwreck lingers within the community, gradually becoming a topic of discussion even
among the youngest members. Amidst it all, the children and the adults are faced with
the stark reality that death is final and irreversible evoking a mood of hopelessness for
the return of the deceased sailors, leaving a sombre atmosphere of longing and
despair.

13. Then a silence suffuses the story,

14. And a softness the teller’s eye;
 Alliteration: Repetition of the “s” sound, this creates a quite melancholic mood.
 The alliteration in line 13, combined with line 14, draws the reader's attention to the
teller's grief as they recall the deceased. The deliberate, slow rhythm of the final line
lingers, inviting the reader to visualize and feel the profound silence that ensues.
 The storyteller’s eyes fill with tears of compassion for those who will not be coming
back. While it is appropriate to celebrate those that survived, the community members
must grapple with the fact that 40 people lost their lives, and that ought not be
forgotten. The storytellers, overcome with emotion, find themselves unable to provide
answers to the probing questions of the children, their silence echoing the
unfathomable depths of grief and loss.

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 15. And the children no further question,
16. And only the waves reply.
 The use of anaphora “and” in the last two lines brings an answer but it cannot be
understood by the listeners as it comes from the sea.
 The children stop asking questions when they get no reply, evoking a deep sense of
sorrow and sympathy for those affected by the shipwreck.
 Here, the waves take on a personified role, serving as the sole respondents without
offering superficial gestures of consolation. It is a reminder that only the sea holds the
truth of what truly transpired during the storm, shrouding the events in mystery.
 The tone remains sombre, and the prevailing mood is one of melancholy, as the weight
of loss and unanswered questions hangs heavily in the air.

5. Themes
Loss to the community/Grief and mourning

• The imagery of the "bonnie souls” implies that the deceased were loved and will be certainly
missed. The toiling bells emphasises the finality of the forty that died.
• The words ‘Neighbour and friend and bridegroom’ (line 6) emphasises the tragic impact of
the shipwreck. The poet identifies them using social and familial connections to emphasise
that the deceased were part of the community, and their loss intensifies the sadness
experienced by the tellers and children.

• The children and the tellers are grappling with the death of forty sailors (community members
and family members).
• The repetition of the alliteration ‘s’ in “Then silence suffuses the story” creates a melancholic
tone as the listeners realise that forty people will never come back (Western Cape, 2015: 10).

7. Figurative language/ imagery

Figure of speech/
Line reference imagery/ Explanation in context
literary device
Line 3 Euphemism The phrase “gone down” is a gentler way of saying
Forty gone down that they have died or perished. It avoids the
together bluntness of the term "died" and instead uses a
more indirect expression to convey the same
meaning.
Line 4 Metaphor The sand on the ocean floor (churned by the
into the boiling sand. turbulent waves of the storm) twists and turns in
circular patterns, suggestive of the boiling swirls
seen in a kettle. Instils a sense of fear and
entrapment the ship capsized. The tragedy is
horrific that it blew with rage and strength. The
ocean is a hazardous, volatile or dangerous
environment.

The manner of death is dramatic and terrible.

Line 5 Alliteration The alliteration mimics the soft, hissing sound of
Ring, for the scant bells or gentle winds, adding a layer of emotional
salvation! depth to the celebration and reflection within the
poem.
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 The few survivors whose lives have been saved by
the grace of God.
Lines 5 and 6 Metonymy Definition: Metonymy is a figure of speech in which
(emotional a word or phrase is substituted with another closely
contrast) related term.
"Ring": Refers to the act of ringing bells, often
associated with celebration or announcement. In
this context, it implies a call to acknowledge or
celebrate the limited salvation achieved.

"Toll": Typically refers to the sound of bells rung

slowly, often associated with mourning or funerals.
Here, it suggests a sombre recognition of the
salvation amidst the tragedy.
Line 8 Alliteration The alliteration of the "s" sound in "Spinning" and
Spinning upon the "shoals emphasises the rapid relentless and
shoals uncontrollable motion of the water as the drowned
bodies are swept by sea’s currents.
• Turbulent water
• Swirling uncontrollably
Creating a sense that nature is dangerous and
unforgiving.
Line 10 Personification Visual/harshness and Sensory Imagery:
When winter shakes By describing winter as “shaking the door”, the
the door poet creates a vivid image of winter’s impact. This
personification evokes a sense of urgency and
intrusion, suggesting that winter is aggressively
making its presence felt.
Lines 13-14 Alliteration Alliteration/sibilance: Repetition of the “s” sound
Then a silence creates a melancholic mood.
suffuses the story,
• The readers are made aware of the sorrow of
And a softness the the narrator as he is reminded of the tragic
teller’s eye death.
• The deliberate slow pace of the last line
encourages a contemplative mood, allowing
readers to reflect on the profound impact of
loss.
• The use of "silences" suggests a quietness
that permeates the narrative contributing to
the theme of grief and mourning.
• The sibilance slows down the pace and
creates an almost mournful silence.

Line 16 Personification “Waves”: The waves, a natural element, are given

And only the waves the human ability to “reply”. Waves cannot literally
reply respond or engage in conversation like humans can.
The waves “replying” highlights nature’s role in the
aftermath of human events, reflecting on the
continuity and indifference of the natural world.

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 Line 14-16 Anaphora By starting each line with “And”, the poet builds a
And a… (repetition of the sense of continuation and intensity.
And the… word ‘and’) Each successive line adds to the melancholic and
And only… gloomy mood, emphasises the long deafening
silence and the theme of mourning the loss of loved
ones.
Contrast Joy of the four that survived vs sorrow that forty lost
their lives.
Saved vs lost
Living vs dead
The poem explores the difficulties in reconciling
these opposites.

6. Tone, mood and intention

TONE:

In stanzas 1 and 2 (lines 1,2 and 5) the tone is celebratory. Community members are happy
about the return of four survivors. The idea here is that life must be celebrated and honoured
no matter the number of survivors ‘scant’.

In stanzas 3 and 4, the death of forty individuals creates a sombre/mournful tone. The tellers
clearly become emotionally charged by the children’s questions hence they fail to give a
response. The tellers lack of accountability shows that they also need clarity to process the
harsh and painful reality of death.

Mood
Cheerful/Jubilant/happy mood
In stanzas 1 and 2, the poem begins with a commanding word ‘Glee!’ to celebrate life. The
readers, children and adults are positioned in a joyous and energetic setting. Despite the
community members being aware of the loss of forty individuals the words ‘ring, for the scant
salvation!’ reinforces the importance of celebrating and appreciating human life especially
during this tragic and mournful period. Take note: the speaker does not suggest that those
that passed away their lives were meaningless or less important.

Brooding/gloomy mood
In stanza 3 and 4, the diction creates a brooding mood. The phrase ‘and only the waves
reply’ reinforces the idea that nature is powerful and cannot be held accountable for its
actions. Due to the lack of accountability, both the adults and children are left with no choice
but to contemplate and think about the complexities of life and death. The death of the forty
will always be a reminder that death is final, and nature cannot offer comfort.

Sombre mood
In addition, the expression ‘bonnie souls’ creates a sombre mood caused by the distress and
devastation of realising that forty lives have prematurely been taken away and nothing can
be done. It is very clear that those that passed on will be fondly missed because the speaker
and the entire community had a close relation with them.

INTENTION:

● To highlight that nature is unpredictable and can tragically end life. Nature does not

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 deliberately cause pain to human beings because it is acting according to its own accord.
However, in this poem, the action of nature causes both happiness and sadness to human
being.

9. Informal assessment activities

ACTIVITY 1: Contextual questions

1.1 Account for the use of the word, ‘ring’ (line 5) in the context of the poem. (2)

1.2 Account for the use of punctuation marks in line 6. (2)

1.3 Refer to lines 9-10: ‘How they will…shakes the door.’

1.3.1 Identify the figure of speech in these lines. (1)

1.3.2 Comment on the effectiveness of this image. (2)

1.4 Refer to lines 13-16: ‘Then a silence…waves reply.’

Critically discuss how the final stanza reinforces the central message of
the poem. (3)
[10]

ACTIVITY 2: Essay question

“Nature is not cruel, only pitilessly indifferent. This is one of the hardest lessons for
humans to learn." - Richard Dawkins.

With close reference to diction, imagery and tone, critically discuss the validity of
this statement.

Your response should take the form of a well-constructed essay of 250–300 words
(about ONE page). [10]

9. Suggested answers to activities

ACTIVITY 1

1.1 The ringing of the bells an expression of joy and celebration that four
people survived the
shipwreck.

[Award 2 marks for one distinct idea.] (2)

1.2 The comma and dash in line 2 allows readers to pause and contemplate
the gravity of the shipwreck and the loss of life. / The dash indicates that
the ‘neighbours, friend and bridegroom’ are not strangers but community
members who play significant roles within the community. / Both the dash
and comma evoke a sense of sorrow for the lost souls intensifying the
tone of mourning in the poem.

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 [Award 2 marks for one distinct idea.] (2)

1.3.1 Personification (1)

1.3.2 It is so cold and windy that it seems that Winter is shaking at the door.
The metaphor emphasises the harshness, powerfulness and intensity of
winter. Just as winter shakes the door, difficult times will inevitably come
knocking, stirring up painful memories of the shipwreck.

[Award 2 marks for one distinct idea.] (2)

1,4 The poet shows that there are no words to explain why the forty did not
survive the storm. The words ‘softness the teller’s eye’ emphasise the
sadness and empath the narrator has for the loss of lives due to the
tragedy. The children also find the tragedy a difficult topic to discuss or
talk about. (3)
[10]

ACTIVITY 2

AGREE The poet uses diction, imagery, and tone to suggest the idea that nature functions
without concern for human feelings or experiences. Nature may appear to be actively cruel
and unforgiving but in reality, it is simply acting according to its own accord.
● The bottom of the sea is described as "boiling sand" indicating the danger of nature
and its indifference to the safety and well-being of human beings. Further emphasising
that nature does not have a moral compass.
● The poet is sympathetic to the deceased hence he refers to them as “bonnie souls”.
● Nature has no regard for loss of life of members who are ranked as neighbours and
bridegrooms.
● The personification of winter as shaking the door emphasises the harshness and
intensity of the season. This portrayal suggests that winter is not sympathetic to those
who are vulnerable and seeking refuge indoors; instead, it evokes a sense of
foreboding and discomfort. This portrayal serves as a reminder that nature operates
according to its own laws regardless of human desires or circumstances.
● While the narrator is still emotional about the loss of life. Nature is merciless, it quickly
forgets the disaster and tragedy it had caused.
● The tone shifts from celebration over the survival of the 4 to mourning over the 40 that
lost their lives as a result of the shipwreck.
● While the narrator grapples with grief and loss, nature moves on without hesitation,
demonstrating its destructive nature. The poet suggests that while humans may be
deeply affected by tragedy, nature remains unaffected, perpetuating its cycle of
destruction and renewal without pause or remorse.
● “And only the waves reply.” - waves are given the ability to speak. Emphasises the
power and finality of nature in the face of the shipwreck.
● Line 16 further emphasises that nature offers no comfort because it does not
understand grief and sorrow.
● The children's questions about the fate of the forty who did not return evoke the
difficulty humans have in accepting nature's indifference to their suffering.

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Reference Page

1. Education and Analysis Websites

o Sparknotes.com.
o Gimmenotes.com.
o Poems.org.
o Poemanalysis.com.
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o WCED Online. Retrieved from https://wcedoline.westerncape.gov.za
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o YouTube. (2023). English is Love - Grade 12 New Poems.
3. Past Papers and Examination Resources
o NSC Past Papers. (2017-2024).
o Matlosana Local Education Office. Grade 12 Poetry Lesson Preparation.
o Tshwane South District. (2023). Preliminary Examination.
o Ekurhuleni South District. (2023). Preliminary Examination.
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4. Anthologies and Study Guides
o McIntyre, C., Olivier, S. J., & Varga, E. (2014). Imagined Worlds: An Anthology of
Poetry. South Africa: Macmillan Education.
o McIntyre, C., Olivier, S. J., & Varga, E. (2019). Poetry Anthology-EHL Imagined
Worlds: Study Guide. South Africa: Department of Basic Education.
o Mrs. B. Digital resources. Available at: https://www.teacharesources.com/seller/mrs-
b-teaches

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