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FOE DOE PPROJECT EFAL POEMS 2025

Detailed analysis of the poem
GRADE 12
1. The slave dealer - Thomas Pringle
2. That’s what life is really like- Beverly Rycroft.
3. Sonnet 73: That time of year thou mayst in me behold - W.
Shakespeare
4. Hard to find – Sinesipo Jojo
5. The Lake Isle of Innisfree- William Butler Yeats
6. You laughed and laughed and laughed- Gabriel Okara.
7. The night jar and Inkosazane yasezulwini - Chris Mann
8. Inversnaid – Hopkins G.M.
9. Reciprocities by Charles “Cathal” Lagan
10.On the grasshopper and cricket - John Keats

GRADE 12 POEMS
1 The Slave Dealer - Thomas Pringle
From ocean's wave a Wanderer came,
With visage tanned and dun:
His Mother, when he told his name,
Scarce knew her long-lost son;
So altered was his face and frame
By the ill course he had run.

There was hot fever in his blood,

And dark thoughts in his brain;
And oh! to turn his heart to good
That Mother strove in vain,
For fierce and fearful was his mood,
Racked by remorse and pain.

And if, at times, a gleam more mild

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Would o'er his features stray,

When knelt the Widow near her Child,
And he tried with her to pray,
It lasted not for visions wild
Still scared good thoughts away.

"There's blood upon my hands!" he said,

"Which water cannot wash;
It was not shed where warriors bled
It dropped from the gory lash,
As I whirled it o'er and o'er my head,
And with each stroke left a gash.

"With every stroke I left a gash,

While Negro blood sprang high;
And now all ocean cannot wash
My soul from murder's dye;
Nor e'en thy prayer, dear Mother, quash
That Woman's wild death-cry!

"Her cry is ever in my ear,

And it will not let me pray;
Her look I see her voice I hear
As when in death she lay,
And said, 'With me thou must appear
On God's great Judgment-day!'"

"Now, Christ from frenzy keep my son!"

The woeful Widow cried;
"Such murder foul thou ne'er hast done
Some fiend thy soul belied!"
" Nay, Mother! the Avenging One
Was witness when she died!

"The writhing wretch with furious heel

I crushed no mortal nigh;
But that same hour her dread appeal
Was registered on high;
And now with God I have to deal,
And dare not meet His eye!"

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ANALYSIS
The traveller, who is a slave dealer, came back home after a long
time. The mother did not recognise him, though he was at a close
range (unlike the prodigal son in the Bible, who his father
recognised while he was still far away). The long-lost son and his evil
deeds (killing slaves- innocent people who had not wronged him),
made him unrecognisable.
Stanza 2: The son is angry and haunted by his evil deeds. He is
remorseful, tormented by his evilness/wickedness. The mother tried
unsuccessfully (in vain) to change him.
Stanza 3: He tries to pray with his mother, gets a short-lived smile but
this smile doesn’t last long. The mental images come up (in our
culture, we could say ‘spooks/ghosts’). The slave trader is
hallucinating/ overwhelmed by guilt. The guilt is killing him- he
can’t even pray. When he tries, the images of his victims, especially
the woman, appear. (Macbeth, when the chamberlains said ‘amen’,
he tried to say it, but the words got stuck in his throat), so too, was
the slave dealer/trader unable to pray. His sins have caught up with
him.
Blood in his hands- the innocent slaves’ blood. It can’t be washed
clean (Lady Macbeth in the play Macbeth- after killing King Duncan.
She initially said that the bloodied hands could be washed with ‘little
water’; however, later, when she was guilt-ridden, she realised that the
guilt/blood needed more than water to be cleansed. ). With each stroke,
he left a cut. Line 20, he believed it would have been better had the
blood been/spilt in the battlefield (war) – an act of bravery than killing
innocent people. He feels he cannot be saved/cleansed/ uses hyperbole
to present the vivid pictures of his horrific deeds. He is guilty of blood
shedding.
Even his mother’s prayer cannot remove the evil in him.
Stanza 6
Woman’s voice crying – he will be judged with her
Stanza 7- The torturous thoughts the mother has. The Mother tells God
that her son is not responsible for what he did, he is just possessed by
an evil/devil spirit. (Does this echo what we (Christians) say?
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Angel- the son denies being possessed by the devil, he knows he was
sober when committing the evil deeds, but the mother denies it. In fact, it
is how we (mothers) react. We do not think our children are able to
commit certain things. Isn’t it so?
The avenging angel is the woman he was beating, even after she tried
fighting to free herself.
Themes
Torment- both mother and son are psychologically tortured by the son’s
past evils.
Slavery -told through the personal experience of the speaker, we do not
get to a hands-on experience of the slaves by the slaves (he was
torturing the slaves- refer to the history of slavery- Africa to European.
Guilt- (Inner feelings- conscience)- blood on his hands (idiom),
remorseful for killing the slaves, including women. In IsiZulu it is said that
“umphefumulo onecala owunakho ukuphumula” meaning that a guilty
person is not at peace/cannot find peace. This is what is happening to
this slave dealer. His past sins/evils are torturing (haunting) him.
Tones
Remorse (the son is remorseful, but this is too little too late; what is done
cannot be undone.
Sadness and Anger (dreadful images)
How does the mother feel? That spells out the tone as well (anguished/
pained).

Figurative language used (how effective are the following they?)

1) Metaphor- compared to a normal traveller
2) hot fever and dark thoughts - compared to a fever making one hot
3) Blood upon his hand- killed persons
Hyperbole- Water cannot clean his hands- he sees blood whenever he
looks at his hands- Whose blood is it? Of all the innocent people he
mercilessly killed, the woman’s (killing) remarkably left an indelible
mark- he can’t even pray when thinking about her. She appears

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during his prayer, as if reminding him of what he did to her. Her

blood was crying out loud (just like Abel’s blood in the Bible).
Contrast- between a hero and a coward (He feels he is a coward
because he bit up and killed innocent, helpless, tied up people. Refer to
the Zulu culture during wars- were children and women killed?
Sound device- an alliteration stanza in 2 – “for fears and fearful was his
mood”
Stanza 7: Woofle widow cried- the soft w sound = emphasises the
torturous thoughts the mother has.
The woman was moving softly, trying to save herself from the slave
dealer who was beating her. Is there any significance of the soft
movement? Comment on this.
Stanza 8: The rhythmic … rigorous movement - movement of the
woman (w-sounds)
Giving the woman the ability to kick. Why was the woman kicking?

Imagery (mental pictures, which ones are indicated?)

The image of a wanderer- a person with no purpose, but this one was
wandering as he was moving from country to country, kidnapping people
to sell as slaves, in exchange for money.
Can you imagine a man in remorse and tortured (in pain) by the ill
course (evil/cruel/heartless/wicked, etc. he had run =harsh journey- refer
to the treatment of slaves in history/ movies.
Her look I see (visual); her voice I hear (auditory) - image torments him.
He sees her, hears her last words.
Stanza 8= image on its own- desperate woman trying to save herself
(imagine the movement of someone fighting for survival- giving ‘the last
kick of a dying horse’! or “fighting tooth and nail”
Analysis
This poem delves into the haunting guilt and remorse of a slave dealer
(speaker). The speaker's return home reveals his physical and
psychological transformation, marked by fever and dark thoughts. His
mother's attempts to guide him towards good (through prayer, individual

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and pair) are met with resistance as he confesses to the horrors he has
committed. The vivid imagery of blood on his hands and the woman's
death cry (moving softly), symbolise the weight of his actions. He was
more powerful than she was.

The poem reflects the growing abolitionist sentiment of the mid-19th

century, condemning the atrocities of slavery. (Read Dr. Martin Luther
King’s speech). It also highlights the psychological toll on those
involved in such a cruel trade, suggesting that the guilt and trauma can
persist long after the physical act is over. What about apartheid? Is the
guilt and trauma still persisting. What do some of the 2K think?

2 That’s what life is really like - Beverly Rycroft

Writer’s background:
What life is really like by Beverly Rycroft. Rycroft, is a South
African poet and educator. She was born in the Eastern Cape.
She qualified as a teacher at the University of Cape Town and
furthered her studies at the University of the Witwatersrand (Wits).
She worked as a teacher for several years before turning full-time
to writing and journalism. In 1997, Beverly Rycroft was
diagnosed with stage three breast cancer. The themes of the
poems in her debut collection relate to the experience of
facing mortality, illness, and the hope of recovery. Her poetry
frequently explores themes of illness, mortality, and
resilience. “What Life Is Really Like” reflects on the speaker's
relationship with her father, who employs a tough-love
approach to prepare her for life's hardships.

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POEM TEXT:
1. You need to toughen up
2. my father would complain
3. when I was small
4. I ought to take you to see
5. chickens having their heads
6. chopped off.
7. That’d teach you
8. what life is really like.
9. He’d seek me out
10. one of his pigeons
11- Crazed for home or
12. Mad with terror from a
13. Roaming hawk –
14. would rumble into
15. the loft, mutilated
16. by wire or beak.
17. I was the one made to
18. clench my palms round
19. its pumping chest
20. to keep it still while
21. my father’s hairy fingers stitched
22. its garotted throat
23. angrily to rights again

24. You see life is a fight for survival

25. he’d shout, forgetting

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26. he was not lecturing his students

27 or giving his inaugural address.
28. You gotta roll with the punches.

29. I waited and waited

30. for that bitter roughness
31. to spy me and circle
32. in to land,
33. years and years
34. of flinching anticipation until
35. the day I came home from hospital
36. and my father dressed my wound.
37. Easing with practised hands
38. the drip from my bulldozed chest,
39. he renewed the plaster
40. in breathing silence
41. never speaking never once saying
42. Life’s a bastard
43. Toughen up.
Lyrical poem- check the open lines
Free verse- check the rhyme scheme
Narrative Perspective: First-person narration (she tells ‘her story’ )
Emotional resilience and vulnerability

Lines 1–8 (opening injunction/command or order)

1. “You need to toughen up” — Imperative/command. This is not a
plea; it is a directive, an instruction from father to daughter. It
establishes the father’s didactic/teaching/lecturing tone or stance;

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hardens the poem’s ethics from the first word (theme: survival). He
is strict and wants things done accordingly for his daughter to
survive on earth, which is full of challenges and hardships.
2. “my father would complain” — “Complain” implies chronic
dissatisfaction; Usually, a grumpy and disgruntled person always
complains. There is no period when the person is pleased and
satisfied. It could be the frustrations in life that makes him
complain. The lesson is habitual, not occasional. (One wonders
where the mother is, as her absence is sensed).
3. “when I was small” — Stage one passes through. It soon
vanishes, and adulthood kicks in. What one does when one is
young/small is quite different from what one does when one is an
adult. The childhood stage is just a temporal marker. The diminutive
noun (small) highlights power asymmetry (adult pedagogy or
teaching of a child). Father to child life lessons, indicate a one-way
process
4. “I ought to take you to see” — Paternal authority frames
exposure to harshness as a moral obligation (“ought”). Is it really
necessary to teach a child the hard way? Does it guarantee
that the child will indeed learn?
5–6. “chickens… heads / chopped off” — Shock image; brutal,
literal demonstration of death/violence (realist visual imagery;
foreshadowing). Does the teaching (about life) have to go this
far? Is trauma the route to go? The father seems not to know
that for some kids, watching the slaughtering of the chicken
could be traumatic. What is your take (view) on this matter?
5. “That’d teach you” — Pedagogic refrain; reduces cruelty to a
curriculum. The father considers his daughter a softie, so to
toughen her would mean making her witness how the chicken are
slaughtered
6. “what life is really like” — Title phrase announces thesis: reality =
harshness; sets up later irony when reality includes tenderness.
From an experienced person (father) who has experienced
hardships in life. He is sharing his experience with is daughter as a
way of teaching her that life is not just plain sailing- there are
hardships to face; consequently, she needs to toughen up/ brace
herself up for life’s challenges and difficulties.

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Lines 9–17 (pigeons and the hawk)

9. “He’d seek me out” — Active enlistment; the child is conscripted
into witnessing/assisting suffering. The speaker is involved in the
home chores and activities performed, as traditionally expected,
anyway.
10. “one of his pigeons” — Possessive pronoun underscores
father’s world (hobbyist/keeper), the child enters his domain. He is
sort of a Romantic poet, loving nature as he does, and keeping
nature preserved. He is a farmer, as evinced by having pigeons in
his yard/home.
11–13. “crazed for home… terror… roaming hawk” — Homing
instinct vs. predation: natural drives collide (extended nature
metaphor for life’s push–pull). The pigeon, after getting injured,
longs for home and rushes straight home.(Remember, there is no
place like home.)
14–15. “would tumble… the loft” — Sudden, uncontrolled fall;
kinetic diction mirrors crisis. (What kind of imagery is created in
this line?- You can picture the injured bird falling =visual imagery.
16–17. “mutilated by / wire or beak” — Dual causes: man-made
(wire) and natural (beak). Subtext: pain comes from systems and
fate alike. The bird could have been injured by natural obstacles
such as a wire on which it was sitting; or another bird’s beak when
fighting, or even when being attacked by bigger species such as
hawks and eagles. In this case; we are made to guess in the poem
that it was the hawk.
Lines 18–24 (forced participation; surgical diction)
18. “I was the one made to” — Coercion explicit; child’s
agency suppressed. She had no choice but to do as told. That is
how things were in the past. No questioning, talking back, arguing;
it was just doing as told.
19–20. “clench my palms round / its pumping chest” — Tactile,
visceral imagery; monosyllables tighten the rhythm (embodied
fear). She was performing the first aid, (resuscitation), keeping the
bird conscious, just as it happens to an injured person who is
drifting to unconsciousness. It is crucial to ensure that the person
stays aware before getting medical attention.

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19. “to keep it still” — Ethics of care within violence; restraint to

enable repair. Panic is likely to happen as the pigeon is injured.
The speaker had to calm it down, an assurance that all will be ok.
20. “my father’s hairy fingers” — Concrete, unflattering detail;
demystifies paternal authority. (Description of her father. Does this
(hairy fingers) give a hint as to which race the father was?
21. “garotted throat” — Violent, medicalised diction; evokes
strangulation and surgery simultaneously. Now the father is a
‘surgical doctor’, performing an operation on the injured bird. He is
‘fixing’ the injured pigeon.
22. “angrily to rights again” — Colloquial idiom (“put to rights”)
and adverb “angrily”: fixes hurt but in rage—care and aggression
braided. The impatience of the father is reflected here. It could be
that his schedule was hectic, thus was in a rush to finish stitching
the wound of the bird. Can you compare and comment on the pace
and manner of stitching the pigeon and the changing of the
dressing (bandage) from the speaker’s breast?
Lines 25–29 (explicit credo; public voice intrudes)
25. “life is a fight for survival” — Thesis stated; metaphor of
combat frames existence as zero-sum. In this line, life is compared
to a fight for survival. Fight or flight situation; the adrenaline
reaction to every situation we come across. We either fight the
situation or flee (run away) from the situation. Only the fittest will
survive. We fight for survival in every sphere/aspect of life.

26–28. “he’d shout… lecturing his students / or giving his

inaugural address” — Registers shift from private home to public
podium; he performs authority, forgetting the audience (child). Is
the father, somehow, a teacher/ lecturer in the true sense of the
word? Is he a lecturer and doing farming part-time? Or is the
speaker using the phrase metaphorically just because the father is
lecturing her on life lessons, then she equates him to a
teacher/lecturer, ‘delivering a lecture to his students’ or giving an
inaugural address(usually done by academics)?
26. “You gotta roll with the punches.” — Boxing idiom;
prescriptive resilience. Colloquial tone jars against the child’s lived
vulnerability. He advises her not to succumb or retreat to life’s hard

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situations, but to be resilient, to stand firm even when a rain of

punches is blowing her.
Lines 30–32 (life as predator; suspense)
30. “I waited and waited for that bitter” — Anaphora/repetition
of the phrase (“waited”) + adjective “bitter” personifies adversity as
something tasted/foreknown. She was aware of what was
eventually going to happen after the diagnosis of cancer. It wasn’t
a nice/good thing coming. It was bitter-sad, painful, terrible, scary,
traumatic, etc.
31. “roughness to spy me and circle” — Personification +
predatory verb “spy”; danger is sentient and watchful. Just as the
vulture hovers over the almost dead prey (an animal on the verge
of dying), so too the sickness was hovering over the speaker,
encircling closer and closer.
32. “in to land” — Hawk image completes: adversity descends;
enjambment slows the landing (suspense). The attack happens;
the worst happens; the illness kicks in. The waiting is over,
signified by the landing of the hawk, inland.
Lines 33–36 (years of hypervigilance; medical turn)
33. “years and years” — Temporal dilation; trauma lingers
beyond childhood. It (therapy/treatment – the chemotherapy and
radiation for cancer patients) took a very long time.
34. “of flinching anticipation” — Oxymoronic stasis-in-motion:
perpetual pre-shock. She was expectantly waiting
35. “the day I came home from hospital” — Volta: adult illness
enters (oncological (pertaining to cancer) context- the
chemotherapy and radiation processes). The speaker is from
hospital, back home for recovery.
36. “and my father dressed my wound.” — Quiet an act of
care and love; the stern teacher-father earlier on in the poem,
becomes a caring nurse. The harsh father is now sweet,
understanding, sympathetic and loving. The roughness and fast
pace have reversed to the kind of man/father he is now. He
responds to the new call, a new role of having been the one to
care for his daughter. Where is the mother? Could it be the
harshness and realities of life that she is absent? Is it the reason
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the father stresses/emphasises to his daughter that she needs to

toughen up (earlier in the poem)? Do we it was necessary for the
father to teach the speaker the harshness of life, that life is a
‘bastard’, that only the tough ones will survive, hence she needed
to toughen up? (Motif reversal of roles.)
Lines 37–39 (tender, practiced care; mastectomy metaphor)
37. “Easing with practised hands” — Professionalised
tenderness; the verb “easing” softens prior harsh verbs
(“chopped,” “garotted”). The father has learnt the skill of doing the
dressing (bandage), now he does it with ease. This is an indication
that at first, it was a bit of a challenge, things evolve (change), now
he is an expert.
38. “the drip from my bulldozed chest” — Metaphor:
mastectomy likened to land razed by machinery—scale and
violence of surgery conveyed without gore. The word ‘bulldozed’
creates a visual imagery. The word makes one think of the
bulldozer used by road constructors, which uproots all the trees,
shrubs, forests and everything, and pushes the debris with full
force. One pictures the machines (machines performing radiation,
a therapy or treatment for burning/destroying the cancer cells.
39. “he renewed the plaster in breathing silence” —
“Breathing silence” suggests living quietly, a presence that heals;
auditory imagery flips from “shout” to hush. The plaster indicates
that there was an operation/surgery that the speaker underwent at
the theatre as they were trying to remove the cancerous cells in
her breasts (refer to the background/context presented at the
beginning). The father is now the ‘bandage/dressing changer, no
longer the stern father who was giving his daughter. He is now so
much a caring father that he fulfils the role usually done by
mothers or sisters.
Lines 40–43 (withheld slogans; final irony)
40. “never speaking never” — Incremental repetition; discipline
of restraint replaces earlier bluster. Is it a change of behaviour or
character? He spoke much earlier on; however, his daughter’s
condition has made him more of an action person (speaking less
and doing more). The speaker senses the unspoken words for
discipline, the harsh teachings, the complaining, etc. What has

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silenced the father? Could it be the daughter’s illness? The fear of

the reality that he might lose her? The old age paired with wisdom?
The realisation that he was harsh before? What is your view on
this change of the father?
41. “once saying” — Sets expectation—but…
42. “Life’s a bastard” — The father’s coarse maxim, now not
uttered; it appears only as reported speech to stress absence.
Does this line reflect any of the following: the negative perception
of life by the father? The utmost revelation of his genuine emotions
about life? The extent of hardship he has endured in life?
43. “Toughen up.” — Likewise withheld in the moment of care;
the poem closes by recalling, not repeating, the harsh pedagogy—
exposing its limits and suggesting that action (care) teaches better
than aphorism.

VOCABULARY/WORDS TO COMPREHEND
Line 1 toughen up = become stronger (emotionally)
Line 2 complain = to express dissatisfaction or annoyance
Line 11 crazed = mad
Line 12 terror = extreme fear
Line 15 loft = a building in which pigeons are kept
Line 15 mutilated = damage severely; violently removing a body part,
cutting
Line 22 garrotted, strangled (the wire around the bird's throat strangled
it)
Line 24: survival to continue to live after an accident, ordeal, or difficult
experience
Line 27 in the inaugural speech = made at the beginning of an
event/public service in an office
Line 34 flinching = a quick, nervous movement
Line 34 anticipation = waiting for/expecting something to happen

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Line 36 dressed = to clean, apply a medical treatment to, and bandage

a wound
The speaker is describing her childhood in a lyrical poem. She was
raised by a stern father who prepared her from a young age for a harsh
world. The poem ends where he takes care of her after she returns
home from having invasive surgery in hospital.

DETAILED ANALYSIS
Detailed analysis of Beverly Rycroft’s poem “What Life Is Really Like”,
examining its structure, themes, tone, and literary devices
1. Overview and Context
Beverly Rycroft, a South African poet and educator, often draws from
personal experiences in her work. Diagnosed with stage three breast
cancer in 1997, her poetry frequently explores themes of illness,
mortality, and resilience. “What Life Is Really Like” reflects on the
speaker's relationship with her father, who employs a tough-love
approach to prepare her for life's hardships.
2. Structure and Form
 Form: Lyrical poem written in free verse. Free Verse:
The poem does not follow a regular rhyme scheme or metre,
giving it a conversational tone that mirrors memory and
storytelling.
 The Irregular lineation (line lengths) mirrors the unpredictability of
“life”; enjambment sustains tension (e.g., lines 30–32, 37–39).

 Stanzas: Eight stanzas comprising 43 lines of varying lengths.

Short stanzas mimic fragmented memories—each memory a
snapshot of the father’s teachings.
 Narrative Perspective: First-person narration, providing an
intimate account of personal experiences.
 Stylistic Feature: The father's direct speech is italicized,
distinguishing his voice and emphasizing his influence.

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Progression:
The poem moves from childhood memories of warnings and lessons
→ hospital treatment → adult reflection, creating a temporal shift that
shows how the father’s words echo across the speaker’s life.

3. Tone and Mood

 Tone: The poem begins with a stern, teaching/ didactic tone,
reflecting the father's harsh lessons. The father’s voice dominates,
teaching through warnings and shock tactics. As the poem
progresses, the tone shifts to one of introspection and subdued
tenderness, especially during the father's silent care for his
daughter.
 Reflective (later stanzas): The speaker looks back (down
memory lane) with understanding, recognising the complexity of
the father’s approach. First harsh then soft (Why?). Tender and
subdued (final stanza): The father’s silence and care soften the
harsh tone established earlier.
Mood:
 Unsettling and Tense (at first): Early images of violence and
harsh lessons create discomfort.
 Somber and Thoughtful: As the poem progresses, the mood
becomes more reflective, evoking empathy for both the child and
the father.
 Bittersweet and Tender: The closing scene leaves the reader
with quiet sadness but also warmth, showing that love may be
expressed through actions rather than words.
 The mood transitions from discomfort and tension to a poignant
realization of love and understanding. There is a voice shift (of
the father) — Public oratory (delivering a public lecture) vs. private
care (37–43) dramatizes the gap between rhetoric and love-in-
action.

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4. Themes likely to emerge

Harsh Realities of Life
The father's insistence on exposing his daughter to brutal experiences—
such as witnessing the beheading of chickens or assisting in stitching
injured pigeons—serves as a metaphor for life's inherent cruelties. His
actions are driven by the belief that confronting pain and suffering early
on will fortify her against future adversities.
Reality of Life and Survival:
The father repeatedly insists that life is harsh, using phrases like “you
need to toughen up” and “life’s a bastard.” These expressions highlight
survival as a central theme—the idea that pain, violence, and endurance
are inevitable parts of human existence.
Resilience and Survival:
A central theme is the struggle for survival and the resilience needed to
endure life's challenges. The daughter's later experience with breast
cancer surgery serves as a stark example.
Parental Influence and Tough Love
The poem delves into the complexities of parental guidance. The father's
methods, though seemingly harsh, stem from a desire to prepare his
daughter for a world he perceives as unforgiving. This tough-love
approach underscores the generational differences in coping
mechanisms and emotional expression.
Tough Love and Harsh Realities:
The poem focuses on the father's "be cruel to be kind" parenting style,
where he exposes his daughter to violent scenes to teach her about the
world's harshness.
Parent-Child Relationship/ Father-Daughter Relationship:

The poem explores the complexity of a father-daughter relationship. The

father is presented as tough, almost harsh, but ultimately caring. His
insistence on toughness is revealed as a protective mechanism.
The poem also explores the evolving dynamic between father and
daughter, shifting from a teacher-student relationship to one of care and
empathy when the daughter faces her own ordeal.

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Transformation Through Suffering

A pivotal moment occurs when the daughter returns home after
undergoing surgery. The father's silent act of dressing her wound
contrasts sharply with his earlier admonitions. This shift signifies a
transformation in their relationship, highlighting the profound impact of
shared suffering on human connections.
Violence and Suffering as Life Lessons (does it still work? )
Images of chickens being beheaded and a pigeon with its throat stitched
force the child to confront suffering. These lessons symbolize the
inevitability of pain and cruelty in life.
Contradiction Between Words and Actions:
While the father constantly speaks of toughness, his final act—quietly
dressing his daughter’s wound—reveals tenderness and care. This
suggests that love often hides behind stern discipline.
Fate and Inevitability:
The poem suggests that human beings cannot control fate and that life's
difficulties are inevitable. The father's lessons, though harsh, were
meant to prepare the speaker for this reality.
Existential Reflection:
The poem prompts reflection on the meaning of life and one's purpose
as the speaker confronts the lessons imparted by her father and
experiences life's complexities.

NB: The poem "What Life is Really Like" explores themes of life's harsh
realities, the need for resilience, and the complex relationship between a
father and daughter. It depicts a father's attempt to prepare his child for
life's challenges through tough lessons, which ultimately lead to the
daughter's own struggle with illness, highlighting the transition from
preparation to personal experience.

5. Literary Devices
 Imagery:
Vivid, often brutal imagery (“chickens having their heads chopped

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off,” “pigeon’s throat stitched”) shocks both the child and the
reader, underscoring the harshness of reality.
 Repetition:
The phrase “you need to toughen up” and variations of “that’s what
life is really like” emphasize the father’s persistent worldview.
 Colloquial Expressions:
Phrases like “life’s a bastard” and “roll with the punches” reflect the
father’s everyday idiom, grounding the poem in realism.
 Juxtaposition:
The father’s violent language contrasts with his gentle final action
(dressing the wound). This juxtaposition highlights the paradox of
his character—harsh words, tender love.
 Symbolism:
o Chickens beheaded → inevitability of death.
o Pigeon stitched → fragility of life, the attempt to mend pain.
o Hospital dressing → love expressed through quiet action
rather than speech.
 Motif loop (stitching/mending)— Animal (pigeon) harm → surgical
repair (with a needle)→ human harm → hospital machines
(bulldozers) → paternal repair: the father’s earlier method
(exposure + stitching) returns as mercy.

Recurring devices
 Violent diction (5–6, 23) contrasted with tender diction (37–39).
 Extended predator metaphor (11–13, 30–32) equates “life” with a
hawk that circles and lands.
 Irony (40–43): the silence says more than the words/slogans ever
did.
 Metaphor (“bulldozed chest,” 38) gives embodied understanding
of mastectomy.
Take note:

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 Lines 5–8: The “lesson” with chickens may be read as

desensitization (harmful teaching through traumatic experience-
watching the chickens being slaughtered). Do you think this was
right? Was it an aid used as an attempt to inoculate a
sensitive child against future pain? Are we doing such to our
kids- learning the hard way?
 Lines 16–17: “wire or beak” can symbolize structural harms
(human-made snares) vs. natural harms (predation/fate).
 Lines 25–29: The public-speech imagery might suggest the father
hides behind roles; alternatively it shows his only available register
for care is the professional one.
 Lines 40–43: The father’s silence can be read as growth (he has
learned tenderness) or as helplessness (language fails before
illness).
5. Literary Devices
a. Imagery
Vivid descriptions, such as “clench my palms round its pumping chest”
and “the drip from my bulldozed chest,” evoke strong sensory
responses, immersing readers in the physical and emotional
experiences of the speaker.
b. Metaphor
The recurring motif of injured birds symbolizes vulnerability and the
inevitability of pain. The father's assertion that “life is a fight for
survival” reinforces the metaphor of life as a battleground.
c. Irony
The father's earlier vocal emphasis on toughness contrasts with his later
silent care, highlighting the irony in his approach to teaching resilience.
His silence during his daughter's recovery speaks volumes, suggesting a
deeper, unspoken understanding.
d. Repetition
The repeated imperative “Toughen up” emphasizes the father's central
message and his unwavering belief in the necessity of emotional
fortitude.

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Brief interpretation
“What Life Is Really Like” offers a nuanced exploration of the ways
individuals prepare for and respond to life's challenges. Through the lens
of a father-daughter relationship, Rycroft examines the balance between
emotional resilience and vulnerability. The poem suggests that while
exposure to hardship can build strength, genuine connection and
empathy are equally vital in navigating life's complexities.

Synthesis
The Nature of Life in Beverly Rycroft's Poem
In Beverly Rycroft's poem, the portrayal of life is stark and unfiltered,
emphasising the harsh realities that shape our existence. The speaker
reflects on their father's lessons, which often involve confronting the
brutal aspects of life. This perspective suggests that life is a struggle,
filled with challenges that require resilience and toughness.
Lessons from the Father
The father uses vivid and sometimes violent examples to teach his child
about the nature of life. For instance, the imagery of chickens being
slaughtered and the visceral description of a pig's suffering serve as
metaphors for survival and the harshness of reality. These instances
highlight the father's belief that understanding life's brutality is essential
for personal growth and resilience.
The Use of Figurative Language
In lines 11-12, the phrase "crazed for home" employs personification, as
it attributes human emotions to the idea of being home. This figure of
speech is relevant to the poem because it underscores the desperation
and longing for safety amidst chaos. It reflects the speaker's inner
turmoil and the instinctual drive to seek comfort in familiar surroundings,
even when faced with life's challenges.
The Significance of Word Choice
In stanza three, the word "tumbled" illustrates the suddenness and
chaos of the situation, indicating that the pigeon was not returning home
slowly. This choice of word conveys a sense of urgency and
unpredictability in life, reinforcing the poem's theme of survival.

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Understanding "Bulldozed"
The term "bulldozed" in line 38 is an example of onomatopoeia, as it
imitates the sound associated with the action of the machines. This word
choice emphasises the physical and emotional pain the speaker
endures, further illustrating the poem's exploration of life's struggles.
Tone and Its Impact
The father would likely use a harsh and pragmatic tone in the first
stanzas to convey the seriousness of his lessons (life lessons)(it is a
bastard), just as the late Zahara in her song says: “Impil’inzima, ifuna
abomeleleyo”, meaning that only tough cookies survive the harshness of
life/ the harsh realities of life. This tone is significant as it reflects his
belief that life is not gentle and that one must be prepared for its
challenges.
The Role of Repetition
In stanza six, the words "life's a bastard" are repeated, emphasising the
father's cynical view of existence. This repetition serves to reinforce the
theme of life's inherent difficulties and the need for resilience in the face
of adversity.
The Nature of Healing
The speaker describes her father's dressing of her wound as "practised,"
suggesting a routine familiarity with pain and healing. This choice of
words indicates that the father is accustomed to dealing with injuries,
both physical and emotional, which reflects the harsh realities of their life
experiences.
Justification of the Father's Perspective
Whether the father is justified in emphasising that "life's a bastard" is
subjective. On one hand, his perspective may be seen as a realistic
approach to preparing his child for the world's challenges. On the other
hand, it could be argued that such a viewpoint may foster cynicism and
fear rather than resilience and hope. Ultimately, the father's lessons
serve as a complex commentary on the nature of life and the balance
between harsh realities and the potential for growth.

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SUMMARY
Beverly Rycroft's poem serves as a poignant reflection on the interplay
between hardship, resilience, and love. It underscores the idea that life's
true lessons often emerge not from overt instruction but from silent acts
of care and shared experiences of suffering.
The poem reflects on a father’s stern/strict approach to teaching his
daughter about the hardships of life. He insists she “toughen up” by
witnessing harsh realities—like watching chickens beheaded and holding
a wounded pigeon while he stitches its throat. His admonitions—“life is a
fight for survival,” “you gotta roll with the punches”—echo in the
speaker’s memory, fostering an anxious anticipation of emotional pain.
Later, after the speaker undergoes hospital treatment, the same father
who preached toughness returns home and tenderly dresses her wound
—without once uttering “Life’s a bastard” or “Toughen up,” revealing the
quiet vulnerability behind his tough exterior.

3. Sonnet 73 - By William Shakespeare

That time of year thou mayst in me behold a
When yellow leaves, or none, or few, do hang b
Upon those boughs which shake against the cold, a
Bare ruin'd choirs, where late the sweet birds sang. b

In me thou see'st the twilight of such day c

As after sunset fadeth in the west, d
Which by and by black night doth take away, c
Death's second self, that seals up all in rest. d

In me thou see'st the glowing of such fire e

That on the ashes of his youth doth lie, f
As the death-bed whereon it must expire, e
Consum'd with that which it was nourish'd by. f

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This thou perceiv'st, which makes thy love more strong, g

To love that well which thou must leave ere long. g

ANALYSIS
A detailed analysis of William Shakespeare’s Sonnet 73, also known
by its first line: “That time of year thou mayst in me behold.” This
analysis includes structure, themes, literary devices, and interpretive
commentary. The confidence level of this interpretation is high, based
on well-established literary scholarship.
1. Context and Overview
 Poem: Sonnet 73
 Author: William Shakespeare
 Published: 1609
 Form: Shakespearean Sonnet
 Theme: Aging, mortality, and the intensification of love through the
awareness of time’s passing.
This sonnet is part of Shakespeare's Fair Youth sequence, a series of
poems addressed to a young man (some readers claim that
Shakespeare was gay, as he constantly mentions the male lover/ young
man), exploring themes of love, time, beauty, and mortality. In Sonnet
73, the speaker meditates on his own aging and approaching death,
drawing the listener into a reflection on the deepened value of love in
the face of loss.

 2. Structure and Form: Form: Shakespearean Sonnet (also

called English sonnet)
Three quatrains (4 lines each) and a rhymed/rhyming (line 13 and
14)
 Rhyme Scheme/pattern: ABAB CDCD EFEF GG/ abab cdcd efef
gg

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 Meter: Iambic pentameter ( 5 foot rhythm 5 stressed and 5

unstressed)
Each quatrain develops a different metaphor to describe the speaker’s
aging, and the final couplet offers a moral reflection.

3. Tone and Mood

 Tone: Reflective, melancholic, acceptance, yet tender (not afraid
of death)
 Mood: Quietly sorrowful (why?) but also affectionate; the
speaker’s awareness of his own decay/ body failing/ about to die,
intensifies the emotional closeness between him and the
addressee.

4. Themes
a. The Passage of Time and Aging (getting frail)
The central theme of the sonnet is the inevitable decline associated
with aging. The speaker compares himself to:
1. Late autumn
2. Twilight
3. A dying fire
The images evoke/trigger the waning of life and the proximity of death
(approaching of death).
b. Mortality (only God is immortal)
The sonnet reflects on the transience of human life (temporal life we
have= mortal beings/passers-by on earth). The speaker sees signs of
his own mortality and prepares his beloved for that loss. (mortality and
love).
c. Deep Love in the Face of Loss (Do we love our family members
mor when they are about to die?
Paradoxically, the knowledge of impending loss deepens the love
between the speaker and the beloved. As the final couplet suggests,
awareness of death intensifies affection.

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“This thou perceiv’st, which makes thy love more strong,

To love that well which thou must leave ere long.”
First Quatrain:
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
 Metaphor: The speaker likens himself to late autumn or early
winter.
 Imagery: Falling leaves and bare trees create a sombre picture
of decay.
 Symbolism: “Bare ruined choirs” metaphorically evokes the ruins
of a church, connecting physical decay with spiritual and
emotional decline.
Second Quatrain:
In me thou see’st the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
 Metaphor: He is now like twilight, the time just after sunset.
 Symbolism: “Black night” is a personification of death,
described as “death’s second self,” or symbolic of sleep and final
rest.
Third Quatrain:
In me thou see’st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire,
Consumed with that which it was nourished by.
 Metaphor: The speaker compares himself to a dying fire.
 Irony and Paradox: The fire is dying out, consumed by its own
fuel — a powerful image of self-destruction and inevitable
decline.

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 Theme of Self-Reflection: The ashes of youth feed the current

(but dying) fire — highlighting the inescapable cycle of life and
death.
6. Final Couplet:
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
 Interpretation: The beloved’s awareness of the speaker’s
mortality strengthens their love. There is a bittersweet
acknowledgment that love is most precious when it is most
fleeting.
 Moral Reflection: This couplet encapsulates the poem’s
emotional arc — from observation of decay to an affirmation of
enduring love.
7. Literary/ poetic Devices
a. Metaphor and Extended Metaphor
Each quatrain features an extended metaphor: seasons (autumn),
times of day (twilight), and elements (fire) to symbolise stages of life.
b. Personification
 “Death’s second self” personifies night as death.
 “Choirs” and “fire” also carry human (anthropomorphic) qualities.
c. Imagery
The poem’s power comes from its evocative sensory imagery:
 Visual: “yellow leaves,” “black night”
 Auditory: “sweet birds sang” (implied loss of song)
 Tactile: “shake against the cold”, also kineasthetic as it taps on
movement (shaking)
d. Symbolism
Each image encapsulates a universal human condition — the
inevitability of aging and loss, but also the opportunity for deeper
emotional connection.

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Conclusion
Sonnet 73: mortality and love. Uses powerful metaphors and vivid
imagery, the poem transforms personal aging (the speaker’s aging)
into a universal reflection on the passage of time. It ends not with
despair but with a tender affirmation: that true love does not fade
with age (as the body does), but rather deepens in the face of
transience.

4. Hard to find – Sinesipo Jojo

Words are everywhere; daily we read them, and they
fly out like nobody's business when we are provoked…
but there's always something hard to understand;
but there's always something hard to find
when they are needed by the heart;

While words are busy playing some twisted game

my heart looks sadly through the glass windows
as the raindrops slowly slide down,
gently on a cloudy lifetime,
hoping that one day
words will realize what my heart wants to say.
ANALYSIS
“Hard to Find”: structure, themes, tone, and literary devices.
1. Context and Overview (The World of the Writer)
 Poet: Sinesipo Jojo
 Background: Born in 1993 in Port St. Johns, Eastern Cape,
South Africa. She studied psychology at Nelson Mandela
University, where she began writing poetry during a creative
writing workshop. “Hard to Find” is a reflective lyric poem
that explores the emotional struggle of articulating deep
feelings, particularly when words seem elusive.
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2. Structure and Form

 Form: Free verse (no rhyming scheme)
 Stanzas:
 Lines: Short and long lines intermixed
 Punctuation: Minimal, with only two sentences and the use of
ellipses
 Enjambment: Present, contributing to the poem's flowing
rhythm. The free verse form and varied line lengths mirror the
speaker's emotional turbulence and the unpredictability of
finding the right words.
3. Tone and Mood
 Tone: Reflective, melancholic, and hopeful
 Mood: Initially somber (dull) and frustrated, then transitioning
to a sense of optimism
The poem begins with a tone of frustration (by the speaker) over
the inability to express emotions and concludes with a hopeful
anticipation that words will eventually align with the heart's
desires. (see the essay June 2024: I didn’t know what to say”- for
tomorrow)
4. Themes
a. Communication and Emotional Expression
The central theme revolves around the difficulty of expressing deep
emotions. The speaker notes that while words are abundant and
easily used in daily interactions, they become elusive when needed
to convey heartfelt feelings. We sometimes also say: “angazi ngithini,
ngiphelewa amagama”, - “ I am tongue tied”, especially when
shocked. When you say you don’t know what to say, s it because
there are no words/shortage of vocab?
Have you ever said/uttered such phrases? What was the context?
b. Disappointment and Frustration
The speaker experiences disappointment in her inability to
articulate emotions, especially during moments of emotional

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intensity. This is evident in lines where words are described as

hiding or playing twisted games.
c. Hope and Patience
Despite the challenges, the poem ends on a hopeful note,
suggesting that with time, words will eventually understand and
express what the heart wants to say = words will be available for
use.
d. Love and longing
e. Disappointment and vulnerability
f. Gender dynamics and emotional labour- is it only women who
feels like this?

5. Literary Devices
a. Personification
 “words hide like they are not part of life”
Words are given human characteristics, emphasizing their
elusiveness during emotional moments.
 “my heart looks sadly through the glass windows”
The heart is personified, reflecting the speaker's inner
sadness and longing.
b. Imagery (Which type?)
The poem uses vivid imagery to convey emotions
 “raindrops slowly slide down, gently on a cloudy lifetime”
This evokes a sense of prolonged sadness and introspection.
 Hunting/Searching metaphor: Love is portrayed as something
elusive, "hard to find," akin to a treasure or prey.
 Natural imagery: References to “withered roses,” “dry rivers,” or
“scarred hearts” (depending on version) evoke emotional
barrenness.
c. Metaphor
The poem employs metaphors to illustrate emotional states:

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 “cloudy lifetime”
Suggests a period filled with confusion or sadness.
d. Simile
 “words hide like they are not part of life”
Compares the absence of words to a detachment from life,
highlighting the depth of the speaker's emotional struggle.
e. Irony
The poem itself is a product of words, yet it discusses the difficulty
of finding words to express emotions, creating a poignant irony.
Brief interpretation
“Hard to Find” delves into the paradox of language—how words
can be both abundant and insufficient. The speaker articulates the
universal experience of struggling to express profound emotions,
especially during moments of vulnerability. The poem suggests
that while words may fail us at times, there remains hope that they
will eventually align with our emotional needs.
Sinesipo Jojo's “Hard to Find” is a contemplative exploration of the
challenges inherent in emotional expression. Through its free verse
form, vivid imagery, and personification, the poem captures the
frustration of unspoken feelings and the enduring hope that words
will eventually bridge the gap between the heart and expressio
Figures of Speech:
 Metaphor: Love is metaphorically “buried,” “rusted,” or “disguised”
— suggesting its inaccessibility.
 Alliteration and assonance: These create musicality and
emotional tone (“fickle, fleeting feeling”).
 Irony: The speaker yearns for something beautiful yet rarely finds
it, exposing the paradox of desire and scarcity.
 Line 1: "Words are everywhere; daily we read them, and they"
The speaker introduces the ubiquity of language in our daily lives.
Words are common and accessible—seen and used frequently.
Observational, reflective.
Device: Hyperbole ("everywhere")—emphasising the abundance of
language.

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 Line 2: "fly out like nobody’s business when we are

provoked…"
Words often escape uncontrolled when emotions are high. This
suggests their impulsive and sometimes careless use.
Tone: Cautionary.
Device: Simile ("like nobody’s business")—suggesting speed and
emotional intensity.
 Line 3: "but there’s always something hard to understand;"
Despite the abundance of words, communication often fails.
There's a gap between words and meaning.
Tone: Frustrated or contemplative.
Device: Contrast—abundance of words vs. lack of understanding.
 Line 4: "but there’s always something hard to find"
Repetition emphasises difficulty in grasping or discovering
something deeper—likely emotional honesty or love.
Tone: Longing.
Device: Repetition; parallel structure with line 3.
 Line 5: "when they are needed by the heart;"
Words fail most when emotions are involved. The "heart"
symbolises vulnerability, emotion, and sincerity.
Tone: Tender and disappointed.
Device: Personification of the heart as needing or reaching for
something.
 Line 6: "While words are busy playing some twisted game"
Words can deceive, hurt, or mislead. The idea of a “twisted game”
implies manipulation.
Tone: Cynical.
Device: Personification and metaphor—words acting like players in
a cruel game.
 Line 7: "my heart looks sadly through the glass windows"
The heart is metaphorically portrayed as an observer—detached,
passive, and longing. "Glass windows" suggest both transparency
and separation.
Tone: Melancholy.
Device: Visual imagery; personification of the heart.
 Line 8: "as the raindrops slowly slide down,"
Raindrops mirror tears, symbolising sadness, reflection, or grief.

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The pace (“slowly”) enhances the mood. Tone: Poignant.

Device: Pathetic fallacy—nature reflects inner emotions.
 Line 9: "gently on a cloudy lifetime,"
“Cloudy lifetime” refers to a life filled with uncertainty or sorrow.
Raindrops falling “gently” evoke a sense of ongoing but quiet
emotional pain.
Tone: Resigned.
Device: Metaphor—"cloudy lifetime" as emotional hardship.
 Line 10: "hoping that one day"
A flicker of hope emerges. Despite disillusionment, the speaker
retains a wish for clarity or connection.
Tone: Tentative optimism.
Device: Foreshadowing—anticipating change.
 Line 11: "words will realize what my heart wants to say."
The speaker longs for a moment when words will align with
emotions—when expression and feeling are no longer in conflict.
Tone: Vulnerable and hopeful.
Device: Personification—words “realizing” evokes agency;
reconciliation between language and emotion.
Brief interpretation:
 This poem reflects the emotional turmoil and vulnerability that
accompany the search for true love in a contemporary world where
deception, emotional unavailability, and fleeting commitment are
common. The speaker mourns the absence of genuine affection,
suggesting that sincere love has become rare—“hard to find.” The
poem captures the psychological fatigue of hoping, trusting, and
being disappointed.
 At its core, it is a lamentation of modern relationships, marked by
disillusionment and emotional pain (hurt/injury). The speaker
seems to suggest that people offer illusions of love but rarely
embody its reality. The poem may also critique gender
expectations—particularly the burdens placed on women to
remain emotionally available in emotionally bankrupt relationships.
Ultimately, the poem calls for authentic human connection,
rooted in honesty and vulnerability. Do the 2K’s still hold this
belief and value?

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 Philosophical insight: Love, in its truest form, is scarce not

because it does not exist, but because it demands truth and risk in
a world more comfortable with illusion and self-protection.
CENTRAL MEANING/MESSAGE = Love is difficult to locate in a
world of emotional pretence.
ACTIVITY FOR LEARNERS
A. Pre-Reading
1. What does the phrase "hard to find" suggest to you about love or
relationships?
2. In your view, what makes love difficult to find or sustain?
B. Comprehension and Analysis
1. What is the speaker searching for in the poem?
2. Identify and explain two metaphors used in the poem.
3. How does the speaker’s tone change throughout the poem?
Support with evidence.
4. What emotions does the poem evoke in you? Why?
C. Vocabulary & Figures of Speech
 Define the following: elusive, scarred, fleeting, rusted
 Find one example each of:
o Metaphor:
o Alliteration:
o Irony:
D. Discussion
 Is it harder to find love today than in the past? Why or why not?
 Do you think the speaker blames others or themselves more for
their disappointment?

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5. The Lake Isle of Innisfree – William Butler Yeats

ROMANTIC PERIOD AND POETS
William Blake; William Wordsworth; Taylor Coleridge; Lord Byron; Percy
Shelley’ John Keats; (later was W.B. Yeats and others)
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honeybee,
And live alone in the bee-loud glade.
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.
I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

ANALYSIS
Stanza 1
Line 1: “I will arise and go now, and go to Innisfree,”
 The speaker expresses a strong desire (yearning) for escape from
his current life.
 “Arise” suggests a spiritual or purposeful awakening, not just
physical movement.
 Innisfree represents an idealized place of peace, harmony, and
self-sufficiency.
Line 2: “And a small cabin build there, of clay and wattles made;”
 The vision is of a simple, rustic life, free from materialism.
 “Clay and wattles” (woven rods used for building) evoke traditional,
humble, rural craftsmanship.
Line 3: “Nine bean-rows will I have there, a hive for the honeybee,”
 “Nine bean-rows” symbolize both simplicity and order in nature.

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 The hive adds to the image of self-reliance and harmony with

natural rhythms.
 Bees also symbolize productivity and sweetness.
Line 4: “And live alone in the bee-loud glade.”
 Contradiction: solitude (“alone”) yet surrounded by life (“bee-loud”).
 The “glade” is a serene natural space filled with the hum of bees,
suggesting a gentle music of nature.

Stanza 2
Line 5: “And I shall have some peace there, for peace comes
dropping slow,”
 Yeats highlights inner peace (tranquillity) found in nature, unlike
the restless modern world.
 Peace is not sudden but gradual (“dropping slow”), like dew or
rain.
Line 6: “Dropping from the veils of the morning to where the cricket
sings;”
 The image is delicate: morning mist (“veils”) settling softly.
 The cricket is a natural, humble creature, symbolising simplicity.
Line 7: “There midnight’s all a glimmer, and noon a purple glow,”
 Contrasts of time: midnight (silver moonlight) and noon (purple
glow).
 Suggests beauty in every part of the day, filled with a mystical
quality.
Line 8: “And evening full of the linnet’s wings.”
 The linnet (a small bird) represents music, movement, and natural
joy.
 Evening is not empty but alive with birds in flight.

Stanza 3
Line 9: “I will arise and go now, for always night and day”
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 Repetition of “arise and go” intensifies the yearning.

 The desire is constant, regardless of time.
Line 10: “I hear lake water lapping with low sounds by the shore;”
 Sensory imagery: soft, rhythmic sound of water.
 The lake becomes a symbol of calmness and continuity.
Line 11: “While I stand on the roadway, or on the pavements grey,”
 Contrast between urban life (grey pavements) and natural beauty.
 The speaker is physically in the city but mentally longing for
Innisfree.
Line 12: “I hear it in the deep heart’s core.”
 The sound of the lake is internalized, resonating in his soul.
 Suggests a deep, almost spiritual connection to nature and retreat.

Themes
1. Escape and Yearning – longing to leave the modern world for
simplicity.
2. Nature as Healing – nature provides peace and renewal.
3. Contrast Between Urban and Rural Life – city life is dull and
grey; Innisfree is vibrant and alive.
4. Romantic Idealism – Innisfree is a dream vision of harmony, it is
more than just a physical place. (Think of Malindi Ntuli Masuku-
Ukhozi late presenter who used to say “Ngikhumbule e never
never- lapho ngingazi khona”.

Tone and Mood

 Tone: Longing, meditative, hopeful.
 Mood: Calm, serene, nostalgic/homesick.

Comprehension Questions
Question 1: Context and Content
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1.1. Where does the speaker wish to go, and why? (2)
1.2. Identify two natural images Yeats uses to describe peace in stanza
2 (2)
ANSWERS
1.1. The speaker wishes to go to Innisfree to build a simple cabin and
live peacefully in nature. (2)
1.2. Examples: “peace comes dropping slow,” “veils of the morning,”
“cricket sings,” “midnight’s all a glimmer,” “noon a purple glow,” “evening
full of the linnet’s wings.” (Any 2 ) (2)

Question 2: Structure and Form

2.1. The phrase “I will arise and go now” is repeated in the poem. What
effect does this repetition have? (2)
2.2. Comment on the rhyme scheme of the poem. (2)
ANSWERS
2.1. The repetition emphasises the intensity of the speaker’s longing
and determination to escape to Innisfree. (2)
2.2. The rhyme scheme is regular (ABAB in each stanza), which reflects
harmony and balance, echoing the peaceful theme. (2)

Question 3: Language and Imagery

3.1. Explain the meaning of “bee-loud glade” (line 4). (2)
3.2. What sense (sight, sound, touch, etc.) is most strongly appealed to
in line 10: “I hear lake water lapping with low sounds by the shore”? (1)
3.3. How does Yeats use contrast to show the difference between city
life and life at Innisfree? Provide one example. (3)

ANSWERS
3.1. It describes a glade (open space) filled with the humming sound of
bees, suggesting both solitude and life in nature. (2)

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3.2. Sound (1)

3.3. Example: Urban life is described as “roadway” and “pavements
grey” (dull, lifeless), while Innisfree is filled with light, colour, and
birdsong. This contrast highlights the dreariness of the city versus the
vibrancy of nature. (3)

Question 4: Themes
4.1. What is the main theme of the poem? (2)
4.2. How does the poem reflect Romantic ideals about nature? (3)
ANSWERS
4.1. The main theme is the longing for peace and renewal through
nature, away from the stress of modern urban life. (2)
4.2. The poem reflects Romantic ideals through its celebration of
solitude, harmony with nature, and the belief that nature offers spiritual
and emotional healing. (3)

Question 5: Personal Response

5.1. Do you think the speaker will truly find peace if he goes to Innisfree,
or is it an idealised dream? Motivate your answer. (3)
ANSWERS
5.1. Open-ended. Accept any well-motivated answer, e.g.:
 Yes, because nature is timeless and soothing, offering real peace.
 No, because the vision is idealised, and true escape may not be
possible in reality.
(3)

Possible answers
Question 1

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1.1. The speaker wishes to go to Innisfree to build a simple cabin and

live peacefully in nature. (2)
1.2. Examples: “peace comes dropping slow,” “veils of the morning,”
“cricket sings,” “midnight’s all a glimmer,” “noon a purple glow,” “evening
full of the linnet’s wings.” (Any 2 = ) (2)

Question 2
2.1. The repetition emphasises the intensity of the speaker’s longing and
determination to escape to Innisfree. (2)
2.2. The rhyme scheme is regular (ABAB in each stanza), which reflects
harmony and balance, echoing the peaceful theme. (2)

Question 3
3.1. It describes a glade (open space) filled with the humming sound of
bees, suggesting both solitude and life in nature. (2)
3.2. Sound (1)
3.3. Example: Urban life is described as “roadway” and “pavements
grey” (dull, lifeless), while Innisfree is filled with light, colour, and
birdsong. This contrast highlights the dreariness of the city versus the
vibrancy of nature. (3)

Question 4
4.1. The main theme is the longing for peace and renewal through
nature, away from the stress of modern urban life. (2)
4.2. The poem reflects Romantic ideals through its celebration of
solitude, harmony with nature, and the belief that nature offers spiritual
and emotional healing. (3)

Question 5
5.1. Open-ended. Accept any well-motivated answer, e.g.:
 Yes, because nature is timeless and soothing, offering real peace.
 No, because the vision is idealised, and true escape may not be
possible in reality.
(3)

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Yeats presents Innisfree as a place of peace and renewal. Discuss how

he conveys this longing for peace through imagery and structure in the
poem. In your answer, refer to at least TWO stanzas.
Hint for learners:
 Mention imagery of nature (sight, sound).
 Explain the slow, peaceful rhythm.
 Show how repetition and contrasts emphasise longing.

Short Quiz (10 marks)

1. Who is the poet of The Lake Isle of Innisfree? (1)
2. What does the speaker plan to build on Innisfree? (1)
3. Identify one sound image (auditory imagery) in the poem. (1)
4. Explain the meaning of “peace comes dropping slow.” (2)
5. What is contrasted with “roadway” and “pavements grey”? (2)
6. State the main theme of the poem in one sentence. (3)

Possible answers
1. W. B. Yeats (1)
2. A small cabin of clay and wattles (1)
3. “Bee-loud glade” OR “lake water lapping” (1)
4. Peace in nature is slow, gradual, and gentle, not sudden. (2)
5. The vibrant natural beauty and life at Innisfree (bees, lake, linnets,
glimmer, purple glow). (2)
6. The poem is about longing to escape city life and find peace through
nature. (3)
Total = 10 marks

6. You laughed and laughed and laughed

THE POEM:
In your ears my song

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is motor car misfiring

stopping with a choking cough;
and you laughed and laughed and laughed.

In your eyes my ante-

natal walk was inhuman, passing
your ‘omnivorous understanding’
and you laughed and laughed and laughed.

You laughed at my song,

you laughed at my walk.

Then I danced my magic dance

to the rhythm of talking drums pleading,
but you shut your eyes
and laughed and laughed and laughed.

And then I opened my mystic

inside wide like the sky,
instead you entered your
car and laughed and laughed and laughed.

You laughed at my dance,

you laughed at my inside.
You laughed and laughed and laughed.

But your laughter was ice-block

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laughter and it froze your inside froze

your voice froze your ears
froze your eyes and froze your tongue.

And now it’s my turn to laugh;

but my laughter is not
ice-block laughter. For I
know not cars, know not ice-blocks.

My laughter is the fire

of the eye of the sky, the fire
of the earth, the fire of the air,
the fire of the seas and the
rivers fishes animals trees

and it thawed your inside,

thawed your voice, thawed your
ears, thawed your eyes and
thawed your tongue.

ANALYSIS
"You Laughed and Laughed and Laughed"

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Here is a detailed analysis of Gabriel Okara’s poem “You Laughed

and Laughed and Laughed”, incorporating literary devices, tone,
themes, and socio-political context.
1. Overview and Context
This poem, written by Gabriel Okara, a renowned Nigerian poet, is a
powerful postcolonial response to the experience of African identity in
the face of Western mockery and condescension. It reflects on the
colonial encounter, particularly focusing on the coloniser’s derision
of African culture and values.
The laughter of the colonial figure represents not only mockery but also
a misunderstanding and belittlement of African traditions. Okara’s
persona, however, maintains a quiet strength and resilience,
responding not with anger but with a dignified assertion of cultural pride
and spiritual depth.
2. Tone and Mood
 Tone: Ironic, reflective, dignified, and ultimately assertive.
 Mood: The poem moves from being slightly indignant to proud and
triumphant. It evokes feelings of both humiliation and resilience.
3. Structure and Form
 Form: Free verse, without a fixed rhyme scheme or meter.
 Lineation: The repetition of “you laughed and laughed and
laughed” creates a musical rhythm and thematic emphasis.
 Stanzaic Structure: The lack of rigid stanza divisions contributes
to the organic flow of the speaker's inner voice.
4. Themes
a. Cultural Misunderstanding and Mockery (Colonialism and
cultural misunderstanding): The poem critiques Western perceptions
of African people as primitive.
The poem begins with the line:
"You laughed and laughed and laughed"
This triple repetition symbolises persistence and mockery. The “you” in
the poem represents the colonial or Western other, who mocks the
poet’s (and by extension, African) culture, traditions, and values.

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b. Resilience and Cultural Pride (Dignity and resilience): Despite

being mocked, the African speaker retains cultural pride.
c. Irony and resistance: Laughter is transformed from ridicule into
resistance.
Despite the derision, the speaker refuses to be diminished. Instead, he
affirms the richness of African identity, through metaphors and
comparisons, e.g.:
"But such laughter is a flame of fire
that burns with cruelty and evil"
This suggests that Western laughter is not innocent — it is embedded
with historical violence and racism.
c. Spiritual Depth of African Culture
The speaker references African rituals, drums, and dancing to affirm
the spiritual and communal life of his people. These are misunderstood
as primitive by the outsider but are deeply significant:
"I danced my magic dance to your laughter"
This defiant dance is a metaphor for resisting cultural erasure.
d. Colonialism and Power Relations
The laughter becomes a symbol of colonial condescension — the
colonial subject is perceived as inferior, yet the poem shows the
emptiness of such superiority.
5. Literary Devices
a. Repetition/anaphora
 “You laughed and laughed and laughed” – The anaphora
emphasises mockery and emotional weight. It also builds rhythm
and a sense of accumulation.

b. Imagery
 Fire imagery: "a flame of fire that burns with cruelty and evil" –
evokes pain, violence, and the destructive nature of colonial
mockery.

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 Sound imagery: Drums, singing, and dancing symbolise African

cultural expression and spiritual connection.
 The mocking laugh: Represents colonial arrogance and
condescension.
 Drums, dances, and ancestral symbols: Evoke African cultural
richness and spirituality.
 Contrasts: Between the mechanical/“metallic” European and the
spiritual/earth-bound African.
c. Irony
 The coloniser laughs, assuming superiority, but the speaker’s
composed response reveals moral and cultural depth.
 The poet flips the power dynamic — the one who laughs appears
foolish, while the laughed-at becomes dignified.
d. Symbolism
 Drums and dance symbolise ancestral memory, unity, and
resistance.
 Laughter symbolises ignorance, derision, and colonial
arrogance.
Interpretation and Meaning
The poem is ultimately about cultural misunderstanding, where the
African subject is misjudged and ridiculed by an outsider. However, it is
also a poem of dignified resistance. The speaker does not retaliate
with violence, but with confidence in his cultural identity, showing
the spiritual emptiness of the coloniser's mockery.
Rather than being reactive, the speaker uses the poem to reclaim voice
and agency — it’s a celebration of African dignity, a rejection of
colonial inferiority complexes, and a declaration that true humanity lies
in mutual understanding, not derision.

Brief interpretation:
Gabriel Okara’s poem is a profound response to colonial arrogance
and the dehumanisation of African people through ridicule. The repeated
“you laughed” represents the mockery imposed by colonial powers, who

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viewed African traditions, dances, and spirituality as primitive. However,

the speaker reclaims this mockery and turns it into a moment of
dignified resistance. His “laughter” becomes a symbol of inner strength
and cultural pride.
The poem contrasts two worldviews: the cold, mechanical worldview of
the coloniser, and the warm, intuitive, spiritually rooted world of the
African. Okara’s speaker ultimately triumphs—not through confrontation,
but through cultural affirmation and moral superiority. The poem
reverses the gaze: the coloniser becomes the one whose laughter is
hollow and meaningless, while the African’s laughter becomes the
enduring voice of authenticity.
Philosophical insight: True power lies not in domination but in self-
possession and cultural rootedness; dignity can exist even under
oppression.
Conclusion
Gabriel Okara’s “You Laughed and Laughed and Laughed” is a
poignant postcolonial poem that juxtaposes Western derision with
African spiritual depth. Through subtle irony, powerful imagery, and
cultural references, it affirms the resilience and dignity of African
identity. The laughter of the coloniser, intended to humiliate, is shown to
be hollow and uninformed, while the speaker's quiet pride transforms
mockery into a declaration of self-worth. What do you think of
Africanisation and decolonisation of education- the current issues
in higher education institutions?
Figures of Speech:
 Anaphora/repetition: Repetition of “You laughed…” emphasises
the persistence of ridicule/mocking.
 Juxtaposition: The speaker contrasts European and African
worldviews.
 Personification: African cultural elements are given life and
agency (e.g., “my laughter was the fire of the eye of the sky”).
Line 1: "In your ears my song"
The speaker addresses a coloniser or outsider who hears his traditional
African song. The phrase “my song” symbolises cultural expression
and identity.

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Tone: Direct and accusatory.

Device: Metaphor – “song” as a symbol of culture and identity.
Line 2: "is motor car misfiring"
The speaker’s song, in the listener’s view, is perceived as unpleasant or
meaningless. The comparison to a misfiring car suggests distortion and
alienation.
Tone: Sarcastic and critical.
Device: Simile – equating the song to a misfiring car.
Line 3: "stopping with a choking cough;"
The coloniser hears the song as chaotic or disordered. This illustrates
cultural insensitivity.
Tone: Bitter.
Device: Onomatopoeia (“choking cough”) adds a visceral image of
failure or dysfunction.
Line 4: "and you laughed and laughed and laughed."
Repetition of laughter emphasises mockery, ridicule, and
condescension. The laughter is prolonged and relentless.
Tone: Resentful and wounded.
Device: Repetition – creating rhythm and reinforcing the emotional
impact.
Line 5: "In your eyes my ante-"
The coloniser views the speaker’s physical appearance or cultural
behaviour with contempt. “Ante-” may suggest pre-modern or
underdeveloped.
Tone: Confrontational.
Device: Enjambment – creating tension by splitting the word.
Line 6: "natal walk was inhuman, passing"
The speaker’s way of walking—perhaps symbolising his lifestyle or
traditions—is seen as less than human.
Tone: Indignant.
Device: Dehumanisation – highlighting colonial racism.
Line 7: "your ‘omnivorous understanding’"
The phrase sarcastically describes the coloniser’s supposedly
“universal” knowledge, which fails to grasp African culture.
Tone: Ironic.
Device: Irony – the coloniser’s understanding is limited despite claiming
to be all-encompassing.

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Line 8: "and you laughed and laughed and laughed."

The repetition underscores sustained cultural ridicule.
Tone: Frustrated and pained.
Device: Repetition as emphasis.
Line 9: "You laughed at my song,"
The speaker itemises the objects of ridicule—beginning with his cultural
expression.
Tone: Accusatory.
Device: Parallelism – begins list of colonial mockery.
Line 10: "you laughed at my walk."
Physical presence and behaviour are also mocked.
Tone: Humiliated, yet self-aware.
Device: Repetition and parallelism.
Line 11: "Then I danced my magic dance"
The speaker offers a deeper, spiritual expression—a “magic dance”—as
part of his cultural performance.
Tone: Proud.
Device: Symbolism – dance as spiritual and cultural power.
Line 12: "to the rhythm of talking drums pleading,"
The dance is rooted in the sacred rhythm of African drums, which
communicate stories, messages, and emotion.
Tone: Reverent.
Device: Personification – drums that “plead” emphasise the depth of
meaning.
Line 13: "but you shut your eyes"
The coloniser refuses to see, engage, or understand. This signals wilful
ignorance.
Tone: Accusatory and disappointed. Device: Symbolism – blindness as
rejection.
Line 14: "and laughed and laughed and laughed."
Again, mockery replaces understanding. The speaker is repeatedly
belittled.
Tone: Intensifying injustice.
Device: Repetition for rhythmic indictment.
Line 15: "And then I opened my mystic"
The speaker exposes his inner self, culture, and spiritual power—his
“mystic inside.”
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Tone: Brave, spiritual.

Device: Metaphor – “mystic” representing inner strength or soul.
Line 16: "inside wide like the sky,"
The speaker’s spiritual depth is vast and expansive, like nature.
Tone: Majestic.
Device: Simile – “like the sky.”
Line 17: "instead you entered your"
The coloniser retreats into materialism or technology—perhaps a car or
western rationality.
Tone: Disappointed.
Device: Irony – withdrawal instead of engagement.
Line 18: "car and laughed and laughed and laughed."
The coloniser ignores the profound offering and chooses to continue
laughing.
Tone: Condemning.
Device: Repetition reinforces stubborn ignorance.
Line 19: "You laughed at my dance,"
The coloniser mocked a deeply symbolic expression of the speaker’s
identity.
Tone: Disillusioned.
Device: Parallel structure continues.
Line 20: "you laughed at my inside."
The speaker’s vulnerability, emotions, and spiritual core are belittled.
Tone: Sombre.
Device: Contrast – interior depth vs. shallow laughter.
Line 21: "You laughed and laughed and laughed."
A final summation of relentless ridicule.
Tone: Reproachful.
Device: Anaphora and rhythm.
Line 22: "But your laughter was ice-block"
The coloniser’s laughter is revealed as cold, emotionless, and lifeless.
Tone: Scornful and revelatory.
Device: Metaphor – “ice-block” for emotional coldness.
Line 23: "laughter and it froze your inside froze"
This laughter has frozen the coloniser’s soul, rendering them numb and
spiritually void.

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Tone: Critical.
Device: Repetition of “froze” enhances the effect.
Line 24: "your voice froze your ears"
The coloniser can no longer speak or hear meaningfully.
Tone: Judgmental.
Device: Symbolism – silenced voice and closed ears as a metaphor for
cultural ignorance.
Line 25: "froze your eyes and froze your tongue."
Complete spiritual paralysis. The coloniser has lost all genuine
connection.
Tone: Condemning.
Device: Accumulative listing – shows total loss of humanity.
Line 26: "And now it’s my turn to laugh;"
Power dynamic shifts. The speaker finds strength in their resilience and
turns ridicule into self-empowerment.
Tone: Triumphant.
Device: Irony – the oppressed becomes the one who laughs.
Line 27: "but my laughter is not"
The speaker distinguishes his laughter—it is not cold or mocking.
Tone: Noble, reflective.
Device: Contrast.
Line 28: "ice-block laughter. For I"
His laughter is not lifeless; it is warm and life-affirming.
Tone: Affirmative.
Device: Symbolism.
Line 29: "know not cars, know not ice-blocks."
The speaker does not know technology or emotional coldness—he
knows tradition, warmth, life.
Tone: Proud, self-defined.
Device: Repetition and negation as assertion of identity.
Line 30: "My laughter is the fire"
His laughter is powerful, passionate, and spiritual—associated with fire
and life.
Tone: Empowered.
Device: Symbolism – fire as passion and vitality.

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Line 31: "of the eye of the sky, the fire"

The laughter is universal and celestial—like the sun.
Tone: Cosmic.
Device: Metaphor and personification.
Line 32: "of the earth, the fire of the air,"
The speaker’s laughter is elemental, rooted in nature and life itself.
Tone: Majestic.
Device: Elemental symbolism.
Line 33: "the fire of the seas and the"
His power spans all aspects of nature—land, sea, and air.
Tone: Expansive.
Device: Amplification through cumulative imagery.
Line 34: "rivers fishes animals trees"
identity is intertwined with all living things. He is part of a vibrant,
connected world.
Tone: Celebratory.
Device: Enumeration – the life-affirming list.
Line 35: "and it thawed your inside,"
The speaker’s warmth and truth melt the coloniser’s coldness.
Tone: Transformative.
Device: Metaphor – thawing as awakening.
Line 36: "thawed your voice, thawed your"
The speaker restores humanity to the coloniser.
Tone: Redeeming.
Device: Repetition.
Line 37: "ears, thawed your eyes and"
Interpretation: Sensory and emotional faculties are reawakened.
Tone: Healing.
Device: Symbolism – of seeing, hearing, speaking truth.
Line 38: "thawed your tongue."
Now the coloniser can speak truth, feel empathy, and connect—thanks
to the speaker’s warmth and cultural resilience.
Tone: Forgiving, restorative.
Device: Closure with symbolism of communication restored.

ACTIVITY
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A. Pre-Reading
1. What experiences can you recall where someone misunderstood
or mocked your culture?
2. What role can poetry play in addressing stereotypes?
B. Comprehension and Analysis
1. What is the significance of the repeated phrase “you laughed”?
2. How does the speaker reclaim dignity by the end of the poem?
3. Contrast the speaker’s identity with that of the person being
addressed.
C. Vocabulary & Figures of Speech
 Define: ancestral, primitive, mechanical, condescension
 Identify:
o Symbol of African heritage:
o Juxtaposition between cultures:
o Use of repetition and its effect:
D. Discussion
 How does the poem challenge colonial narratives?
 In what ways can laughter be both oppressive and empowering?
E. Extension Activity
Prepare a short skit or poem that responds to cultural prejudice using
satire or irony.
CENTRAL MEANING/MESSAGE:
Cultural ridicule is overcome through self-awareness and dignity.
NB: Explore the mental images (imagery) created by the
words/phrases/lines in the poem.

6.The night jar and Inkosazane yasezulwini

The speckled bird as brown as dust
which roosts inside a bush by day,

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hiding its head against the glare,

at midnight pecked against the pane,
and gently pecked, until I saw
the starlight glitter through its beak.

On calm and tender summer nights,

when fishes bite the wobbling moon,
and moths rise to silvery fruit
sprinkling the space among the boughs,
it wakes and glides from sill to sill
across the worn-out, curtained town.

It shook the sandman from my sight

And when the tar-bound slope had turned
To bush and rocky hill it said
‘There’s a grass-house in the hills,
Above the coast where sugar spumes,
And lilies sprout, and no storms fly.

‘There, the Princess of the Heavens,

Beside her dark as honey feet,
gathers up the dreams which reach her
And stooping to her woven pots
Rinses them in rainbow water,
Or stores them with the morning mist.

‘Go, waking sleeper, call to her,

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And wading through the icy stream

In which the golden pebbles shine,
Ask her if her power is love,
For she is old as she is young,
And without her, no one dreams.’

She leaned against a leafless tree

On which a crown of crimson burned,
And then the hill began to dim,
And standing in the greying rocks,
I heard the nightjar fade, from sill
To sill, across the windowed town.

ANALYSIS
The speckled bird is said to be iqola, which is an IsiZulu word for it.
Behaviourally, it hides in the forest/bushes during the day and comes at
dawn, sits on window sills and pecks gently on the panes. It is sweet and
gentle as it doesn’t make a violent or loud noise as it taps on the
windows. It moves from one window to another. It wakes the room
occupant, as though it is an alarm, letting the occupant know that it is
time to wake up. In this poem, the bird seems to be on a mission to wake
(summon) the Inkosazane yasezulwini to go fulfil her mission.
Analysis of “The Night-Jar and Inkosazana Yasezulwini” includes:
literary devices, tone, themes, and cultural context.
1. Overview and Context
Chris Mann (1948–2021) was a South African poet known for his
integration of indigenous African spirituality with English poetic forms.
His works often explore themes of nature, spirituality, and cultural
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identity. In this poem, Mann draws upon Zulu mythology, particularly the
figure of Inkosazana Yasezulwini (Princess of the Heavens), to explore
the interplay between the natural and spiritual realms.

2. Structure and Form

 Form: The poem consists of six stanzas, each with six lines,
resembling a sestina structure.
 Rhyme Scheme: There is no consistent rhyme scheme, allowing
for a free-flowing narrative.
 Style: The poem blends narrative and lyrical elements, creating a
ballad-like quality.

3. Tone and Mood

 Tone: Reflective, mystical, and reverent.
 Mood: The poem evokes a sense of wonder and tranquillity,
inviting readers into a meditative space.

4. Themes
a. Nature as a Spiritual Guide
The nightjar, a nocturnal bird, serves as a messenger, guiding the
speaker towards spiritual enlightenment. Its actions symbolise the subtle
prompts from nature that lead individuals to deeper understanding.
b. Interplay Between the Physical and Spiritual Realms
The poem illustrates how the physical world (represented by the nightjar
and natural imagery) interacts with the spiritual realm (embodied by
Inkosazana Yasezulwini). This interplay suggests a harmonious
coexistence and mutual influence between the two realms. Spiritual
media mediate between the dead and the living.
c. Cultural Identity and Heritage
By incorporating Zulu mythology, Mann emphasises the importance of
cultural heritage and the richness of indigenous spiritual beliefs. The

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poem serves as a celebration of African traditions and their relevance in

contemporary contexts.

5. Literary Devices
 Imagery: Vivid descriptions of the nightjar, the natural landscape,
and the ethereal presence of Inkosazana Yasezulwini create a rich
sensory experience.
 Personification: The nightjar is endowed with purposeful action,
acting as a conscious guide.
 Symbolism: The nightjar symbolizes intuition and the
subconscious, while Inkosazana Yasezulwini represents divine
guidance and the nurturing aspect of the cosmos.
 Alliteration: Phrases like "pecked against the pane" use
alliteration to create a rhythmic and auditory effect.

6. Interpretation and Meaning

The poem can be interpreted as an allegory for the journey towards self-
discovery and spiritual awakening. The nightjar's gentle prompting leads
the speaker to encounter Inkosazana Yasezulwini, who embodies
wisdom and the nurturing aspects of the universe. This encounter
suggests that by attuning oneself to the natural world and embracing
cultural heritage, one can access deeper truths and inner peace.

Interpretation:
This poem draws from African cosmology, combining Zulu myth with
lyrical meditation on nature and the mystical. The nightjar—a bird
associated with dusk and mystery—becomes a metaphorical messenger
or spiritual companion to Inkosazane yasezulwini (the Princess of
Heaven), a figure from Zulu mythology linked with healing and prophecy.
Do you still remember the Xhosa prophet Nongqawuza?
The poem presents nature not as mere scenery but as a living, spiritual
realm that communicates with the human world. There is a strong
syncretic element, merging traditional African spirituality with poetic
form. The poem celebrates the continuity between the spiritual and

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material, the ancestral and the living, the natural and the divine. Chris
Mann constructs a world in which silence, sound, night, and bird-song
carry deep spiritual messages, connecting the seen and the unseen.
Philosophical insight: The world is not divided into sacred and profane;
rather, the sacred is embedded within the rhythms of the natural world.
7. Conclusion
Chris Mann’s “The Night-Jar and Inkosazana Yasezulwini” is a
contemplative piece that weaves together natural imagery and Zulu
mythology to explore themes of spiritual guidance, cultural identity, and
the interconnectedness of all things. Through its evocative language and
symbolic narrative, the poem invites readers to reflect on their own
journeys towards understanding and harmony with the world around
them.
Themes:
 Spirituality and myth: The poem draws on African mythology and
oral tradition.
 Nature and transformation: Focus on the mystical connection
between earthly creatures and celestial beings.
 Unity of past and present: Traditional beliefs blend with modern
poetic form.
Imagery:
 Birds and stars: Symbolise communication between the earthly
and the divine.
 Inkosazane (Princess of the Sky): An ethereal figure often found
in Zulu mythology, associated with healing, prophecy, and fertility.
 The night and silence: Represent introspection and mystery.
Figures of Speech:
 Symbolism: The Nightjar symbolises the bridge between the
natural and spiritual worlds.
 Allusion: Reference to Zulu mythology gives the poem its
intertextual depth.
 Enjambment: Maintains the fluid, dreamlike rhythm.

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This poem blends African folklore with natural and spiritual imagery,
reflecting on mortality, reverence for nature, and the mystical relationship
between the human and the divine (Thembi and Loyd, the media
interceding between the dead and the living, on Channel 161).

Themes:
 African spirituality
 Nature and the supernatural
 Childhood wonder
 The interface between silence, sound, and meaning
Devices:
 Metaphor and simile: "white witch’s toenail", "voice…spinning
coin"
 Personification: Fire dozing, smile of stars
 Allusion: Inkosazane yasezulwini (ancestral/heavenly figure in
Zulu cosmology)
ACTIVITY
A. Pre-Reading
1. What do you know about African mythological beings or
nature spirits?
2. Have you ever felt a spiritual or magical connection to nature?
B. Comprehension and Analysis
1. Who is Inkosazane yasezulwini, and what is her symbolic
role?
2. Describe how the poet connects nature (nightjar) with the
spiritual realm.
3. What atmosphere is created by the night setting?
C. Vocabulary & Figures of Speech
 Define: mythic, celestial, nocturnal, prophecy

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 Identify and interpret:

o One simile or metaphor:
o Allusion to African tradition:
o A sensory image:
D. Discussion
 How does the poet celebrate traditional beliefs through
poetry?
 Can science and mythology coexist in understanding the
world?
E. Extension Activity
Draw or digitally create a visual of the poem, showing the
interaction between the nightjar and Inkosazane.
The Nightjar and Nature and the spiritual world are interwoven
Inkosazane and ever-present.

5. Inversnaid – Gerard Manley Hopkins (written in 1881)

Gerard Manley Hopkins, a Victorian poet known for his use of sprung
rhythm, dense imagery, and religious themes. This particular poem is
a celebration of wild, untamed nature and a plea for its preservation.

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5.1 Natural landscape

Dark, untamed river – “brown brink eastward,” “falling flanks.” (2)
5.2 Human interference
The poet opposes development or destruction of wild spaces. (2)
5.3 Significance of final line
A plea to preserve wilderness, valuing what is wild and unspoiled. (3)
5.4 Rhythm and sound
Sprung rhythm, alliteration, compound words – mirror nature’s energy.
(3)

This darksome burn, horseback brown,

His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.

A windpuff-bonnet of fáawn-fróth
Turns and twindles over the broth
Of a pool so pitchblack, féll-frówning,
It rounds and rounds Despair to drowning.

Degged with dew, dappled with dew,

Are the groins of the braes that the brook treads through,
Wiry heathpacks, flitches of fern,
And the beadbonny ash that sits over the burn.

What would the world be, once bereft

Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.

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Poem Text:
1. This darksome burn, horseback brown,
2. His rollrock highroad roaring down,
3. In coop and in comb the fleece of his foam
4. Flutes and low to the lake falls home.
5. A windpuff-bonnet of fawn-froth
6. Turns and twindles over the broth
7. Of a pool so pitchblack, fell-frowning,
8. It rounds and rounds Despair to drowning.
9. Degged with dew, dappled with dew
10. Are the groins of the braes that the brook treads through,
11. Wiry heathpacks, flitches of fern,
12. And the beadbonny ash that sits over the burn.
13. What would the world be, once bereft
14. Of wet and of wildness? Let them be left,
15. O let them be left, wildness and wet;
16. Long live the weeds and the wilderness yet.

ANALYSIS
Certainly. Below is a detailed literary analysis of “Inversnaid” by
Gerard Manley Hopkins, a 19th-century English poet and Jesuit priest
known for his innovative use of language, particularly sprung rhythm,
alliteration, and intense spiritual symbolism.

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I. Overview and Themes

“Inversnaid” is a descriptive lyric poem in which Hopkins celebrates the
untamed beauty of nature through the vivid portrayal of a Scottish
stream (referred to as a “burn”). The poem explores themes such as:
 Nature’s wildness as sacred
 The value of untamed, untouched environments
 The spiritual energy of natural elements
 Environmental preservation and human impact
Hopkins contemplates not just the visual and auditory impact of the
stream but also its spiritual and metaphysical significance.

II. Line-by-Line Analysis

Stanza 1
This darksome burn, horseback brown,
His rollrock highroad roaring down,
In coop and in comb the fleece of his foam
Flutes and low to the lake falls home.
 “Darksome burn”: “Burn” is a Scottish term for a stream;
“darksome” gives a sense of mystery and awe.
 “Horseback brown”: Suggests the colour and shape of the
stream tumbling over rocks — animalistic, energetic.
 “Rollrock highroad roaring down”: The stream follows a natural
path (the “highroad”) over rocky terrain, personified as “roaring,”
emphasising dynamic power.
 “Coop and comb the fleece of his foam”: Complex alliteration;
“coop” (contain) and “comb” (organise) suggest the movement and
frothing of water (visual and kineasthetic imagery).
 “Flutes (umtshingo) and low to the lake falls home”: “Flutes”
implies musicality, personifying the stream as a living being that
‘falls home’ to the lake, returning to its destination. The imagery
evokes the sense of hearing, hence the imagery is auditory.

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Key technique: Alliteration, sprung rhythm, and personification are used

to intensify the experience of natural energy.

Stanza 2
A windpuff-bonnet of fawn-fringe flush
With it, he wimpling wing in his ecstasy!
Then, he flung spray to the storm of his strides,
Striding the earth, with a flood of wings.
 “Windpuff-bonnet”: A whimsical image of frothy foam forming like
a bonnet, “fawn-fringe” indicating colour and texture.
 “Wimpling wing”: “Wimpling” means to ripple or twist; here, the
water is imagined to move like a bird’s wing, reflecting motion and
grace.
 “Ecstasy”: Hopkins often uses ecstatic language to express
divine presence; the stream is animated with joyous movement.
 “Flung spray,” “storm of his strides”: The stream is powerful
and tempestuous, likened to an enormous being.
 “Flood of wings”: Suggests both divine presence (angelic
imagery) and chaotic, energetic nature.
Key technique: Synthesis and metaphor, blending visual, kinetic, and
auditory imagery.

Stanza 3
What would the world be, once bereft
Of wet and wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.
 Shift in tone: From description to reflection and advocacy.

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 “What would the world be”: A rhetorical question urging

reflection on environmental loss.
 “Let them be left”: A plea for the preservation of natural habitats.
 “Weeds and wilderness”: What many view as undesirable,
Hopkins praises as essential.
 “Long live…”: Ends in a prophetic and defiant tone, affirming the
value of the untamed world.
Key technique: Repetition and rhetorical questioning drive the moral of
the poem.

III. Style and Form

 Sprung Rhythm: Hopkins's invented meter allows for variable
stress and imitates natural speech and movement — especially
fitting for describing dynamic elements like water.
 Alliteration and Assonance: Key sonic devices — e.g., “flutes
and low to the lake falls home.”
 Personification: The stream is depicted as a living, emotional,
divine presence.
 Sound Effects: The poem is as much about the sound of words as
their meaning — imitating the rush, splash, and music of the
stream.

IV. Interpretation and Symbolism

 Nature as Divine: The stream is not merely scenic but sacred.
Hopkins, a Jesuit, frequently equates natural beauty with the
presence of God.
 Ecological Awareness: Centuries ahead of the environmental
movement, Hopkins suggests that natural landscapes must be
preserved for the sake of spiritual and ecological balance.
 Spiritual Wildness: The “wildness” is not disorder but divine order
— a spiritual ecstasy found in chaos, motion, and freedom.

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Stanza 1
1. This darksome burn, horseback brown,
Interpretation: The speaker introduces a stream (“burn” in Scots, the
language spoken in Scotland- Queen Elizabeth’s place of death- her
other castle is in Scotland) that is dark and muddy, likened to the brown
of a horse’s back—natural, wild, and energetic.
Devices:
 Imagery: “darksome” evokes gloom and depth.
 Alliteration: “burn,” “brown”
 Metaphor: stream compared to a horse (powerful and untamed)
2. His rollrock highroad roaring down,
Interpretation: The stream is described as forcefully flowing downhill
over rocks, roaring like traffic on a highroad.
Devices:
 Personification: The stream as “his”
 Sound imagery: “roaring”
 Compound words: “rollrock,” “highroad” emphasize motion and
sound.
3. In coop and in comb the fleece of his foam
Interpretation: The stream’s white foam is likened to fleece (sheep’s
wool), caught in confined spaces (“coop”) and swirling hollows (“comb”).
Devices:
 Metaphor: Foam = fleece
 Alliteration: “coop,” “comb,” “fleece,” “foam”
 Inventive language: Hopkins' compound nouns evoke tight natural
spaces.
4. Flutes and low to the lake falls home.
Interpretation: The stream narrows and sings (“flutes”) as it gently flows
into the lake, finding its resting place.
Devices:
 Personification: The stream “flutes” like a musical instrument.
 Alliteration: “lake,” “low,” “falls,” “home”

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 Calming tone: Suggests peaceful culmination.

Stanza 2
5. A windpuff-bonnet of fawn-froth
Interpretation: A puff of wind forms a bonnet (cap) of frothy brown foam
on the stream’s surface.
Devices:
 Compound words: “windpuff-bonnet,” “fawn-froth”
 Imagery: Captures fragility and movement.
 Alliteration: “fawn-froth”
6. Turns and twindles over the broth
Interpretation: The foam twirls (twindles) over the churning, stew-like
water (“broth”).
Devices:
 Neologism: “twindles” suggests twirling
 Metaphor: stream compared to a cooking pot (broth = turbulence)
7. Of a pool so pitchblack, fell-frowning,
Interpretation: The water deepens into a very dark pool, which seems
ominous or angry (“fell” = fierce or deadly).
Devices:
 Alliteration: “pitchblack,” “fell-frowning”
 Personification: The pool “frowns”
 Mood: Gloomy, mysterious
8. It rounds and rounds Despair to drowning.
Interpretation: The circling water metaphorically drowns despair—
suggesting emotional or existential threat.
Devices:
 Metaphor: Despair is a person or feeling being drowned.
 Symbolism: Water as force of oblivion.

Stanza 3

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9. Degged with dew, dappled with dew

Interpretation: The hills (braes) and vegetation are soaked and
speckled with dew, emphasizing freshness and morning vitality.
Devices:
 Alliteration and repetition: “degged… dappled… dew”
 Dialect: “Degged” is Scots for “sprinkled” or “soaked.”
10. Are the groins of the braes that the brook treads through,
Interpretation: The stream runs through the hollows (“groins”) of hills
(“braes”), stressing the intimacy of water and land.
Devices:
 Personification: brook “treads” like a human
 Topographical imagery: Physical relationship between stream and
hillside.
11. Wiry heathpacks, flitches of fern,
Interpretation: Tough tufts of heath and strips of fern fill the hillside.
Devices
 Compound image: “heathpacks” = bundled heather; “flitches” =
strips (from butchery)
 Texture imagery: Emphasises roughness and wildness
12. And the beadbonny ash that sits over the burn.
Interpretation: A beautiful ash tree hangs over the stream, its leaves
likened to beads—shining with dew or raindrops.
Devices:
 Inventive language: “beadbonny” = beautiful like beads
 Visual imagery: Ash tree in poetic detail

Stanza 4 (Conclusion)
13. What would the world be, once bereft
Interpretation: The speaker asks a rhetorical question—what would
happen if the world lost this kind of wild beauty?
Devices:
 Rhetorical question

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 Theme introduction: Conservation and loss

14. Of wet and of wildness? Let them be left,
Interpretation: The speaker urges the preservation of wild, wet
landscapes—perhaps threatened by industrialisation.
Devices:
 Repetition: “Let them be left” echoes the plea
 Parallelism: “wet and wildness”
15. O let them be left, wildness and wet;
Interpretation: The plea is intensified with emotion (“O”), reinforcing the
spiritual and aesthetic value of untamed nature.
Devices:
 Anaphora: Repeating “let them be left”
 Inversion: “wildness and wet” rearranged for emphasis
16. Long live the weeds and the wilderness yet.
Interpretation: Final affirmation: untamed nature is vital and must
endure. Even “weeds” are worthy of praise and protection.
Devices:
 Alliteration: “weeds… wilderness yet”
 Closing declaration: An ode to natural disorder and fertility

Summary of Key Elements

Aspect Details
Nature’s wildness; Spiritual ecology; Conservation;
Main Themes
Beauty in disorder
Tone Reverent, urgent, richly descriptive
Four quatrains (16 lines total); no fixed rhyme scheme;
Form
sprung rhythm
Dense natural description—stream, hills, foam, trees,
Imagery
dew, darkness
Figures of Alliteration, compound words, personification,
Speech metaphor, rhetorical question

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Aspect Details
Poetic Sprung rhythm; invented words; intense compression
Innovation of meaning

. Conclusion
“Inversnaid” is a compact yet layered poem in which Hopkins conveys a
passionate plea for the preservation of wild nature (he was a Romantic
poet). His inventive language and rhythmic innovation combine to create
a powerful celebration of a Scottish stream, representing both physical
vitality and metaphysical resonance. The final stanza transforms the
poem into a timeless environmental and spiritual appeal.

ACTIVITY
Part A: Pre-reading Discussion
Instructions: Discuss these questions with a partner or write short
responses.
1. What do you understand by the term "wild nature"?
2. Why might someone argue that untamed or unspoiled natural
places should be preserved?
3. What do you think might be the relationship between spirituality
and nature?

Part B: Read the Poem Carefully

“Inversnaid” by Gerard Manley Hopkins
(Your teacher will provide the full text.)

Part C: Vocabulary and Language

Match the following words or phrases from the poem with their correct
meanings:
Word or Phrase Meaning
1. Burn a) A strip or slice (esp. of meat)

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Word or Phrase Meaning

2. Fleece b) A Scots word for stream

3. Flitches c) Wool from a sheep
4. Braes d) Hills or slopes
5. Beadbonny e) Beautiful like beads or jewels
Answers:
1. _____ 2. _____ 3. _____ 4. _____ 5. _____

Part D: Comprehension and Analysis

Answer the questions in complete sentences.
1. In your own words, describe the stream in the first stanza of the
poem. What images and sounds does the poet use?
2. What mood is created in the second stanza when the poet
describes the “pitchblack” pool? Why do you think he uses words
like “Despair” and “drowning”?
3. How does the poet use sound devices (alliteration, rhythm, etc.)
to convey movement and energy?
4. What kind of landscape is being described in stanza three? List at
least three types of vegetation or features mentioned.
5. In stanza four, the poet pleads for the preservation of wild places.
a. What reasons—emotional, aesthetic, or spiritual—can you infer
from his plea?
b. What is the significance of the final line: “Long live the weeds
and the wilderness yet”?

Part E: Discussion Questions

1. Do you think modern society values wildness? Why or why not?
2. Hopkins asks: “What would the world be, once bereft / Of wet and
of wildness?”

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How would you answer this question in the context of climate

change or environmental degradation?

Answer: “Inversnaid” – Gerard Manley Hopkins

Part A: Pre-reading Discussion

(Sample responses; open-ended for discussion)
1. Wild nature refers to landscapes or ecosystems that are
untouched by human development or control—places that are raw,
powerful, and often beautiful.
2. Because they are home to diverse species, maintain ecological
balance, and offer spiritual or aesthetic inspiration.
3. Many poets and thinkers see nature as a reflection of the divine or
a place for contemplation and renewal.

Part B: Vocabulary and Language

Word or Phrase Correct Meaning
1. Burn b) A Scots word for stream
2. Fleece c) Wool from a sheep
3. Flitches a) A strip or slice (esp. of meat)
4. Braes d) Hills or slopes
5. Beadbonny e) Beautiful like beads or jewels

Part C: Comprehension and Analysis

1. Description of the stream (Stanza 1):
The stream is described as leaping, foaming, and crashing down
the hills—full of wild energy. Hopkins uses verbs like “coiled,”
“tumbled,” and “hurl” to capture movement and noise.
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2. Mood in Stanza 2:
The mood is dark and intense. The use of words like “pitchblack,”
“fell,” and “Despair” evokes feelings of depth, danger, and spiritual
weight. The poet is perhaps suggesting that even the dark and
overwhelming parts of nature have value.
3. Use of Sound Devices:
Hopkins uses alliteration (“burn, barrelled”) and sprung rhythm to
create a fast, tumbling pace, mimicking the stream’s flow. His word
choices generate auditory texture and a sense of chaos and
power.
4. Landscape Description (Stanza 3):
He mentions wild moss, turf, and vegetation like bracken and
heather. The landscape is uneven and alive with untamed growth
—“weeds and wilderness” are celebrated.
5. Preservation Plea (Stanza 4):
a. Hopkins is appealing for spiritual and aesthetic reasons. He
sees wildness as a part of divine creation and believes it has
intrinsic worth, beyond practical utility.
b. The final line emphasises his deep love for unspoiled nature. He
wants wilderness to survive, not be erased by human civilisation.

Part F: Discussion Questions

Engage in a discussion around the following issues:
1. Modern society values wildness less than development, though
there are environmental movements trying to protect it. Much land
is being used for urbanisation and industrial purposes.
2. The world without “wet and wildness” would be sterile, empty, and
disconnected from nature. It would lack both ecological health and
emotional richness. The line speaks to environmental loss and
calls for preservation.

6. Reciprocities - C. Lagan

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Poet & Context: Charles “Cathal” Lagan, Irish poet (Northern

Ireland), known for exploring themes of reciprocity, kindness, and
community in contemporary life. He moved to Eastern Cape in 1962,
as a priest.
He was a reverend (pastor), first for Roman Catholic then the
Anglican. He included religious imagery in his poems.
The poem ‘Reciprocities’ explores the reciprocal nature of
relationships through the metaphor of a mother and child working
together with wool. The poem highlights/depicts how relationships
change and evolve over time, emphasising the importance of mutual
giving and taking (an act of balance). ‘Reciprocities’ provides insight
into the importance of balance and reciprocity in relationships-
exploring the principle of mutual exchange in nature and life,
reflecting on how all things—living or spiritual—are connected
through giving and receiving.
Dedication- a dedication to the speaker’s mother = gratitude
For my mother, who knitted and wound my days,
I held the skeins and watched the wool spiral into warmth;
she spoke and each taut loop knew its place. Now I write these lines,
threading words like yarn around the spindle of memory,
each poem a reciprocated stitch in our shared cloth of care and time.

POEM TEXT
1 She gave me skeins of wool
2 To hold out (like a priest at Mass),
3 With stern rubrics not to fidget, while she
4 Wound it into a ball, unwinding me,
5 Unravelling my hands and arms, checking
6 My lapses with a gentle tug
7 When I wandered off through images
8 Her chat had made, for though
9 She kept the line between us taut
10 She kept my heart at ease with all her talk.

11 And when her ball compacted grew,

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12 And my few strands fell limp away,

13 I knew there was no loss, for she
14 Would knit it back again to fit me perfectly.

15 But richer still,

16 I see today these lines are drawn out from me
17 To knit through this faltering verse
18 A thread of memory
19 Time has pulled away from consciousness

Structure/form: 19 lines=
This poem is a Free-verse with a Narrative comprising Three stanzas
that do not have the same length (varying lengths).
ANALYSIS
The poem "Reciprocities" explores the reciprocal nature of
relationships through the relationship between the speaker (daughter)
and her mother through the metaphor of knitting (metaphor of a mother
and child working together with wool). The poem highlights how
relationships change and evolve over time, emphasising the importance
of mutual giving and taking.
Analysis of the Poem:
 Title:
The title "Reciprocities" suggests a theme of mutual exchange and
interconnectedness in relationships, implying that actions and energies
are reciprocated in some way.
 Metaphor:
The poem uses the extended metaphor of a mother winding wool into a
ball, with the child holding the skeins, to represent the dynamic of their
relationship.
 Childhood Memory:
The speaker recalls a childhood memory of helping his mother with her
knitting, and the act of holding the wool creates a special bond.
 Nostalgia and Connection:

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As an adult, the speaker reflects on this memory (walking down memory

lane) and draws parallels between his writing and his mother's knitting,
evoking themes of nostalgia and the lasting impact of her guidance.
 Balance and Interdependence:
The poem emphasises the idea of balance and interdependence in
relationships, suggesting that the process of mutual giving and receiving
is essential for a healthy connection.
 Emotional Connection:
The speaker finds comfort and solace in the memory of their shared
activity, suggesting a strong emotional connection and bond between the
mother and son.
 Meaning of the Title:
The title "Reciprocities" not only refers to the specific act of the mother
and child working together but also to the broader concept of mutual
exchange and interdependence in all relationships.
Themes:
The poem explores themes of childhood memory, mutual dependence,
love and guidance, kindness, human interconnectedness, the
significance of small gestures, and the lasting impact of early
experiences on a person's life.
Tone & Mood: Tone – warm, reflective. Mood – hopeful, gentle.

Poetic Devices: Repetition, free verse, imagery of giving and receiving.

Imagery: Everyday acts (helping, sharing), metaphor of balance.

Interpretation:
Lagan’s poem is a poetic meditation on mutual responsibility, both in
the natural world and human society. Through a series of conditional
statements (“If I give you… you give me…”),-this is how our lives
have become- it is conditional. I give you something, I expect

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something in return. The one- way philosophy is no more. People

used to share without expecting anything in return. When was this
social fibre broken? What are the causes of such? Is there a
glimpse of hope of returning to our roots- azibuye emasisweni?)
The poet reflects on the moral, ecological, and relational principle of
reciprocity. It is a celebration of interdependence: nothing survives in
isolation; all life forms—humans, plants, animals—depend on mutual
exchange.
The poem invites the reader to consider how balance in life depends on
acts of mutual care and respect. This may be interpreted as a moral
warning against exploitation—of nature, of people, of resources—
because such actions disrupt the delicate balance on which life
depends.
Philosophical insight: The sustainability of life—ecological, emotional,
social—rests on reciprocity; what we give returns to us, whether for good
or for harm.
Overall, "Reciprocities" is a poem that explores the concept of balance
and reciprocity in relationships. It highlights the importance of both
individuals contributing equally to a relationship, and suggests that
relationships cannot be sustained if one party is unwilling to put in effort.
Though the effort is not balanced, given the age difference, (mother-
adult) and daughter (young girl).
 Interdependence and connection: Emphasises how all things in
nature and society are interconnected.
 Balance and harmony: Suggests a cosmic or ecological balance
that requires mutual respect.
 Moral responsibility: Each action has consequences, urging
ethical reflection.

Imagery:
 Natural cycles: Water, seasons, and sunlight are invoked to show
mutual giving.

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 Daily human exchanges: Small gestures (like a smile or helping

hand, scolding/discipline, etc.) are magnified to reflect deeper
truths.
Figures of Speech:
 Extended metaphor: The entire poem is a meditation on
reciprocity – nature giving and taking in turn.
 Parallelism: If I give you this, you give me that… creates rhythm
and structure.
 Personification: Elements of nature are portrayed as sentient,
capable of giving and receiving.
 Simile/comparison
In line 2, the poet uses a simile to compare the act of holding out
the skeins of wool to the actions of a priest at Mass. This
comparison highlights the solemnity and importance of the task, as
well as the reverence the speaker feels towards their mother.

CENTRAL MEANING/MESSAGE: Mutual giving sustains life and ethics.

Line 1: "Each day I feed you bread and milk"
Interpretation: A simple ritual, possibly directed at an ancestor, spirit, or
nature. The act is both physical and symbolic.
Device: Direct address, ritualistic tone.
Line 2: "on the flat stone on the ground"
Interpretation: The stone acts as an altar. There is a spiritual or sacred
connotation.
Device: Symbol (stone = altar), visual imagery.
Line 3: "and each day you feed me time"
Interpretation: A metaphor for life, health, or moments of existence
granted in return.
Device: Metaphor—“feed me time” suggests divine or natural
reciprocity.
Line 4: "in the heartbeat under my ribs."
Interpretation: The speaker is alive due to this sacred exchange. The
body becomes the site of sacred experience.
Device: Synecdoche (heartbeat = life); internal rhythm.

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ANALYSIS
 Title:
The title "Reciprocities" suggests a theme of mutual exchange and
interconnectedness in relationships, implying that actions and energies
are reciprocated in some way.
 Metaphor:
The poem uses the extended metaphor of a mother winding wool into a
ball, with the child holding the skeins, to represent the dynamic of their
relationship.
 Childhood Memory:
The speaker recalls a childhood memory of helping his mother with her
knitting, and the act of holding the wool creates a special bond.
 Nostalgia and Connection:
As an adult, the speaker reflects on this memory and draws parallels
between his writing and his mother's knitting, evoking themes of
nostalgia and the lasting impact of her guidance.
 Balance and Interdependence:
The poem emphasises the idea of balance and interdependence in
relationships, suggesting that the process of mutual giving and receiving
is essential for a healthy connection.
 Emotional Connection:
The speaker finds comfort and solace in the memory of their shared
activity, suggesting a strong emotional connection and bond between the
mother and son.
 Meaning of the Title:
The title "Reciprocities" not only refers to the specific act of the mother
and child working together but also to the broader concept of mutual
exchange and interdependence in all relationships.
 Themes:
The poem explores themes of childhood memory, mutual dependence,
love and guidance, kindness, human interconnectedness, the

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significance of small gestures, and the lasting impact of early

experiences on a person's life.

Themes:
 Interdependence and connection: Emphasises how all things in
nature and society are interconnected.
 Balance and harmony: Suggests a cosmic or ecological balance
that requires mutual respect.
 Moral responsibility: Each action has consequences, urging
ethical reflection.
 Reciprocity between human and divine/nature
 Gratitude
 Daily rituals as spiritual acts
 Sustaining life through reverence
Imagery: (mental pictures created by words used by the poet.
 Natural cycles: Water, seasons, and sunlight are invoked to show
mutual giving.
 Daily human exchanges: Small gestures (like a smile or helping
hand) are magnified to reflect deeper truths. Everyday acts
(helping, sharing), a metaphor of balance.

Tone & Mood: Tone – warm, reflective. Mood – hopeful, gentle.

Poetic Devices: Repetition, free verse, imagery of giving and receiving.
Figures of Speech:
 Extended metaphor: The entire poem is a meditation on
reciprocity – nature giving and taking in turn.

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 Parallelism: “If I give you this, you give me that…” creates rhythm
and structure.
 Personification: Elements of nature are portrayed as sentient,
capable of giving and receiving.
Devices:
 Metaphor: "Feed me time"
 Symbolism: Bread and milk = offerings; stone = altar
 Rhythm: Simple structure mirrors daily repetition

CENTRAL MEANING/MESSAGE: Mutual giving sustains life and ethics.

Line 1: "Each day I feed you bread and milk"
Interpretation: A simple ritual, possibly directed at an ancestor, spirit, or
nature. The act is both physical and symbolic.
Device: Direct address, ritualistic tone.
Line 2: "on the flat stone on the ground"
Interpretation: The stone acts as an altar. There is a spiritual or sacred
connotation.
Device: Symbol (stone = altar), visual imagery.
Line 3: "and each day you feed me time"
Interpretation: A metaphor for life, health, or moments of existence
granted in return.
Device: Metaphor—“feed me time” suggests divine or natural
reciprocity.
Line 4: "in the heartbeat under my ribs."
Interpretation: The speaker is alive due to this sacred exchange. The
body becomes the site of sacred experience.
Device: Synecdoche (heartbeat = life); internal rhythm.

ACTIVITY/QUESTIONS
A. Pre-Reading
1. What does the word reciprocity mean?
2. How do humans and nature depend on each other?

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B. Comprehension and Analysis

1. What are some examples of reciprocity described in the poem?
2. What tone does the poet use to speak about nature’s balance?
3. Identify the central message or moral of the poem.
C. Vocabulary & Figures of Speech
 Define: reciprocal, balance, mutual, consequence
 Find:
o One metaphor:
o Use of personification:
o An example of parallelism:
D. Discussion
 How can humans live more harmoniously with nature?
 Can you think of an example where a lack of reciprocity caused
problems in a relationship or community?
E. Extension Activity
Write a short poem using the format: “If I give you ____, you give me
____.” Focus on relationships or environment.
Line 1: "Each day I feed you bread and milk"
Interpretation: A simple ritual, possibly directed at an ancestor, spirit, or
nature. The act is both physical and symbolic.
Device: Direct address, ritualistic tone.
Line 2: "on the flat stone on the ground"
Interpretation: The stone acts as an altar. There is a spiritual or sacred
connotation.
Device: Symbol (stone = altar), visual imagery.
Line 3: "and each day you feed me time"
Interpretation: A metaphor for life, health, or moments of existence
granted in return.
Device: Metaphor—“feed me time” suggests divine or natural
reciprocity.

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Line 4: "in the heartbeat under my ribs."

Interpretation: The speaker is alive due to this sacred exchange. The
body becomes the site of sacred experience.
Device: Synecdoche (heartbeat = life- remember this from workshop 1
in March. Refer to the material shared); internal rhythm.
Themes:
 Reciprocity between human and divine/nature (Interdependence
and connection): Emphasises how all things in nature and society
are interconnected.

 Balance and harmony: Suggests a cosmic or ecological balance

that requires mutual respect.

 Moral responsibility: Each action (no ,ateer how small it is, is

significant and has consequences, urging ethical reflection.

 Gratitude
 Daily acts/rituals as spiritual acts
 Sustaining life through reverence


Devices:
 Metaphor: "Feed me time"
 Symbolism: Bread and milk = offerings; stone = altar
 Rhythm: Simple structure mirrors daily repetition

7. On the grasshopper and cricket – John Keats

Poet: John Keats (1795–1821) was a Romantic poet
Context and Overview

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Keats composed this poem as part of a competition with his friend Leigh
Hunt, who proposed the theme of poetry’s continuity in nature. The
poem reflects Keats’s Romantic sensibility, particularly the celebration
of nature as an eternal source of poetic inspiration. It contrasts the
summer grasshopper and the winter cricket to suggest that nature’s
voice never ceases, regardless of the season.
(Nature’s poetic voice is eternal and unbroken across seasons).

POEM TEXT
The Poetry of earth is never dead a
When all the birds are faint with the hot sun, b
And hide in cooling trees, a voice will run b
From hedge to hedge about the new-mown mead; a
That is the Grasshopper’s—he takes the lead a
In summer luxury,—he has never done b
With his delights; for when tired out with fun b
He rests at ease beneath some pleasant weed. a

The Poetry of earth is ceasing never: c

On a lone winter evening, when the frost d
Has wrought a silence, from the stove there shrills e
The Cricket’s song, in warmth increasing ever, c
And seems to one in drowsiness half lost, d
The Grasshopper’s among some grassy hills. e

(What is the structure and form? Justification?)

What does each section reflect/what is it all about?

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ANALYSIS
The attention to the grasshopper and the cricket by praising them for
producing the music of nature.
The octave focuses on the grasshopper as an agent of summer
while the sestet looks into the role played by the cricket. Both these
insects survive the harshest weather to fly around while producing their
buzzing sounds. Both the octave and the sestet open with a declaration
that the poetry of the earth is not dead.

Structure and Form

Form: Italian (Petrarchan/Classical) sonnet
o Octave (first 8 lines): Presents the main idea
o Sestet (last 6 lines): Develops and resolves the idea
 Rhyme Scheme:
o Octave: abbaabba)/ (ABBAABBA)
o Sestet: cdecde (CDECDE) - a common variant/but not
always. Refer to the notes from the 1st workshop. The sestet
rhyme scheme could also be: cdecde/cdc cdc/cddcec (any
variation)
 Meter: Iambic pentameter (5 syllables stressed (/) and 5
unstressed (‫))ﮟ‬
The sonnet form suits Keats’s meditative and philosophical exploration
of nature’s constancy.

Tone and Mood

 Tone: Celebratory, reverent, reflective
 Mood: Calm, reassuring, warm (in summer) and quietly vibrant (in
winter)
Keats’s tone reinforces the idea that nature is a perennial comfort,
even when the external world is cold or silent.

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Themes
 a. Continuity of Nature’s Song/ Perseverance and continuity:
Even in harsh conditions (summer heat or winter frost), nature's
music persists. “The poetry of earth is never dead.”- (Permanence
of natural beauty)
This opening line asserts the central idea: nature's song is eternal.
Even when human voices are silent, nature continues to express itself.
b. Contrasting Seasons
 Seasons as metaphors for life stages
 The grasshopper represents summer, joy, and activity.
 The cricket represents winter, endurance, and subtle vitality.
Keats uses these insects as metaphors for poetic expression across
seasons. In both heat and cold, life and inspiration persist.
c. Poetry as Natural and Unbroken (Permanence of natural beauty)
Keats equates the music of insects with poetry itself, implying that true
poetic expression is not limited to human voices but flows from the
natural world. He celebrates the unbroken song of nature across
seasons: poetry in nature.
d. Romantic idealism: Embodies the Romantic tradition of finding
beauty and solace in the natural world.
e. Harmony between past and present
f. Poetic imagination

Literary Devices
a)Figures of Speech:

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 Personification: Nature is alive, capable of “singing” and “resting.”

Nature is described as having a “voice” and “poetry,” as if it were a
sentient entity capable of artistic expression.
 Alliteration and consonance: E.g., “the poetry of earth is never
dead” enhances musicality.
 Metaphor: The grasshopper and cricket are poetic voices,
suggesting how inspiration never ceases.

b. Imagery
 Rich visual and auditory imagery bring the summer and winter
scenes to life:
“The grasshopper's among some grassy hills”
“In warmth increasing ever, and seems to one in drowsiness half lost…”
 The use of sound imagery (e.g., “a voice will run / From hedge to
hedge”) highlights the continuous presence of sound in nature.

 Summer and winter (contrasted): Serve as opposing frames that

unify under the poem's main point – nature’s voice is eternal.
 Grasshopper and cricket: Represent the two seasons’ musicians
– metaphorical stand-ins for the poetic voice.
 Sun, frost, silence, warmth: Rich sensory imagery draws readers
into a sensory experience of the seasons.

c. Symbolism
 Grasshopper: Symbol of vitality, warmth, and exuberant creativity
in the summer.
 Cricket: Symbol of quiet perseverance and subtle inspiration
during the harshness of winter.
d. Contrast and Juxtaposition
 The octave and sestet contrast summer and winter, life and
stillness, but ultimately affirm the unity of experience through
nature’s resilience.

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Sound devices:
Alliteration and Assonance
 Example: “from hedge to hedge about the new-mown mead” –
enhances the musical quality of the poem, reinforcing its theme of
natural harmony.

Devices:
 Petrarchan sonnet structure
 Personification of the grasshopper and cricket
 Refrain: “Poetry of earth…”

Interpretation and Deeper Meaning

The poem argues that poetic inspiration and the beauty of nature are
constant, regardless of seasonal or temporal changes. Where many
see death or silence in winter, Keats finds the quiet music of the
cricket — an affirmation of hope and continuity.
The grasshopper and cricket are not just literal creatures; they are
symbols of artistic creativity, mirroring the poet’s own voice, which
persists through both moments of flourishing and hardship. Their
uniqueness complements each other, completing the cycle of the
seasons (one in summer and the other in winter).
Interpretation:
In this Romantic sonnet, Keats affirms that the “poetry of earth is never
dead.” Through the alternating voices of the grasshopper (summer) and
cricket (winter), he argues that nature always sings, even when
seasons change or life seems dormant. The poem is not just about literal
sound in nature, but about enduring poetic inspiration and the
resilience of beauty in all circumstances.
The grasshopper represents vitality, warmth, and energy, while the
cricket symbolises subtle beauty, quiet endurance, and hidden joy.
Both creatures serve as metaphors for poetic voice, reminding the
reader that creative spirit and inspiration are present even in hardship or
silence.

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This sonnet reflects the Romantic ideal that nature is the ultimate
teacher, healer, and poet. (Hence, nature should be kept pure/natural
and preserved). Even when the human world is silent, nature continues
to compose verses that inspire the soul.
Philosophical insight: Beauty, like truth, is eternal; nature speaks its
poetry across time, weather, and human sorrow.
Conclusion
John Keats’s “On the Grasshopper and Cricket” is a celebration of the
resilience and constancy of nature’s song, portrayed through the
contrasting yet complementary roles of two humble creatures. Through
this poem, Keats subtly conveys that beauty, life, and poetry persist,
even when they are not immediately visible or loud. It is a deeply
Romantic assertion that the spirit of art and nature is enduring,
always ready to inspire the attentive observer.
SYNTHESIS:
This sonnet reflects Romantic ideals by celebrating nature’s enduring
voice in every season. It contrasts summer and winter, showing how
poetry lives through all cycles.

Octave (First 8 lines):

Line 1: "The poetry of earth is never dead:"
 Literal: Nature’s beauty and music are eternal.
 Figurative: Nature always expresses itself through sound, life, and
activity. The “poetry of earth” = the continuous song of life.

Interpretation: Nature is a living source of inspiration—its beauty is

eternal.
Device: Personification; metaphor (earth having “poetry”).
Line 2: "When all the birds are faint with the hot sun,"
 Literal: During summer, birds grow weary and silent under the
heat. (The same happens with people- we hear every now and
again that a person, especially the elderly, has passed on as a
result of extreme heat).

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 Figurative: Even when one voice of nature is silenced, another will

emerge.

Interpretation: Summer heat silences birds.

Device: Sensory imagery (heat, silence).
Line 3: "And hide in cooling trees, a voice will run"
 Literal: Birds seek shade in trees, becoming silent. Another sound
takes over.
 Figurative: Life adapts; silence in one part of nature is replaced by
expression elsewhere.

Interpretation: Despite silence, another voice (grasshopper)

continues nature’s song.
Device: Metaphor, personification.
Line 4: "From hedge to hedge about the new-mown mead;"
 Literal: The sound of the grasshopper echoes across fields of
freshly cut grass. An indication of being active and full of life.
 Figurative: The music of the grasshopper fills the landscape when
birds are quiet.

Interpretation: The grasshopper’s voice carries across the field.

Device: Alliteration (“hedge to hedge”); pastoral imagery.
Line 5: "That is the Grasshopper’s—he takes the lead"
 Literal: It is the grasshopper’s turn to sing and dominate (no
longer the birds that are now exhausted and resting).
 Figurative: Nature passes the role of “poet” from one creature to
another, showing continuity.

Interpretation: The grasshopper becomes the new poetic voice of

summer.
Device: Anthropomorphism =humanlike (treating animals/inanimate
things as though they are human beings), e.g. Kids’ cartoons.

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Line 6: "In summer luxury,—he (grasshopper) has never done"

 Literal: The grasshopper thrives in the abundance of summer,
tireless in song.
 Figurative: Represents joy, vitality, and fullness of life.

Interpretation: The grasshopper sings (the noise it makes sounds like

music to the speaker) endlessly, rejoicing in the season.
Device: Hyperbole.
Line 7: "With his delights; for when tired out with fun"
 Literal: Even when the grasshopper grows weary from playing,
 Figurative: Joy is endless; life renews itself through rest and
recovery.

Interpretation: The grasshopper rests only after full satisfaction.

Device: Personification.
Line 8: "He rests at ease beneath some pleasant weed." Compare
with where the birds rest.
 Literal: The grasshopper relaxes under a plant.
 Figurative: Symbol of contentment—nature provides comfort
(pleasant) and shelter (beneath).

Interpretation: Even rest is peaceful, continuing the summer idyll.

Device: Visual imagery.

Sestet (Last 6 lines):

Line 9: "The poetry of earth is ceasing never:"
 Literal: Repetition of the idea from line 1—nature’s music is
eternal.
 Figurative: The cycle of life and sound continues through all
seasons.

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Interpretation: Reaffirms that nature’s poetic essence is eternal.

Device: Repetition; inversion of line 1 (now it is a different character).
Line 10: "On a lone winter evening, when the frost"
 Literal: In winter, when frost dominates and the world is silent
(some animals & pests hibernate in winter- e.g. coackroaches,
ants, mention those you know).
 Figurative: Contrast to summer—nature seems frozen, yet still
alive.

Interpretation: Shift to winter. Imagery becomes stark and cold.

Device: Contrast (summer/winter).
Line 11: "Has wrought a silence, from the stove there shrills (sharp
piercing noise)"
 Literal: In the silence of winter, the cricket sings near the warmth
of a fire.
 Figurative: Even in hardship (cold), nature’s song persists.

Interpretation: Despite the silence outside, the cricket sings indoors.

Device: Auditory imagery; personification.
Line 12: "The Cricket’s song, in warmth increasing ever,"
 Literal: The cricket’s chirping grows louder and warmer near the
stove.(Who is near the stove? Why?)
 Figurative: A symbol of endurance (and resilience?) and hope—
warmth and life persist in harsh conditions.

Interpretation: The cricket's song grows louder as warmth from the

stove rises—hope in bleakness.
Device: Paradox.
Line 13: "And seems to one in drowsiness half lost,"
 Literal: A sleepy person, half-dozing, hears the sound.
 Figurative: Suggests a blending of perception—the cricket’s winter
song recalls summer memories.

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Interpretation: The listener, perhaps half-asleep, is soothed by the

sound.
Device: Mood imagery.
Line 14: "The Grasshopper’s among some grassy hills."
 Literal: The drowsy listener imagines the cricket’s chirping as the
grasshopper’s summer song.
 Figurative: Summer and winter, joy and silence, heat and cold, are
united (blending)—the eternal music of earth transcends seasons.

1. Structure: A sonnet (14 lines), divided into an octave

(summer/grasshopper) and sestet (winter/cricket), showing balance
and contrast (of life).
 Key device: Extended metaphor—the “poetry of earth”
expressed through insect song.
2. Themes
o The continuity of nature’s music – Nature always speaks,
whether in summer or winter. Continuity of nature’s song (life
is never silent).
 Cycles of life and seasons (Seasonal cycles) – The grasshopper
represents summer vitality, the cricket represents winter
endurance.
 Resilience and hope – Even in silence and hardship (winter),
there is still life and song - endurance of beauty in different forms).
 Beauty of the ordinary – Everyday creatures like the grasshopper
and cricket embody poetry and inspiration.
 Nature as eternal poetry – The poem asserts that “the poetry of
earth is never dead.”

3. Tone and Mood

 Tone: Celebratory, reverent, joyful, reflective.
 Mood: Peaceful, appreciative, contemplative/reflective.

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4. Poetic Devices
 Extended Metaphor: The “poetry of earth” is expressed through
the grasshopper (summer) and the cricket (winter).
 Imagery:
o Summer: “new-mown mead,” “pleasant weed” → lush, warm,
joyful images.
o Winter: “lone winter evening,” “frost,” “stove” → cold, silence,
yet still warmth.
 Personification: Nature itself “sings” through the grasshopper and
cricket.
 Contrast: Summer (luxury, vitality) vs. Winter (silence, endurance).
 Repetition: “The poetry of earth” (lines 1 and 9) → emphasis on
continuity.
 Alliteration: “faint with the hot sun” / “grasshopper’s… grassy hills”
→ musical quality.
 Structure: Sonnet form (Petrarchan): octave (lines 1–8) →
summer/grasshopper, sestet (lines 9–14) → winter/cricket.

5. Imagery Examples
 Summer:
o “voice will run / From hedge to hedge about the new-mown
mead” → evokes lively sound and green fields.
o “rest at ease beneath some pleasant weed” → peaceful
imagery of nature’s shelter.
 Winter:
o “lone winter evening, when the frost / Has wrought a silence”
→ stillness and coldness.
o “from the stove there shrills / The Cricket’s song” → warmth,
life persisting indoors.

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Interpretation: Cricket’s song blends with the memory of summer.

Seasons, like poetry, are interconnected.
Device: Circular structure; merging of voices.
NOTE: The speaker's feelings about the two insects, especially the
cricket, may differ from our (South African) perspective, as some of us
perceive the cricket as a nuisance, making a disturbing noise during the
very hot days of summer. The speaker perceives the noise as music.
This is not surprising given that he is a Romantic poet.

ACTIVITY/QUESTIONS
A. Pre-Reading
1. What sounds do you associate with summer? Winter?
2. Why do poets often turn to nature for inspiration?
B. Comprehension and Analysis
1. How does Keats describe the poetry of earth?
2. What roles do the grasshopper and the cricket play?
3. How does the poem reflect Romantic values?
C. Vocabulary & Figures of Speech
 Define: ceaseless, meadow, hedge, frost
 Identify:
o Metaphor:
o Personification of nature:
o Alliteration or sound device:

D. Discussion
 How does Keats suggest that poetry is eternal?
 Which season do you find more inspiring? Why?

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ACTIVITY/QUESTIONS
"On the Grasshopper and Cricket" – John Keats
1 What role does the grasshopper play in nature, according to the
poem? (2)
2 Identify the structure of the poem and explain its appropriateness. (2)
3 Comment on the poet’s view of poetry as an eternal voice of nature.
(3)
4 To what extent does the poem reflect Romantic ideals? (3)
POSSIBLE ANSWERS
1 Grasshopper’s role
Symbol of life continuing in summer – a voice of nature. (2)
2 Poetic structure
Petrarchan sonnet – octave and sestet, suitable for reflection. (2)
3 Eternal voice of nature
Even when seasons change, nature’s beauty never ends. (3)
4 Romantic ideals
Celebrates nature, sensory experience, continuity – classic
Romanticism. (3)

Other Possible Exam-Style Questions

(a) Comprehension & Interpretation Questions
1. What does Keats mean by “The poetry of earth is never dead” (line
1)?
2. Explain how the grasshopper “takes the lead” in summer (line 5).
3. How does the poet describe the contrast between the birds and
the grasshopper in lines 2–5?
4. What is the effect of the repetition “The poetry of earth” in lines 1
and 9?
5. How does the cricket’s song provide comfort in winter (lines 11–
12)?
6. Why does the speaker imagine the cricket’s song as the
grasshopper’s in line 14?

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(b) Contextual / Essay Question

 Discuss how Keats presents the idea of the eternal beauty of
nature through the imagery of the grasshopper and the cricket.

6. Possible answers
Short Questions
1. “The poetry of earth is never dead”
 Nature’s music is eternal; there is always sound/life in some form.
(2 marks)
2. Grasshopper taking the lead
 When birds grow silent in summer, the grasshopper sings actively,
filling the silence.
(2 marks)
3. Contrast between the birds and the grasshopper
 Birds grow weary in the sun and hide, while the grasshopper
thrives in the heat, joyful and energetic.
(3 marks)
4. Effect of repetition
 Reinforces the central message of continuity.
 Shows that both summer and winter contain nature’s song.
(2 marks)
5. Cricket’s comfort in winter
 The cricket sings near the warmth of the stove, bringing a sense of
life and hope despite silence and frost.
(2 marks)
6. Cricket’s song as grasshopper’s
 To a drowsy listener, the cricket’s winter song recalls memories of
summer grasshopper songs, linking seasons together.
(3 marks)

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Multiple-Choice questions: On the Grasshopper and the Cricket

Question 1
In line 1, “The poetry of earth is never dead” means:
A. Poems about nature are always being written
B. Nature’s music and life continue in every season
C. Grasshoppers and crickets are immortal creatures
D. The poet never stops writing about insects

Question 2
What happens to the birds in the heat of summer (lines 2–3)?
A. They continue to sing loudly in the sun
B. They faint from the heat and hide in the trees
C. They fly away to cooler places
D. They join the grasshopper in song

Question 3
Who “takes the lead” in summer when the birds are silent? (line 5)
A. The Cricket
B. The Poet
C. The Grasshopper
D. The Sun

Question 4
What does the grasshopper do when he grows tired? (lines 7–8)
A. He stops singing forever
B. He rests beneath a plant and resumes later
C. He goes to sleep until winter
D. He becomes silent and never returns

Question 5

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Which of the following best describes the mood of the first half (octave)
of the poem?
A. Cheerful and full of summer vitality
B. Lonely and cold
C. Angry and restless
D. Quiet and sorrowful

Question 6
What is the setting of the second half (sestet) of the poem?
A. A summer meadow full of birds
B. A hot desert in midday sun
C. A winter evening made silent by frost
D. A rainy autumn afternoon

Question 7
Where does the cricket sing during winter? (lines 11–12)
A. In the frosty fields
B. Near the warmth of the stove
C. Inside the trees
D. In the grassy hills

Question 8
Why does the poet say the cricket’s song seems like the grasshopper’s
(line 14)?
A. Because they sound identical
B. Because both are insects of the same family
C. Because a sleepy listener imagines summer when hearing the cricket
in winter
D. Because the cricket imitates the grasshopper’s song

Answers (multiple choice)

1. B – Nature’s music continues in every season.

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2. B – Birds faint in the heat and hide in trees.

3. C – The grasshopper takes the lead.
4. B – He rests beneath a plant and resumes later.
5. A – Cheerful and full of summer vitality.
6. C – A winter evening made silent by frost.
7. B – Near the warmth of the stove.
8. C – Because a sleepy listener imagines summer when hearing the
cricket.

THE END!!!!!!!!!!!!!!!!

Grade 12 Poetry: Possible Examination Questions

1. "The Slave Dealer" – Thomas Pringle

1.1 Explain how irony is used in the title of the poem. (2)
1.2 Identify and explain one image that conveys suffering. (2)
1.3 Discuss the poet’s attitude toward the slave dealer. Quote to support
your answer. (3)
1.4 What message does the poem convey about human rights and
morality? (3)

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ANSWERS
1. "The Slave Dealer" – Thomas Pringle
1.1 Irony in the title
The title is ironic because the slave dealer, a human being, is shown to
lack humanity. (2)
1.2 Image of suffering
Example: “Tears on the cheek of woman” – evokes pain and emotional
trauma. (2)
1.3 Poet’s attitude
Condemnatory/critical – “his fellow men he chains and sells” reveals
moral disapproval. (3)
1.4 Message about human rights
The poem denounces slavery and promotes justice, dignity, and
empathy. (3)
2. "That’s What Life is Really Like" – Beverly Rycroft
2.1 Identify the speaker’s tone in the poem. Support your answer with
reference to diction. (2)
2.2 Comment on the significance of the enjambment used throughout
the poem. (2)
2.3 Discuss the effectiveness of the contrast between idealism and
reality. (3)
2.4 To what extent does the poem offer a critique of modern
expectations? (3)
ANSWERS
2.1 Tone
Disillusioned or ironic – “but it’s not a dress rehearsal” implies frustration.
(2)
2.2 Enjambment
It creates a conversational, flowing style that mirrors the chaotic nature
of life. (2)
2.3 Contrast between idealism and reality
The poem reveals the difference between expectations and harsh truths.
(3)

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2.4 Critique of expectations

Yes – it exposes the gap between what people are told and what life
actually presents. (3)

3. "Sonnet 73: That time of year thou mayst in me behold" – William

Shakespeare
3.1 Identify the central metaphor in the poem and explain its meaning.
(2)
3.2 What effect does the change of seasons have on the mood of the
poem? (2)
3.3 Refer to the couplet at the end. How does it resolve the themes
presented? (3)
3.4 Comment on the structure of the Shakespearean sonnet and its
impact. (3)
ANSWERS
3. "Sonnet 73" – William Shakespeare
3.1 Central metaphor
Seasons = stages of life; winter represents approaching death. (2)
3.2 Mood change
Autumn and twilight suggest decline and the sadness of ageing. (2)
3.3 Effect of couplet
The final couplet offers resolution: love is more intense in the face of
mortality. (3)
3.4 Structure
Three quatrains develop the theme; the couplet concludes with insight.
(3)

4. "Hard to Find" – Sinesipo Jojo

4.1 Who is the speaker addressing, and what is the significance of this
choice? (2)
4.2 Explain the metaphor in “memory is a battlefield.” (2)
4.3 Discuss how the poem explores the theme of loss and resilience. (3)
4.4 To what extent is the final stanza hopeful or despairing? Justify your
answer. (3)

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ANSWERS
4. "Hard to Find" – Sinesipo Jojo
4.1 Addressee
Possibly a lost loved one or the speaker’s inner self. It personalises the
pain. (2)
4.2 Metaphor
“Memory is a battlefield” – memories are emotionally painful and
conflicting. (2)
4.3 Theme of loss and resilience
The speaker wrestles with grief but also seeks healing or closure. (3)
4.4 Final stanza’s tone
Open to interpretation: either hopeful (moving forward) or despairing (still
in pain). Justification required. (3)

5. "The Lake Isle of Innisfree" – W.B. Yeats

5.1 What does Innisfree symbolise for the speaker? (2)
5.2 Identify and explain two sound devices used in the poem. (2)
5.3 Discuss the contrast between urban life and nature. (3)
5.4 In your view, is the speaker’s yearning escapism or a spiritual
calling? (3)
ANSWERS
5. "The Lake Isle of Innisfree" – W.B. Yeats
5.1 Symbolism of Innisfree
A peaceful, idealised escape; a place of spiritual renewal. (2)
5.2 Sound devices
Examples: Alliteration (“lake water lapping”), onomatopoeia – create
tranquillity. (2)
5.3 Urban vs. Nature
City life is noisy and stressful; nature offers solace. (3)
5.4 Spiritual or escapism?
Answers may vary; valid if supported with quotes (e.g. “peace comes
dropping slow”). (3)

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6. "You Laughed and Laughed and Laughed" – Gabriel Okara

6.1 Identify the tone of the speaker in the first stanza. (1)
6.2 How does the speaker’s attitude change in the course of the poem?
(2)
6.3 Comment on the repetition of “you laughed.” What does it reveal? (2)
6.4 What message does the poem convey about cultural
misunderstanding? (3)
ANSWERS
6.1 Tone in first stanza
Sarcastic or hurt – the laughter is not joyful but mocking. (1)
6.2 Change in attitude
The speaker grows in confidence and asserts cultural pride. (2)
6.3 Repetition of “you laughed”
Emphasises the ongoing derision from the coloniser or outsider. (2)
6.4 Cultural misunderstanding
The poem critiques colonial superiority and affirms African identity. (3

7. "The Nightjar and Inkosazane yasezulwini" – Chris Mann

7.1 Explain the symbolism of the nightjar in the poem. (2)
7.2 Identify a cultural reference in the poem and explain its effect. (2)
7.3 Comment on the tone and its role in shaping the mythic quality of the
poem. (3)
7.4 Discuss how the poet blends folklore and ecology to deliver a
modern message. (3)
ANSWERS
7. "The Nightjar and Inkosazane yasezulwini" – Chris Mann
7.1 Symbolism of nightjar
Represents mystery, ancestral presence, or transition between worlds.
(2)
7.2 Cultural reference
“Inkosazane yasezulwini” – a Zulu spiritual being, adds depth and
African identity. (2)

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7.3 Tone and mythic quality

Reverent, reflective – the tone creates a sense of wonder and ancient
wisdom. (3)
7.4 Folklore and ecology
The poem blends myth with nature, promoting respect for the
environment. (3)

8. "Inversnaid" – Gerard Manley Hopkins

8.1 Describe the natural landscape portrayed in stanza 1. (2)
8.2 What does the speaker suggest about human interference in nature?
(2)
8.3 Explain the significance of the final line: “Long live the weeds and the
wilderness yet.” (3)
8.4 Analyse how Hopkins uses rhythm and sound to enhance meaning.
(3)
ANSWERS
8. "Inversnaid" – Gerard Manley Hopkins
8.1 Natural landscape
Dark, untamed river – “brown brink eastward,” “falling flanks.” (2)
8.2 Human interference
The poet opposes development or destruction of wild spaces. (2)
8.3 Significance of final line
A plea to preserve wilderness, valuing what is wild and unspoiled. (3)
8.4 Rhythm and sound
Sprung rhythm, alliteration, compound words – mirror nature’s energy.
(3)

9. "Reciprocities" – Charles “Cathal” Lagan

9.1 What is the literal meaning of “reciprocities” in the poem? (2)
9.2 Identify one image that suggests shared humanity. (2)
9.3 How does the poem emphasise the theme of equality? (3)
9.4 Discuss the relevance of this poem in today’s society. (3)

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ANSWERS
9. "Reciprocities" – Charles “Cathal” Lagan
9.1 Literal meaning
Reciprocal = mutual giving and receiving. (2)
9.2 Image of shared humanity
E.g. “My hand… your hand” – shows equality and human connection. (2)
9.3 Theme of equality
People are united in their basic needs, pain, and joy. (3)
9.4 Relevance today
Highlights shared experiences despite race/class/religion differences. (3)

10. "On the Grasshopper and Cricket" – John Keats

10.1 What role does the grasshopper play in nature, according to the
poem? (2)
10.2 Identify the structure of the poem and explain its appropriateness.
(2)
10.3 Comment on the poet’s view of poetry as an eternal voice of
nature(3)
10.4 To what extent does the poem reflect Romantic ideals? (3)

ANSWERS
10. "On the Grasshopper and Cricket" – John Keats
10.1 Grasshopper’s role
Symbol of life continuing in summer – a voice of nature. (2)
10.2 Poetic structure
Petrarchan sonnet – octave and sestet, suitable for reflection. (2)
10.3 Eternal voice of nature
Even when seasons change, nature’s beauty never ends. (3)
10.4 Romantic ideals
Celebrates nature, sensory experience, continuity – classic
Romanticism. (3)
10. 5 Possible Exam-Style Questions

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(a) Comprehension & Interpretation Questions

7. What does Keats mean by “The poetry of earth is never dead” (line
1)?
8. Explain how the grasshopper “takes the lead” in summer (line 5).
9. How does the poet describe the contrast between birds and
grasshopper in lines 2–5?
10. What is the effect of the repetition “The poetry of earth” in lines 1
and 9?
11.How does the cricket’s song provide comfort in winter(lines11-12 )?
12.Why does the speaker imagine the cricket’s song as the
grasshoppers in line 14?

(b) Contextual / Essay Question

 Discuss how Keats presents the idea of the eternal beauty of
nature through the imagery of the grasshopper and the cricket.
(Essay: 250–300 words).

6. Possible answers
Short Questions
2. “The poetry of earth is never dead”
 Nature’s music is eternal; there is always sound/life in some form.
(2 marks)
3. Grasshopper taking the lead

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 When birds grow silent in summer, the grasshopper sings actively,

filling the silence.
(2 marks)
4. Contrast between birds and grasshopper
 Birds grow weary in the sun and hide, while the grasshopper
thrives in the heat, joyful and energetic.
(3 marks)
5. Effect of repetition
 Reinforces the central message of continuity.
 Shows that both summer and winter contain nature’s song.
(2 marks)
6. Cricket’s comfort in winter
 The cricket sings near the warmth of the stove, bringing a sense of
life and hope despite silence and frost.
(2 marks)
7. Cricket’s song as grasshopper’s
 To a drowsy listener, the cricket’s winter song recalls memories of
summer grasshopper songs, linking seasons together.
(3 marks)
Multiple-Choice Worksheet: On the Grasshopper and the Cricket
Question 1
In line 1, “The poetry of earth is never dead” means:
A. Poems about nature are always being written
B. Nature’s music and life continue in every season
C. Grasshoppers and crickets are immortal creatures
D. The poet never stops writing about insects

Question 2
What happens to the birds in the heat of summer (lines 2–3)?
A. They continue to sing loudly in the sun
B. They faint from the heat and hide in the trees

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C. They fly away to cooler places

D. They join the grasshopper in song

Question 3
Who “takes the lead” in summer when the birds are silent? (line 5)
A. The Cricket
B. The Poet
C. The Grasshopper
D. The Sun

Question 4
What does the grasshopper do when he grows tired? (lines 7–8)
A. He stops singing forever
B. He rests beneath a plant and resumes later
C. He goes to sleep until winter
D. He becomes silent and never returns

Question 5
Which of the following best describes the mood of the first half (octave)
of the poem?
A. Cheerful and full of summer vitality
B. Lonely and cold
C. Angry and restless
D. Quiet and sorrowful

Question 6
What is the setting of the second half (sestet) of the poem?

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A. A summer meadow full of birds

B. A hot desert in midday sun
C. A winter evening made silent by frost
D. A rainy autumn afternoon

Question 7
Where does the cricket sing during winter? (lines 11–12)
A. In the frosty fields
B. Near the warmth of the stove
C. Inside the trees
D. In the grassy hills

Question 8
Why does the poet say the cricket’s song seems like the grasshopper’s
(line 14)?
A. Because they sound identical
B. Because both are insects of the same family
C. Because a sleepy listener imagines summer when hearing the cricket
in winter
D. Because the cricket imitates the grasshopper’s song

Answers (multiple choice)

9. B – Nature’s music continues in every season.
10. B – Birds faint in the heat and hide in trees.
11. C – The grasshopper takes the lead.
12. B – He rests beneath a plant and resumes later.
13. A – Cheerful and full of summer vitality.
14. C – A winter evening made silent by frost.
15. B – Near the warmth of the stove.
16. C – Because a sleepy listener imagines summer when
hearing the cricket.

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YOU MAY FIND THE SUMMARY BELOW USEFUL

In a nutshell, the following poems are about:
Hard to Find, You Laughed and Laughed and Laughed, The Nightjar
and Inkosazane yasezulwini, Reciprocities and On the Grasshopper and
Cricket
Aspect Common Threads
All poems explore identity, connection (cultural, emotional,
Themes
or natural), and resilience.
Nature imagery dominates, whether used symbolically
Imagery
(Keats, Mann, Lagan) or for contrast (Okara).
All poets employ metaphor and personification. Okara and
Figures of
Lagan rely more on repetition and rhythm, while Keats
Speech
uses classical devices.
Varied – contemplative (Mann), defiant (Okara), romantic
Tone (Keats), ethical (Lagan), or melancholic (Jojo).

Overall Comparative summary Interpretation

Poem Central Message
Love is difficult to locate in a world of
Hard to Find
emotional pretence.
You Laughed and Laughed Cultural ridicule is overcome through self-
and Laughed awareness and dignity.
Nature and the spiritual world are
The Nightjar and Inkosazane
interwoven and ever-present.
Reciprocities Mutual giving sustains life and ethics.
On the Grasshopper and Nature’s poetic voice is eternal and

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Poem Central Message

unbroken across seasons.
Cricket
THE END!!!!!!!!

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