Ozymandias London
Themes Tone Language Form & Context Themes Tone Language Form & Context
Structure Structure
Power Ironic ‘sneer of Sonnet Romantic Power Critical ‘marks of 1st person Published
of Nature cold poetry weakness, Rhyme in 1794 in
Rebellious command’ Rhyme Inequalit y Angry marks of Songs of
Pride Alliteration Interested woe’ 2 stanza Experience
in emotion Loss Rebellious ‘in every’ on
Decay ‘Look on my and Repetition People; Radical
works’ nature poet who
Imperative ‘mind- 2 stanzas believed in
statue of forged on social and
‘The lone lost manacles’ institutions racial
and level civilization, Metaphor equality
sands ‘King of
stretch far kings’ ‘hapless Lived in
and away’ soldier’ London in
Natural ‘Infant’s cry time of
imagery of fear’ extreme
Emotive poverty
language
Percy Bysshe Shelley William Blake
Extract from, The Prelude My Last Duchess
Themes Tone Language Form & Context Themes Tone Language Form & Cont ext
Structure Structure
‘One ‘Looking as
Power of Confident summer First Romantic Power Sinister if she were Dramatic British poet;
Nature Dark evening person poet; alive.’ monologue lived in
Fearful (led by her)’ narrative Pride Bitter SIMILE Italy
Fear Reflective ‘Upreared Interested Rhyming
its head’ One in emotions Control Pompous ‘spot of joy’ Couplets Published
Childhood Personificati stanza, and nature Repetition in 1842
on three Jealousy Arrogant Punctuation
sections: The ‘she liked and pauses May be
‘sparkling’ confident, Prelude, an Status whate’er inspired by
‘glittering’ mountain, autobiographical she looked Duke
‘moon’ reflection poem, of on, and her whose wife
‘stars’ 14 books, looks went died under
Light Contrast was everywhere suspicious
imagery unfinished ’ circumstances
Pronouns,
‘a huge This poem is Repetition
peak, black from
and huge’ ‘Childhood ‘This grew; I
Repetition and School gave
Time’ commands;
‘o’er my Then all
thoughts smiles
There hung stopped
a darkness’ together.’
William Wordsworth Contrast Robert Browning Punctuation
The Charge of the Light Brigade Exposure
Themes Tone Language Form & Context Themes Tone Language Form & Cont ext
Structure Structure
Conflict Energetic ‘Forward the Ballad Poet Conflict Tragic ‘Our brains Contrast Written in
Light Laureate ache’ 1917
Suffering Tragic Brigade! 6 stanza: Suffering Haunting Collective Repetition before
Charge for 1 for Inspired by pronoun of last Owen won
Patriotism Adoration the guns!’ every 100 Battle of Power of Dream-like stanza the Military
Speech men Balaklava, Nature ‘What are we line Cross for
Realit y of marks 1854 Quest ioning doing here?’ Bravery
War Exclamations Repetition Reality of ‘Is it hat we are
of ‘six Celebrates War dying?’ Owen died
‘Storm’d at hundred!’ courage of Questions in 1918,
with shot soldiers four days
and shell, whilst ‘Slowly our before
while horse criticising ghosts drag Armistice
and hero decisions home.’ was called
fell’ made Metaphor
Alliteration ‘My theme
‘We hear the is war and
‘Into the mad gusts the pity of
jaws of tugging on the war’
Death, into wire’
the mouths Personificat ion
of Hell’
Metaphor
Alfred Lord Tennyson Wilfred Owen
Storm on the Island Bayonet Charge
Themes Tone Language Form & Context Themes Tone Language Form & Cont ext
Structure Structure
Power of Dark ‘We are One stanza Published Conflict Bewildered ‘Patriotic tear’ In media Poet
Nat ure prepared’ in 1966, the Metaphor res Laureate
Violent Collective enjambment start of ‘The Power of Desperat e
Fear pronoun Troubles’ in Nature ‘Bullet s Contrast Draws from
Northern Dream-like smacking the others’ WW1
Human ‘blows’ Ireland, a Reality of belly out of the experiences
Vulnerability ‘pummels’ political War air’
‘exploding’ ‘storm’ Personification Imagines
‘spits’ Patriotism the
Verbs Stormont ‘his foot hung experience
like statuary in of fixing
‘strafes’ mid-stride’ bayonets
‘salvo’ Simile
‘bombarded Contrasts
’ ‘yellow hare’ idealism of
War imagery Natural war with
imagery reality of
‘fear’ war
Repetition ‘King, honour,
human dignity,
‘Exploding etcetera’
comfortably’ List
Oxymoron
Seamus Heaney Ted Hughes
Remains Poppies
Themes Tone Language Form & Context Themes Tone Language Form & Context
Structure Structure
‘Remains’
Conflict Tragic Title Monologue Written to Reality of Tender ‘blazer’ ‘play Elegy Ambiguous
accompany War at being war, meant
Suffering Haunting ‘legs it up Flashback a TV Tragic Eskimos’ First person t o relat e t o
documentary any soldier
the road’ Different ‘treasure perspective
called ‘The Perspective of or mother
Reality of Colloquialis enjambment Dream- chest’
Not Dead’
War m War like ‘playground’ at any time
Based on Childhood
‘the drink I raq w ar, Bravery Imagery Mother’s
and the 2003 perspective
drugs’ Childhood ‘blocked’
Alliteration PTSD ‘bandaged’ Another
‘reinforceme form of
‘his bloody nts’ bravery in
life in my War Imagery war
bloody
hands’ ‘my words
Repetition flattened,
rolled, turned
‘sun- into felt’
stunned, Metaphor
sand-
smothered ‘I was brave’
land’ Perspective
Alliteration
Simon Armitage Jane Weir
War Photographer Tissue
Themes Tone Language Form & Context Themes Tone Language Form & Cont ext
Structure Structure
‘All flesh is
grass’ Contrast
Conflict Painful Poet Power Gentle ‘shine’ ‘sun’ Extended Born in
Metaphor
Laureate ‘luminous’ metaphor Pakistan,
Biblical Allusion Rhyme
Suffering Detached Control Dream-like ‘daylight’ living in
Inspired by Light imagery Short Glasgow
‘Belfast. Beirut. Stanza
Reality of Angry friend who Identity Questioning stanzas
Phnom Penh.’ represents
War is a war ‘Koran’ represent From the
List of cities ‘job to do’
Isolated photographer ‘pages’ layers book ‘The
effected by
Different ‘maps’ ‘slips’ Terrorist at
war Ambiguous
Perspective Images of Lack of My Table’
of War war, meant paper rhythm
‘running to relate to Questions:
children in a any war, ‘might fly our Who
nightmare any time lies like paper controls us?
heat’
kites’ How well
Emotive Contrasts Simile do we
Language horror of know the
war with ‘turned into people
‘Rural England’ indifference your skin’ around us?
Contrast to suffering Ending
‘he earns his
living and they
do not care’
Ending
Carol Ann Duffy Imtiaz Dharker
The Emigree Checking Out Me History
Themes Tone Language Form & Context Themes Tone Language Form & Cont ext
Structure Structure
Conflict Mournful ‘sunlight’ Contrast Born and Power Defiant ‘de Monologue Born in
Repetition raised in beacon’ Guyana,
Power Defiant Punctuation UK Protest Rebellious ‘fire- Italics 1949;
‘bright’ ‘white woman’ moved to
Identity Nostalgic streets’ Repetition of Published Identity Determined ‘healing Contrast UK in 1970s
‘shadow’ stanza end in 1993, star’
Protest ‘sunlight-clear’ pre-9/11 Childhood Light Spellings Challenges
Images of light images and racism and
Childhood Home Punctuation prejudice
‘tyrants’ country ‘dem tell
‘branded’ not me wha Black
‘banned’ revealed dem want history
‘tanks’ and to tell me’
Images of reasons Repetition
Violence for Accented
leaving spelling
‘I comb its hair not
and love its revealed ‘I carving
shining eyes’ out me
Personification identity’
Metaphor
Carol Rumens John Agard
Kamikaze
Themes Tone Language Form & Context Differences:
Similarities:
Although
Structure Similarly
Whereas
Both poems
Whilst
Both poets
In contrast
Conflict Perspective Pilot’s This is also explored
Sorrowful ‘little fishing Likewise
Conversely
boats strung change journey in Unlike
Power In a similar way
On the other hand
Pitiful out like WW2,
On the contrary
bunting’ Full stops Japan
Patriotism
Questioning Simile
First 5
Shame stanzas in
‘dark shoals
of fishes, chronological
Power of order
flashing
Nature
silver’
Natural
Different
imagery Assessment Objective 1: QQL
Perspective
of War • Write a response related to the key word in the question.
‘-yes,
grandfather’s • Use comparative language to explore both poems.
boat-’ • Use a range of evidence to support your response and to show the
Perspective meaning of t he poems.
Assessment Objective 2: WHY
‘which had • Comment on the effect of the language in your evidence, including
been the individual words.
better way • Identify any use of poetic techniques and explain their effects.
to die’ Assessment Objective 3: WHY
Ending • What might the poet’s intentions have been when they wrote the poem?
• Comment on t he hist orical cont ext – when was the poem published and
Beatrice Garland what impact might it have had t hen, and t oday?
