Russell Carey Cambridge IGCSE速
Literature in English Workbook
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Contents How this workbook can help you
1
Support for your study
2
Responding to Poetry
6
Exploring the use of sound in poetry
6
Exploring meanings and effects in poetry
11
Exploring meaning and structure
14
Exploring language and structure
17
Exploring the effects of imagery
21
Writing a critical response
23
Responding critically to poetry
25
Responding to Prose
32
Exploring the way writers describe settings
32
Exploring prose fiction
36
How writers present their characters
42
Exploring characters in novels
46
Exploring how writers present relationships
52
How writers build suspense
55
The importance of openings and endings in prose fiction
56
Exploring third person viewpoint
60
Using mind maps to record your impressions of characters
64
Responding to Drama
66
Exploring the ways in which dramatists portray characters
66
Shakespeare’s portrayal of characters
70
Exploring structure and language in your Drama set text
74
Exploring the opening of Shakespeare’s Julius Caesar
75
Exploring the opening of your Drama set text
78
Using mind maps to make notes about themes
81
Revising a character from your Drama set text
83
Acknowledgements
88
iii
How this workbook can help you
How this workbook can help you This workbook will help you develop the skills you need to succeed in your IGCSE English Literature course. It has been written for use alongside the coursebook for IGCSE Literature in English. In this workbook you will find a rich variety of texts. These include poems and extracts from Drama and Prose fiction texts. Some of the texts in this workbook can also be found in the Literature in English coursebook, though the activities are different. You will also find a number of texts that are completely new, and which you may not have come across before. The activities in this book ask the sorts of questions you need to ask as you analyse literary texts. There is a section of study support, with guidance on active learning, essay writing and further reading; then the rest of the workbook is divided into three main sections: ■ ■ ■
Responding to Poetry Responding to Prose Responding to Drama.
All three sections will help you develop and practise the skills you need for studying your set texts – and coursework texts for those of you following the Coursework option. The first two sections on Poetry and Prose will also help you to respond to texts you have not seen before. Your teacher will tell you which components your class is taking. Remember that in studying English Literature you will make progress over time. If you work conscientiously through the activities in this workbook as well as those in the coursebook, they will help you to acquire the skills you need for success in this subject.
1
Support for your study
Wider reading log The more you read, the more you will find reading enjoyable. Over time you will discover hundreds of new words. These will be available to you for the rest of your life and in a very real sense become a part of who you are. The Literature in English coursebook includes lists of texts that are often read by students of your age. Look at pages 94 and 126 of the coursebook for further reading suggestions. Teachers and others may also recommend books for you to read. You can find other ideas in newspapers, magazines and on radio and television. Use the spaces below to list the titles of texts you read outside lessons. Poems Poet
Title
3
Short stories and novels Writer
Title
Plays Playwright
Title
Responding to Poetry
O where are you going? Stay with me here! Were the vows you swore deceiving, deceiving? No, I promised to love you, dear, But I must be leaving. O it’s broken the lock and splintered the door, O it’s the gate where they’re turning, turning; Their boots are heavy on the floor And their eyes are burning.
30
35
Exploring O WHAT IS THAT SOUND by W.H. Auden 1
Read the poem on your own, and write down the meanings of the words listed below. Look up the meaning of any other words you are not familiar with. manoeuvres reined vows 7
deceiving splintered
2
There are two voices in the poem. Working in pairs, discuss who you think the two voices might belong to. Then allocate the lines in the poem to the two speakers. With your partner, practise reading the poem aloud, each of you taking the role of one of the speakers.
3
Working on your own, write a summary of what you think is happening in all the stanzas except the final one. Include a brief comment on the content of each of stanzas 1–8. 1 2 3 4
Responding to Poetry
6
The use of rhyme and repetition of words and lines are typical of the techniques found in ballads. a
b
What effects do you think the poet creates by using the following rhymes? Lines
Rhyming words
14 + 16
wheeling … kneeling
26 + 28
cunning … running
34 + 36
turning … burning
Effect created
Write down one example of a word or line from the poem that is repeated:
Comment on the effect the poet creates by using this repetition. 9
Responding to Poetry
Exploring meanings and effects in poetry The following extract is taken from Coleridge’s longest poem, which was a ballad (‘rime’) telling the story of a mariner. Here the mariner describes the storm and what happens to the albatross, a large sea bird and symbol of good luck to sailors.
Extract from THE RIME OF THE ANCIENT 1
MARINER
by Samuel Taylor Coleridge
Doré engraving for The Rime of the Ancient Mariner.
1 mariner person who navigates a ship 2 tyrannous oppressive (unjustly cruel)
And now the STORM-BLAST came, and he Was tyrannous2 and strong: He struck with his o’ertaking wings, And chased us south along. With sloping masts and dipping prow3, As who pursued with yell and blow Still treads the shadow of his foe, And forward bends his head, The ship drove fast, loud roared the blast, And southward aye we fled
5
10
And now there came both mist and snow, And it grew wondrous cold: And ice, mast-high, came floating by, As green as emerald4.
11
3 prow front part of a ship 4 emerald a gemstone of great value 5 sheen reflection of light 6 ken saw
And through the drifts the snowy clifts Did send a dismal sheen5: Nor shapes of men nor beasts we ken6 – The ice was all between. The ice was here, the ice was there, The ice was all around: It cracked and growled, and roared and howled, Like noises in a swound!
7 Albatross large sea bird
8 helmsman person who steers the ship
At length did cross an Albatross7, Thorough the fog it came; As it had been a Christian soul, We hailed it in God’s name. It ate the food it ne’er had eat, And round and round it flew. The ice did split with a thunder-fit; The helmsman8 steered us through! And a good south wind sprung up behind; The Albatross did follow,
15
20
25
30
Responding to Poetry
b
4
Comment on the effect of the verbs in line 21.
Read lines 27–38. What impression of the albatross do Coleridge’s words create for you? Use brief quotations to support each point you make.
13
Responding to Poetry
Exploring language and structure TO HIS COY MISTRESS
by Andrew Marvell 1 coyness reluctance to do what the man wants
2 Ganges river in northern India and Bangladesh 3 Humber an estuary in northeastern England
4 Till the conversion of the Jews that is, forever 5 vegetable able to grow
6 vault chamber used for burials
7 transpires leaks out
8 slow-chapped slowly eating
Had we but world enough, and time, This coyness1, Lady, were no crime. We would sit down, and think which way To walk, and pass our long love’s day. Thou by the Indian Ganges’2 side. Shouldst rubies find: I by the tide Of Humber3 would complain. I would Love you ten years before the flood: And you should, if you please, refuse Till the conversion of the Jews4. My vegetable5 love should grow Vaster then empires, and more slow. An hundred years should go to praise Thine eyes, and on thy forehead gaze. Two hundred to adore each breast: But thirty thousand to the rest. An age at least to every part, And the last age should show your heart: For, Lady, you deserve this state; Nor would I love at lower rate. But at my back I always hear Time’s wingèd chariot hurrying near: And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault6, shall sound My echoing song: then worms shall try That long-preserved virginity: And your quaint honour turn to dust; And into ashes all my lust. The grave’s a fine and private place, But none, I think, do there embrace. Now, therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires7 At every pore with instant fires, Now let us sport us while we may; And now, like amorous birds of prey, Rather at once our time devour, Than languish in his slow-chapped8 power. Let us roll all our strength, and all Our sweetness, up into one ball:
5
10
15
17 20
25
30
35
40
Responding to Poetry
Category
Device
rhetorical devices
rhetorical question
What it means
repetition
hyperbole
irony
2
Look at the brief quotations from the poem To His Coy Mistress in the table below. For each quotation add the name of the device and a brief explanation of the effect created for the reader. Remember your comments on effects should reflect the overall meanings of the poem in which the speaker persuades his ‘mistress’ that time is passing quickly. See the example provided in the table below. Quotation
Device and effect created
An hundred years should go to praise / Thine eyes
Time’s wingèd chariot hurrying near
And yonder all before us lie Deserts of vast eternity
. . . shall sound My echoing song
. . . then worms shall try That long preserved virginity
like amorous birds of prey
tear our pleasures with rough strife
19
This metaphor powerfully conveys the speed of time passing and is an important aspect of the speaker’s argument that they must, therefore, make the most of time.