Course: English
Scottish Texts: Poems by
Carol Ann Duffy
Level: National 5
September 2013
This advice and guidance has been produced for practitioners and other staff
who provide learning, teaching and support as learners work towards
qualifications. These materials have been designed to assist practitioners and
others with the delivery of programmes of learning within the new
qualifications framework.
These support materials, which are neither prescriptive nor exhaustive,
provide suggestions on approaches to teaching and learning which will
promote development of the necessary knowledge, understanding and skills.
Staff are encouraged to draw on these materials, and existing materials, to
develop their own programmes of learning which are appropriate to the needs
of learners within their own context.
Staff should also refer to the course and unit specifications and support notes
which have been issued by the Scottish Qualifications Authority.
http://www.sqa.org.uk
Edition: New Selected Poems 1984–2004, published by Picador, 2004.
ISBN 978-0-330-43394-5
Acknowledgement
© Crown copyright 2013. You may re-use this information (excluding logos) free of
charge in any format or medium, under the terms of the Open Government Licence.
To view this licence, visit http://www.nationalarchives.gov.uk/doc/open-governmentlicence/ or e-mail: [email protected].
Where we have identified any third party copyright information, you will need to obtain
permission from the copyright holders concerned.
Any enquiries regarding this document/publication should be sent to us at
[email protected].
This document is also available from our website at www.educationscotland.gov.uk.
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Contents
Introduction
Critical reading skills
Focus author and texts
Selected poems
4
5
5
Approaches to analysis
Guide to approaching analysis
Context
Co-operative learning activities – ‘Valentine’
Methods of notetaking and recording poem analysis progress
Beginning comparison
Recording thematic links
Question types and response markers
Prompts to enable learners to record links
Making links between the poems
Thematic linking of poems
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8
17
26
34
36
40
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54
57
Wider learning
Rolled-up skills sampling opportunities
Further reading and resources
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INTRODUCTION
Introduction
Critical reading skills
In this resource the learner will develop the following skills, knowledge and
understanding.
Knowledge of language
 The distinction between connotative and denotative uses of language.
 The names and uses of the main word classes: noun, pronoun, adjective,
article, verb, adverb, preposition and conjunction.
 The names and uses of the basic syntactic units: sentence, clause,
phrase/group.
 The more commonly used conventions of written language.
 A critical terminology for discussing a wide range of texts, including Scottish
texts.
Command of:




skills of inference making and summarising
knowledge of literary forms and genres, including aspects of heritage
knowledge of literature, language and media contexts
knowledge of literary techniques and devices, including characterisation,
use of dialogue, structure, word choice and tone, narrative stance, mood,
creation of a sense of place, and conventions of genre, syntax and layout
 skills required for discursive and creative writing.
It is intended that the activities in this pack will contribute to the development
of many of these areas. Practitioners will, of course, recognise that the
approaches taken in the analysis of the poetry included here will support and
enhance learners’ close-reading skills too.
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INTRODUCTION
Focus author and texts
Carol Ann Duffy
Carol Ann Duffy is a Scottish–English poet who is the current British Poet
Laureate, having been appointed to the role in 2009; it is also important to
note that she is the first female and LGBT person to have this position. Her
style is contemporary and she is renowned for giving voice to those who have
been alienated or edited in history. Duffy also writes from a personal
perspective about complex situations, but her use of language makes these
works highly accessible and intriguing.
Although she was born in the Gorbals, Glasgow in 1955, Duffy moved to
Staffordshire with her family at the age of six. She became a prominent poetic
figure at the University of Liverpool and published her first collection, Standing
Female Nude, in 1985. This was the catalyst for Duffy’s prolific public career,
which has also encompassed many volumes of poetry for children.
In her current role as Poet Laureate, Duffy has written original poems that
showcase her dry wit on topics such as the Olympics, climate change, political
scandals, and Prince William and Kate Middleton, to mention a few. She is
also doing highly significant work in raising the profile of poetry in Britain, most
recently in co-ordination with the Queen’s Jubilee.
Duffy’s poetry has previously featured on both the Scottish and English
curriculums; the addition of her work to the National 5 and Higher
qualifications set text list highlights her prominence as a leading British writer.
Selected poems
The following Carol Ann Duffy poems have been selected for their
representations of personas. They all describe experiences and/or the
subsequent impact as told from an individual’s perspective.
 ‘Valentine’ – explores the different stages of a modern relationship through
the extended metaphor of an onion.
 ‘Havisham’ – re-examination of Dickens’ character Miss Havisham and her
bitter heartbreak, as evoked through brutal imagery.
 ‘War Photographer’ – the damaging observations of conflict, its victims and
its distant observers, told through the eyes of the photographer who
captures the brutal images.
 ‘Anne Hathaway’ – a sonnet that gives voice to Shakespeare’s ‘neglected’
wife. Here she tells her romanticised version of their relationship.
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INTRODUCTION
 ‘Mrs Midas’ – examines the consequences of selfish and vain decisions in
modern relationships, written using the myth of Midas and from the
perspective of his fictional wife.
 ‘Originally’ – Duffy’s personal poem about her experiences with dual
identity. Her physical transition from Scotland to England is explored, as is
the transformation from child into adult.
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APPROACHES TO ANALYSIS
Approaches to analysis
Guide to approaching analysis
As a suggested starting point, this unit will focus firstly on detailed analysis of
‘Valentine'. In many ways, this poem is the most accessible for all abilities in a
National 5 class, and it has the clearest links to the other five poems. The unit
will then go on to show what learning and teaching activities could be used to
create links between ‘Valentine’ and the other five set Duffy poems.
The following steps will provide a brief guide about how to approach a basic
analysis of ‘Valentine’. This process can be repeated for analysis of other
specified Duffy poems. Teaching and learning ideas for each step are
provided further on in this pack.
1.
2.
3.
4.
5.
Understand context – explore learners’ understanding of modern ideas
of love and relationships. Use of pictures and video clips is also
important here. Examine a brief biography of Carol Ann Duffy. Provide
each learner with a copy of the poem.
Denotation and connotation – examine the literal and figurative
meaning of the poem’s title.
Expectation – gather ideas and predictions about what will happen in
the poem.
Reading – read through the poem several times: as a class with the
practitioner leading, silently, to a partner, in a group etc.
Initial observations – discuss first impressions of the poem and what
themes are emerging.
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APPROACHES TO ANALYSIS
6.
7.
8.
9.
10.
Rhythm/rhyme – examine the free-verse style and use of singular
words/phrases to deliver tone and meaning (it might be handy at this
point to number the lines).
Annotation – make detailed notes on the poem (individual copies, if
possible) in order to understand meaning – detailed instructions for
making the annotation are provided in the following section.
Group/pair learning activities – learners embark on a series of
activities in order to analyse key literary devices and consolidate
understanding of meaning.
Evaluation – learners demonstrate their learning through activities
involving sample answers, analysis paragraphs of specific techniques for
peer assessment, games and quizzes, creation of
booklets/cards/blogs/letters etc (specific activities detailed later).
Comparison – begin to incorporate ideas from the next poem. For
progression of challenge and theme, a suitable poem to use next would
be ‘Havisham’.
Context
Listening exercise – A view of Carol Ann Duffy
Listen to and watch the following clip from BBC Learning Zone Class Clips:
http://www.bbc.co.uk/learningzone/clips/sunetra-sarker-on-carol-annduffy/8653.html
In this clip actress Sunetra Sarker talks about her discovery of Carol Ann Duffy
and particularly the poem ‘Valentine’. Ask learners to write down five
descriptions that Sunetra Sarker gives about Duffy’s work.
Descriptions of Duffy:
1.
2.
3.
4.
5.
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Research task: Who was Saint Valentine? (Individual task)
As a homework exercise, ask learners to research the story of St Valentine. A
suggested template for recording the information is provided below. Learners
can organise their findings into bullet points. Emphasis should be placed on
using their own words.
Useful websites:
http://www.history.com/this-day-in-history/st-valentine-beheaded
http://www.bbc.co.uk/religion/religions/christianity/saints/valentine.shtml
Who was St Valentine?
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Pre-knowledge – Traditional Valentine’s gifts and activities (working in
pairs)
 Ask learners to create a large spider diagram with the heading Valentine
Traditions in the middle.
 On one half of the spider diagram learners should write down as many
traditional gift ideas as they can think of (teddy bears, roses, cards, cuddly
hearts, picture frames etc).
 On the other half of the spider diagram ask learners to write down as many
stereotypical Valentine’s day activities as they can think of (going out for
dinner, walk on beach, boat ride, cinema etc).
 Collaboration: ask learners to share their ideas with another group and add
any new ideas from other groups.
Guide for annotating ‘Valentine’
The following instructions will help practitioners to guide learners in annotating
‘Valentine’. Further observations will probably be made by learners during this
process, in which case originality of thought is always encouraged.
Although some prints of ‘Valentine’ vary with the number of lines, the correct
version to be used for assessment procedures is published in the edition
specified at the start of this pack.
There are 23 lines in the version of the poem that is used here.
‘Valentine’
Title: denotation and connotation
 Note down the denotation of Valentine (answers may include a saint who
was associated with traditional ideas of love, a gift given as a token of one’s
love, an allocated day for celebrating love and relationships).
 Note down the connotations of Valentine (answers may include love,
romance, flowers, hearts, fancy dinners, chocolates, wine, cherubic, bow
and arrow, the colour red, cards, marriage, girlfriend/boyfriend).
 You may also choose to explore the negative connotations of St Valentine’s
Day at this point (answers may include overrated, expensive, lonely people,
unnecessary, embarrassing, exploitative, heartbreak, sadness).
 It is unknown at this point who the speaker is or what perspective of
Valentine will be offered. Ask learners if the title gives them any clues to the
who or what.
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Initial thoughts and speaker
Read through the poem closely as a class. Ask learners to write down their
first thoughts about what the poem is trying to say at the bottom of the page. It
might be useful to use the following discussion prompts in groups or pairs:
 What does the speaker think about St Valentine’s Day and the gifts that
people give?
 Why does the speaker think that an onion is an appropriate gift to give to a
loved one?
 Who is the speaker and do you think they are addressing a specific
person? If so, who?
 Do you think the speaker is feeling a specific emotion(s) throughout this
poem? If so what is it/are they?
 What words stand out as being unusual to you?
 Does the speaker’s mood shift throughout the poem? In what ways?
 Do you like the poem? Why/why not?
Literal meaning
What is the poem literally saying? Break the poem into four different sections:
lines 1–5, lines 6–11, lines 12–17, lines 18–23. Learners can work in pairs to
sum up what is happening in each section. A practitioner’s guide is given
below.
Lines 1–5
The speaker does not appear to like traditional gifts of love and instead wants
to give a seemingly unpleasant and unusual gift of an onion. It is compared to
the moon and has positive connotations of the hope felt at the start of a new
relationship.
Lines 6–11
The speaker insists that the lover take the onion even if it brings sadness and
tears. Just as an onion’s juices can make a person cry, so can the arguments
and heartbreak that go along with the reality of modern relationships.
Lines 12–17
Rejection of traditional tokens of love is reinforced and repetition of the more
realistic idea of an onion is given. The speaker embraces the passion that
goes along with a modern relationship but also accepts that it may not last
forever.
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APPROACHES TO ANALYSIS
Lines 18–23
Explore how relationships can lead to marriage but may also end in
heartbreak. The speaker acknowledges that the (often painful) memories of a
relationship can stay with a person, just as an onion’s scent will linger.
Task: What is Duffy’s tone?
Learners should think of the poem in terms of the four sections above. Use a
blank version of the grid below to help learners examine Duffy’s tone in each
section. This should also help learners to understand how each section of the
poem links to the others.
Tone
Word clues
Lines 1–5
Direct
Honest/realistic
Romantic
Positive/hopeful
Not
Onion, brown paper
Moon, undressing
Promises, love
Lines 6–11
Blunt/direct
Sad/frustrated
Here. It will
Blind, tears, wobbling,
grief
Trying to be truthful
Honest
Lines 12–17
Lines 18–23
Direct
Passionate
Cautious/realistic
Not
Fierce, kiss, lips,
possessive, faithful
For as long as we are
Direct/blunt
Open-minded
Hurt/cynical/wary
Take it. Lethal.
If you like.
Cling (×2), scent, knife
Once the practitioner has reviewed correct answers, learners should annotate
their copies of the poem with notes from their grids.
Structure
As learners have now analysed how the tone shifts throughout the poem, it is
important to note the structure of the poem itself as this gives us clues to the
speaker. Learners should work in pairs, making notes on what they observe
about the structure of the poem. Answers are given below.
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 ‘Valentine’ is written in free verse.
 This helps the speaker’s voice to have a more realistic feel to it, hence
mirroring the realistic nature of the onion as a gift.
 The voice has particular impact in lines 1, 11 and 12 when Duffy explicitly
states her rejection of traditional and clichéd Valentine’s gifts – these lines
also lie outwith the extended metaphor of the onion.
 ‘Not a red rose or a satin heart’ (line 1) and ‘Not a cute card or kissogram’
(line 12) are direct, blunt statements that use examples in order to
demonstrate their lack of any real meaning.
 Why does Duffy use repetition of ‘Not a’ at the start and middle of the
poem?
 ‘I am trying to be truthful’ (line 11) is a direct statement that emphasises the
speaker’s belief in a more honest approach to love and relationships.
 The four longer sections in the poem reflect different stages in a modern
relationship – from the hopeful, romantic beginning through to the potential
marriage or painful break-up.
 Why does Duffy put the phrases ‘Here.’, ‘Take it.’ and ‘Lethal.’ on lines on
their own? Ask learners to consider the activities on tone and how the
commands are effective in conveying Duffy’s message.
Connotations
1.
Learners should now examine what lines carry positive or negative
connotations. To begin this, they should go through the poem and put a
+ (positive) or – (negative) symbol next to the lines that have the
corresponding connotation.
positive – lines 3, 4, 5, 8, 14, 15, 19, 20
negative – lines 1, 7, 10, 12, 21, 22, 23
(The above is a guide and it may be the case that the connotations of
lines are debated!)
2.
Learners should now think about words throughout the poem that they
feel to be significant in conveying Duffy’s message. Looking at these
words, learners should place them in the appropriate columns below
(this one is filled in but learners should be provided with a blank table):
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APPROACHES TO ANALYSIS
Words with connotations of
traditional/fake love
Red rose
Satin heart
Moon
Promises
Light
Undressing
Photo
Cute card
Kissogram
Kiss
Lips
Wedding ring
Scent
Words with connotations of
modern/realistic love
Onion
Blind
Tears
Lover
Wobbling
Grief
Fierce
Possessive
Lethal
Cling
Knife
Discussion points
1.
2.
3.
Why has Duffy chosen so many contrasting phrases of traditional and
modern love?
In what ways do these contrasting ideas help to show Duffy’s attitude
towards what real relationships should be like?
What do learners think about giving traditional/clichéd gifts in today’s
society? Have they ever given any of these gifts?
Learners should now annotate their copies of the poem with the words in the
table above. It is a good idea to use different coloured pens to show the
different connotations of the words (traditional/fake or modern/realistic).
Literary/poetic devices
The extended metaphor of the onion
Carol Ann Duffy uses the image of an onion to signify modern love and
relationships. Below is a question and answer guide to analysing the key
comparisons in the poem and what effect they have on the overall image.
Suggestions for annotation
 Learners can write their answers as annotations and the practitioner’s
answers can be used for further discussion.
 Underlined quotations can be placed on to a grid with blank boxes beside
them for answers (see example following questions and answers below).
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 A spider diagram could be used to help explode each part of the
comparison before transferring the answers to the annotation.
 Analysis could be transferred to electronic form and an interactive quiz
created for use with a smart board.
Further co-operative learning ideas for understanding the onion metaphor are
provided later in this pack.
Key
L = learner’s question
P = practitioner’s answer
Underlined sections should be annotated on poems and further description of
the effect of the metaphor added.
Lines 2–5
 L: ‘onion’ – why is it an unexpected gift?
P: It is an unusual gift because it does not have any traditional romantic
connotations and does not look or smell particularly pleasant
 L: ‘It is a moon wrapped in brown paper/It promises light’, What does the
introduction of the metaphor say about love and relationships?
P: The metaphor compares the onion to the moon. There is a double
meaning here of the physical resemblance but there are also connotations
of how we might ‘wrap’ traditional gifts that we give to loved ones. The
onion becomes symbolic of modern relationships, with the ‘light’ being the
positivity and feeling of hope experienced at the start of a new relationship
 L: ‘... the careful undressing of love’ – what does this say about the nature
of a new relationship?
P: This refers to the initial stages of love, which can be delicate and
precarious; love takes time to develop as we peel back the layers of a
person’s personality. It can also be interpreted as a literal ‘undressing’;
sexual intercourse that takes place between two lovers. On a literal level,
an onion’s skin requires care to peel back.
Lines 6–10
 L: ‘It will blind you with tears like a lover’ – how is this comparison effective
in highlighting the negative qualities of a relationship?
P: When cut, an onion is pungent and has juices that can make you cry.
This is like relationships because arguments and disagreements are
considered to be part of a realistic, functioning relationship.
 L: ‘It will make your reflection a wobbling photo of grief’ – how does this
image contribute to the potential hurt that goes along with a relationship?
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APPROACHES TO ANALYSIS
P: The image describes the way a person’s appearance and vision blurs
when looking in the mirror after crying. This could be caused by an onion
but the same effect is created when someone feels devastated after falling
out with a lover. The word ‘grief’ is particularly strong in emphasising the
feeling of hurt.
Lines 13–17
 L: ‘Its fierce kiss will stay on your lips, possessive and faithful’ – what stage
of a relationship does this part of the metaphor demonstrate?
P: This reflects a more committed and passionate part of a modern
relationship. It is clear from word choice such as fierce, possessive and
faithful that feelings have intensified and there is a desire for loyalty and
longevity.
Lines 18–23
 L: ‘Its platinum loops shrink to a wedding ring, if you like’ – how is the
comparison effective here in showing one possible outcome of a
relationship?
P: An onion’s skin gets smaller from the middle to either end, which Duffy
imagines to be similar to a wedding ring. This is the ultimate sign of
commitment and a potential ‘happy ending’ in a relationship. However,
whilst Duffy does not necessarily believe in marriage, she would do it if it
was something that was important to a lover.
 L: ‘Lethal. Its scent will cling to your fingers, cling to your knife.’ – what is
the other outcome of a modern relationship and how can this affect a
person?
P: These days it is realistic to accept that a long-term committed
relationship can also end in a painful break-up. Just as the sickly-sweet
smell of an onion can stay with you, so can the memories of a person or
relationship – this can be extremely bitter and painful.
The above answers can be referred to, as well as expanded upon,
throughout the teaching and learning activities for ‘Valentine’.
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Co-operative learning activities – ‘Valentine’
The following teaching and learning activities will enable learners to
understand the poem thoroughly before beginning to link it with the other Duffy
poems. Each activity suggests if it can be completed in a pair, group or
individually.
Task: Grid comparison
Learning intention: understanding how the metaphor of the onion extends
throughout the poem.
Complete the grid below with detailed analysis of how the onion reflects key
stages of a modern relationship. This could also be used as a tool before
annotating learners’ copies of the poem (pairs).
Onion
‘It is a moon wrapped in brown
paper/It promises light’
Love/relationships
The metaphor compares the onion to
the moon. There is a double meaning
here of the physical resemblance but
there are also connotations of how we
might ‘wrap’ traditional gifts that we give
to loved ones. The onion becomes
symbolic of modern relationships, with
the ‘light’ being the positivity and feeling
of hope experienced at the start of a
new relationship.
‘It will blind you with tears like a
lover’
‘It will make your reflection a
wobbling photo of grief’
‘It’s fierce kiss will stay on your lips,
possessive and faithful’
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‘It’s platinum loops shrink to a
wedding ring, if you like’
‘Lethal. Its scent will cling to your
fingers, cling to your knife.’
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Task: Storyboarding ‘Valentine’ (this activity can be adapted and used with
all of the poems on the Duffy list) (pairs/groups/individual)
Learning intention: to visualise the effectiveness of the four metaphorical
images contained within the poem.
Using the template below, create visuals that demonstrate each key part of the
metaphor.
‘It is a moon wrapped in brown
paper/It promises light’
‘It will blind you with tears like a lover/
It will make your reflection a wobbling
photo of grief’
‘It’s fierce kiss will stay on your lips,
possessive and faithful’
‘Its platinum loops shrink to a wedding
ring, if you like/‘Lethal. Its scent will
cling to your fingers, cling to your
knife.’
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Task: Peer-learning analysis (class)
Learning intention: to micro-analyse the structure and meaning of ‘Valentine’
through active peer learning.
 Create a larger version of the poem and cut out each of the 23 lines.
 Give each learner/pair (depending on class numbers) one of the lines and
ask them to write a brief explanation of what it says/means. Copies of
annotations will be useful here.
Example
Take it. (line 18)
Explanation of effect/meaning:
Duffy’s tone at this point is direct and assertive. She is commanding her
lover to accept this unusual gift as a symbol of her truthfulness, honesty
and desire to approach the relationship in a realistic manner.
 Get learners to stand in a large circle with the poem in the right order. Ask
each learner to read out firstly their line and afterwards the meaning.
 This activity will allow Learners to understand the poem through learning of
one another’s interpretation. Further annotations on poems can be made
upon completion of the task.
Task: Research activity/group collaboration – exploring our perceptions
of what love is (groups)
Learning intention: to enhance understanding of the unusual representation of
love and relationships in ‘Valentine’.
 An important theme explored in this poem is the way in which we have
come to stereotype ideas of love and relationships.
 The following task will enable learners to understand how traditions of love
have changed throughout the years and therefore lead to Duffy’s attitude
that they have become clichés.
 Discussion point: Ask learners to consider how our perceptions of love and
relationships have changed through the years.
 In groups of six, ask each learner to assign themselves a different decade:
1950s, 1960s, 1970s, 1980s, 1990s, 2000s
 As a homework task or in an ICT suite, ask learners to research the
following areas of their decade. Use of the template below is optional.
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TYPICAL GIFTS
RELATIONSHIP/
BEHAVIOUR
DATES/CUSTOMS
1950s
COMMITMENT/
FUTURE
 Following on from the individual research activity, ask learners to
collaborate their findings. Use a similarities/differences grid to note the
comparison between decades. There are many possibilities for displaying
learners’ findings for this task but some options are:
 a visual display/poster divided into six sections showing each different
decade
 a timeline highlighting what each decade has in common with the others.
 an information booklet called ‘Love Through the Ages’, showing how the
ideas of love and relationships have changed over time.
 There should also be an explanation towards the end about how Duffy’s
onion fits in to the progression of love.
 There are opportunities for group peer assessment.
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Task: Agony aunt blog (pairs)
Learning intention: to relate to the tone, attitudes and range of emotions in
‘Valentine’.
(This task will also work well for ‘Mrs Midas’, ‘Anne Hathaway’ and ‘Havisham’,
where the fictional characters become the senders of the letter.)
 The next stage for studying modern love and relationships is to examine
the problems and consequences that can arise.
 The concept of an ‘agony aunt’ seems somewhat old-fashioned, but people
will always have worries and will therefore always need to seek advice –
this means that an agony aunt becomes a constantly evolving art form!
 The following websites provide good examples of agony aunt problems:
http://www.talktalk.co.uk/lifestyle/agonyaunt/
http://www.dearfriend.co.uk/
http://www.problempages.co.uk/
 Ask learners to take note about the types of problems that are written about
and specific language/phrases that are common for both the sender and
responder.
 Class discussion – create a bank of ideas that learners can use for a
subsequent writing task.
 Initially, learners should work individually on writing a letter to an agony
aunt that addresses a common problem associated with modern
love/relationships.
Dear Agony Aunt Ann,
Help! I have been seeing someone for a few weeks
– she is pretty, funny and always posts the funniest
videos on Facebook. But last night we went out and
she thought it would be romantic to give me a
tomato!!! What does this mean?! Does she love me
or doesn’t she? I mean, there I was expecting a box
of chocolates...
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 Options for presentation: letters could be hand-written, typed or posted
anonymously on a blog/website created by the practitioner (an example
free site to use is www.simplesite.com).
 Learners should respond to either their partner’s letter or an anonymous
one.
 This task enables learners to understand the complexities of modern
relationships and therefore how the metaphor of the onion in ‘Valentine’
gains further relevance.
Task: Valentine’s cards (pairs/groups)
Learning intention: to identify how unusual but realistic the gift of the onion is.
 This is a short, fun task that helps learners to understand how unusual the
gift of the onion is.
 Provide learners with a range of old Valentine’s cards and ask them to
explore:
(a)
(b)
the images that appear on the front
the messages that appear on the front and inside.
 The following websites might be useful for examples:
http://www.hallmark.co.uk/valentines-day-cards-gifts
http://www.moonpig.com/uk/valentines-cards-his
http://www.funkypigeon.com/Pages/Branding/valentinesday.aspx
 Ask learners to make a card that delivers the message of ‘Valentine’. Whilst
it may seem to learners like an anti-Valentine’s card, remember to
emphasise that it is an individual’s interpretation of their love and
relationship. It should contain both visuals and language from the poem.
 Learners should peer assess each other’s cards based on images and
effective use of quotation from the poem.
Task: Hot-seating (groups)
Learning intention: to understand the themes, tone, attitude, ideas, language
and style of the poem.
 Divide learners into groups of three. Emphasise to them how they will
eventually be presenting to the class.
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Group roles
1.
Hot-seat presenter: should devise around 10 questions (five to be
directed towards the poem’s speaker, six to the recipient).
2.
Giver of the onion: should devise up to eight reasons why they thought it
was appropriate to send an onion as a gift to a girlfriend/boyfriend.
3.
Receiver of the onion: should devise up to eight responses to how they
felt when they received the onion.
Examples
Presenter: ‘Why didn’t you play it safe and give your girlfriend a box of
chocolates?
‘Do you understand how this onion represents your relationship?’
Giver:
‘The onion symbolises my commitment to my lover.’
‘I often cry when I cut an onion, this is the same feeling when I am
hurt following an argument.’
Receiver: ‘Well, at first I was a bit puzzled because I didn’t want an onion, I
wanted the big bunch of flowers that they get in the films!’
‘I can see similarities between the onion and the moon.’
Hint: Learners can be as original and witty as they like with this task but they
must try to get into character and demonstrate the ideas and tone of the
poem.
 Ask a group to peer assess another’s by offering constructive comments.
You could use a template like the one below.
Role
Quality of
questions
Interviewer
Giver
Receiver
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How well they
captured the
emotion
How they
linked to
poem’s
language
How they
linked to
poem’s images
APPROACHES TO ANALYSIS
Task: Group presentation – Love is ... (groups)
Learning intention: to gain a thorough understanding of how love can be
expressed through metaphors.
 This task will enable learners to better understand the metaphor of the
onion through creation of their own, as well as the theme of love.
 Learners should work in groups of four for this task.
 Supply each group with a range of nouns – these could be in the form of
the words written separately on slips of paper or pictures.
 Aim to give each group around four nouns each – some possibilities are in
the word-bank below.
tea towel
book
winter coat
watch
bracelet
mobile phone
car
slow cooker
boiler
bedside lamp
glass of milk
table
candle
football
bar of chocolate
A4 ringbinder
peach
DVD
cup
stapler
 Learners must now create their own metaphors beginning with the phrase
‘Love I s...’ and ending with a description of how the noun could act like
love.
For example:
Love is a mobile phone
It is reliable and can be kept close by
It comforts in times of boredom and clears up confusion
It always keeps you entertained
But be careful with it, its casing is delicate
If you damage it, you will lose it
Love is a winter coat
You can snuggle in to it when you need comfort
It wraps around you to keep you warm
And is always there when you feel cold
Don’t take your coat for granted
If it rips, love it even more, don’t trade it in for a new one!
 Once learners have developed extended metaphors for each of their
nouns, ask them to present these to the rest of the class.
 Learners can peer assess each group and a visual display could be created
of each metaphor.
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Task: Talking activity – Object mini-talk (this is a challenging task that can
be an additional homework exercise) (individual)
Learning intention: to develop solo talking skills whilst showing understanding
of the onion metaphor through personal experience.
 Ask learners to think of an object that for them symbolises another
experience in their life.
 Examples could be an apple that reminds a learner of family picnics at the
beach as their parent would always pack them, a box of crayons that
gradually wore down throughout primary school, a packet of tissues that
has a strong association with an elderly relative.
 Using the following structure, ask learners to write a short talk about the
significance of the object to the real-life event.
- How did the object seem fresh and exciting with its association to
your real-life experience at the start?
- How did you begin to see the negative aspects of this experience
through the object?
- As time went by, how did your connection to this object/real
experience become stronger? In what ways did this create
negative and positive feelings?
- How do you currently feel about this object/experience? Can you
see the role that it will play in your future?
 This short talk could be delivered to the class or completed in smaller
groups/pairs.
Methods for note-taking and recording poem analysis progress
This section will provide suggestions and templates for learners to record their
progress in learning the six Carol Ann Duffy poems. One of the difficulties
learners may experience is keeping track of what they have learnt about each
poem, as well as how they compare to one another. Having a variety of
options with which to record learning should assist learners in securing their
understanding.
English departments and individual practitioners will already have records of
progress in place for the set texts study. The following resources are designed
to further support this.
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Hand-written/electronic diary (for use with a single poem or ongoing in order
to keep a personal record of all poems studied)
Many learners find it useful to keep regular updates of their learning in their
own personal diary. Depending on the software that is available to learners,
this could be hand-written or in electronic form. There are many free electronic
diary downloads available for use on the internet.
How to use the diary
At the beginning of learners’ study of the set poems, they divide their diary into
six large sections – electronic diaries should instantly create new pages and
have options for further memos/visuals.
Following each lesson on an aspect of one of the poems, learners update their
diary with what they have learnt that lesson and how they have learnt it. There
should also be an option for learners’ own personal opinion of the texts and
how challenging they are finding them. This will provide opportunities for
reflection of learning and progress.
Alternatively, this could also be used for an ongoing homework task on a
weekly basis.
Learners may want to gain further ownership of their personal poem diary by
acquiring their own memory stick or notebook for the ongoing project. You
could also ask learners to design front covers for their diaries – drawn by hand
or created on a computer visuals programme.
The following template could be used for a diary entry. It is half-completed to
show an example of how to fill out the diary.
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Date of lesson: 18th June 2013
Poem and focus: Havisham – poetic techniques
Learning intentions: to understand how Duffy uses poetic techniques to show
Havisham’s heartbreak
Activities: Working in pairs – each pair was given two lines of the poem and we
had to spot if a poetic technique had been used and what effect that had on the
tone of the poem. We also refreshed our knowledge of techniques such as
metaphor, alliteration and simile, and learnt what oxymoron meant.
Who did I work with today and what did I learn from them?
What new knowledge did I gain about this poem today?
How can I use this to compare to the other poems?
Did I find this difficult?
What I liked/did not like about this:
Mobile phone note-taking apps
One of the best ways for learners to learn all six poems thoroughly and in time
for the exam is to continue to build on their knowledge of each and have a way
of accessing their notes quickly and efficiently.
Most learners in our classrooms today will have an iPhone, smartphone or
simpler mobile device tucked away in their schoolbags. Take advantage of the
fact that these will have a free note-taking app on them that could be used to
keep a record of learning. Some of these apps are:
 Evernote
 Catchnote (can also be accessed via Facebook or Google accounts)
 Fetchnotes
It is likely that learners will know of many more!
Following the study of each poem, ask learners to take a note of the following
on their mobile phone apps (standard template on next page):
-
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subject matter
language
form and structure
ideas and attitudes.
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Subject matter
 Anne Hathaway, Shakespeare’s
‘neglected’ wife, delivers a
monologue that refutes the idea
they had a loveless marriage
 She describes their intimate
moments in the ‘second best
bed’, famously (and somewhat
callously!) left to her in her
husband’s will.
Ideas and attitudes
Language

Fairytale imagery is evoked in the
first two lines of the poem – ‘forests,
castles, torchlight, clifftops, seas’.
This has the effect of creating an
idyllic representation of the love
shared between Shakespeare and
Hathaway.
Form and structure
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The template on the previous page could provide a way of recording analysis
of each of the six poems. A possibility could be to create an A3 booklet with
six blank templates on which to record findings on each of the poems.
Paper copies of analysis could be kept in the classroom and learners could
use their note-making apps for further revision purposes. It is a good idea to
give learners regular quizzes about their learning in order to sustain learning
progress and to ensure that records are being kept up to date (further ideas
for quizzes are given later).
Learners might also like to electronically capture images of their classroom
revision tools (such as their annotated copies of the poem). If school policy
allows, learners can take pictures of these for personal revision purposes.
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Self-assessment: Poem skills grids
It is essential for learners to assess their own understanding of each of the
poems at different points of the study. The following self-assessment grid for
‘Havisham’ could be used post study of the poem and/or pre exam.
Learners could comment on their level of study or a simpler tick system could
be used.
I can ...
Confident
Not bad
I don’t know
this at all
Further
comment
Explain the
context of the
poem and who
the character is
Identify and
explain the
effectiveness of
two metaphors
Quote and
analyse the
oxymoron at the
start
Identify and
explain an
example of
onomatopoeia
Explain two
points of
structure,
including the use
of enjambment
Select four
examples of
word choice to
demonstrate
tone
Explain the
emotions felt by
‘Havisham’ with
reference to
structure and
imagery
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These skills and techniques boxes are based on likely areas of analysis from
the SQA specimen papers that are currently available.
The further comment box should be used by learners to explain why they feel
this is their level of knowledge.
For example, a learner who ticks the confident box about metaphors might
say: ‘I scored highly on the quizzes and have responded correctly to several
questions in class about the metaphors.’
This grid could also be the basis for a further learning and consolidating
knowledge task.
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Task: Peer-learning of key techniques
 Take in all of the self-assessment grids and use them to record learners’
understanding of each poem.
 Pair up a learner who feels confident in their knowledge with a learner who
feels less confident.
 Taking each of the seven analysis areas from the grid in turn, ask each pair
to construct a bullet-pointed response to them. The template below could
be used.
Explanation of the
context of the poem
and who the
character is
‘Havisham’ is based on the character of Miss Havisham
from the Charles Dickens’ novel Great Expectations.
The character in the book lives a lonely, troubled life
after having been left at the altar by her one true love.
Duffy’s poem gives further voice to character and the
truly bitter, heartbroken state that she is now in.
Identification and
explanation of the
effectiveness of two
metaphors
Quotation and
analysis of the
oxymoron at the
start
Identification and
explanation of an
example of
onomatopoeia
Explanation of two
points of structure,
including the use of
enjambment
Tone and four
examples of word
choice to
demonstrate this
Explanation of the
emotions felt by
‘Havisham’ with
reference to
structure and
imagery
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Beginning comparison
It will not be possible to predict which Duffy poem will be used in the final
exam and it is therefore essential that learners have a good knowledge of all
six poems. However, it is clear that some of the poems fit together more
naturally than others and this may be a way of studying the texts themselves.
For example, ‘Anne Hathaway’, ‘Mrs Midas’ and ‘Havisham’ all have a
historical and/or fictionalised character at their centre, which is certainly an
important way to link those three poems.
Some practitioners may choose to teach the poems in chunks – two or three
at a time with several weeks’ break in between. Others may prefer to teach all
six at once in the form of a prolonged unit of study. It is important to remember
that there is no right or wrong method here, simply what works best for the
practitioner and/or class.
What is important, however, is to keep in mind that learners will need to keep
track of their learning, whichever way they learn it.
The following section of this pack will focus on learning and teaching activities
that will help you to compare and combine each of the poems. Using the
suggested grids below will enable learners to keep track of their comparative
work.
A very simple way for learners to begin comparing poems is by using a grid
like the one below and the basic areas for poetry analysis. If this is the first
comparison, it will be best to complete these in groups or pairs. Grids could be
photocopied for each learner’s use.
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Comparison of ‘Havisham’ and ‘Valentine’
Subject matter
Similarities
Both poems focus on a
character’s perspective
of love and the
potentially disastrous
consequences of a
failed relationship.
Both poems confront
the bitter nature of the
memories and hurt that
could accompany
rejection.
Differences
‘Valentine’ explores the
possible excitement
and hope of love, whilst
‘Havisham’ only
describes the sadness
and bitterness of
broken love.
‘Valentine’ aims to offer
a realistic perspective
of modern relationships
but ‘Havisham’ can
seem more extreme
and obsessive in the
way it deals with the
subject of a failed
relationship.
Language
Ideas and attitudes
Form and structure
As a pre-exam revision task, it is possible to carousel larger grids. Groups
could move round different stations and add to grids that might be comparing
two different poems. For example, one station could have an analysis of ‘Anne
Hathaway’ and ‘Mrs Midas’, whilst another could have ‘Originally’ and ‘War
Photographer’.
This would enable learners to get a range of different comparison possibilities
and to consolidate their individual knowledge of each poem.
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Recording thematic links
The following sections examine ways of linking poems according to specific
themes. As a way of recording these links throughout the study, there a range
of suggested templates is given.
The most important aspect to remember about the poems is that each one of
them deals with a persona and is an individual’s account of an experience.
Template 1: Love and relationships from the speaker’s perspective. This grid
can be altered according to themes that the practitioner wishes to examine.
Template 2: Who am I? Exploring characters in ‘Havisham’, ‘Anne Hathaway’
and ‘Mrs Midas’. In this task learners fill the templates with all the words they
have come to associate with these characters.
Template 3: How is my persona explored? (use A3 paper)
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Exploring themes: Love and relationships
For each poem, bullet point what the speaker’s attitude is towards love and
relationships, and how this is revealed in the poem
Points to consider: context, characterisation, language, structure, content,
figures of speech, tone, style, emotions, mood
‘Valentine’
‘Havisham’
‘Anne
‘Mrs Midas’
Hathaway’
Follow-up task: Ask learners to use two different highlighters to highlight the
crossover ideas between the four poems.
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APPROACHES TO ANALYSIS
MRS MIDAS
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ANNE HATHAWAY
HAVISHAM
APPROACHES TO ANALYSIS
Exploration of personas
Persona: A voice or character representing the speaker in a literary work (http://www.thefreedictionary.com)
Use of firstperson and
pronouns
Description of
speaker’s
experience
Themes
explored
Emotive word
choice
Vivid images
described
Tone/attitude/
emotions
‘Valentine’
‘Havisham’
‘Anne Hathaway’
‘Mrs Midas’
‘War Photographer’
‘Originally’
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The grids and templates above can be adapted to suit a variety of themes that
the practitioner has decided to group together. Recording of skills and
understanding of each poem should be recorded on a scale large enough for
learners to easily access, ie A4 paper may be too small for some of the tasks
and depending on the facilities of the school it may be possible to keep
electronic grids.
Question types and response markers
This section will look at a set of potential Carol Ann Duffy poem questions that
could appear on a National 5 set text question paper. All model questions here
have been developed in co-ordination with National 5 development specialists.
The following points sum up what will be required of learners in the final exam:
 The final exam paper will consist of two parts: a critical essay question and
a Scottish set text question designed to test textual analysis skills and
comparative abilities.
 The Scottish set text section is worth 20 marks; 12 of which are to be
gained from shorter analysis of a given poem extract and a further 8 marks
available from a question that asks for a longer response.
 For the final 8-mark question it is expected that good learners will be able
to show a thorough knowledge of the poem used for the exam extract, as
well as being able to compare this to at least two poems by the same
writer.
 Good learners will be able to respond to the final 8-mark question in an
essay format, but current marking instructions accept bullet-point format if a
learner is short of time. It is worth remembering that a learner may struggle
to achieve full marks if the response is not in continuous prose.
 This is a demanding task and the only way to approach it is to firstly know
the six poems extremely well and, secondly, to develop an exam technique.
This section will help learners to understand the following:
 the types of questions that could come up in the textual analysis skills
section
 how to answer each of these, including possible model answers
 what the 8-mark question might look like
 how to use P.E.E. and to structure quotations
 how to write an answer to the 8-mark question
 how working with peers can enhance the learner’s approach to the final
exam.
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For continuity of skills with this pack, let’s imagine that the extract that appears
in the exam paper is ‘Valentine’. The questions that follow will ask learners to
draw on their knowledge of content, structure, tone, emotions, language and
techniques. The questions are worth 12 marks in total and it is also likely that
questions will appear in chronological order.
Questions on ‘Valentine’
1.
In lines 1, 11 and 12, the poet asserts that she wishes to reject
traditional gifts of love. With reference to the poem’s structure, explain
how this attitude is emphasised.
2
2.
The speaker gives his/her beloved an onion. Explain the contrasting
images from lines 2–10 that show the suitability of this gift.
4
3.
Duffy’s realistic approach to modern relationships is explored further in
lines 13–17. Show how one example of language demonstrates this. 3
4.
In the final stanza, Duffy makes her thoughts clear on the possible
outcomes of a relationship. With reference to one example of language,
identify her tone and possible emotions.
3
Before beginning to tackle the questions, learners should look at the type of
questions being asked in 1–4. In other words, what techniques are being
examined in each and what parts of the poem are the questions asking
learners to look at.
Task: Analysing question purpose
 Practitioners will know from teaching close reading and textual analysis
skills that learners miss out on ‘easy’ marks from not checking the
question’s purpose or the part of the poem it is directing you to.
 Learners could work in pairs to pick out the words/phrases that indicate
what information the question is asking about.
 Questions could address subject matter, tone, structure, imagery,
language, word order, attitudes and ideas, emotion, rhythm, style, form.
 The following template could be used:
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 Once the purpose of the question is clear, learners should have a clearer
idea of what areas of their revision material to refer to in order to form a
response.
 The part of the poem that the question is asking learners to look at should
also be clearly identified.
 It is also important to look at the number of marks that a question is worth.
This will indicate to learners how much information they need to write for
each answer.
Task: Quiz!
 This task should enable learners to develop a set of notes that can be
shaped into fuller responses for the sample questions.
 Having identified the purpose of the question and how much information is
required for each answer, learners should develop notes for the content of
each answer.
 One way of doing this is to get learners to create a mini quiz for each
question, to be answered by a partner.
 This will allow learners to break each question down and identify the key
parts of the wording.
 Some example quiz questions are given below.
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‘Valentine’ quiz
Question 1
(a)
(b)
(c)
(d)
What are the traditional gifts of love that Duffy mentions?
Are any words repeated in lines 1, 11 and 12? If so, what
are they?
Is it possible to re-phrase any of these lines?
What is Duffy’s attitude here?
Question 2
(a)
(b)
(c)
What figure of speech does Duffy use to introduce the
image?
What is the contrast?
Quote two words/phrases that show both sides of the
contrast.
 Learners should also develop a set of marking instructions for the questions
they have devised.
 Quiz papers should be swapped with a partner and answers attempted.
 The original question designer should mark their partner’s answers and
provide some constructive feedback.
 These answers do not have to be written in full sentences as that stage will
come later.
 This task should provide learners with a substantial bank of notes for
answering each question.
Task: Group carousel
 In order to further consolidate knowledge and understanding of the
question content, learners could work in groups to gather notes for
developing an individual response.
 To do this, create large grids with four sections, each with the question
written in the middle of the box (see below).
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Repetition of the word
‘not’ at the start of lines 1
and 12
Direct, honest statement
of desire to avoid clichés
of love
1. In lines 1, 11 and 12, the poet asserts that
she wants to reject traditional gifts of love.
Explain how this attitude is emphasised. 2
2. The speaker gives his/her beloved an onion.
Explain the contrasting images from lines 2–10
that show the suitability of this gift. 4
Critical, disdainful and
unconvinced
Duffy gives the stereotypical examples of
a ‘red rose’, ‘satin heart, ‘cute card’ and
‘kissogram’
3. Duffy’s realistic approach to modern
relationships is explored further in lines 13–
17. Show how one example of language
demonstrates this. 3
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4. In the final stanza, Duffy makes her
thoughts clear on possible outcomes of a
relationship. With reference to one example of
language, identify her tone and possible
emotions. 3
APPROACHES TO ANALYSIS
 Place one blank grid (ideally A3) on each table and give each group the
task of adding one annotation to each question. A time frame of around 2–3
minutes could be given before learners move on to the next table and add
further annotations to each grid.
 By the end of all rotations, groups should have a detailed analysis of the
key words/phrases in each question.
 An alternative, and slightly easier, way of doing this task is to simply have a
blank grid with a box for each question. Learners then fill each box with key
analysis phrases for answering the questions.
Task: Developing answers (groups, pairs or individual)
 Using answers for the tasks above, learners should now be able to mould
their notes into longer answers for each task.
 Further support could be given by learners working in groups or pairs for
this, but if learners are ready they could attempt to write fuller answers on
their own.
 Use the following prompts to help learners. These could be used to support
group/class discussion beforehand.
Question 1
 Word order: Consider the repetition of the word ‘Not’ and why it is placed at
the start of lines 1 and 12.
 Images: Why is it significant to mention the specific examples of the
traditional gifts?
 Structure: Think about why the lines stand alone from the other stanzas.
 Structure: Why is there a direct statement of intention on line 11?
Question 2
 Imagery: Explain why it is unusual to give a lover an onion.
 Imagery: Consider the connotations of a ‘moon’ and how it ‘promises light’;
link to positive feelings in relationships.
 Imagery: Think about how an onion can ‘blind you with tears’ and make
your ‘reflection a wobbling photo of grief’; link to negativity in relationship.
 Figures of speech: How does the gift of an onion become representative of
something more?
 Contrast: Explain the different images of love and relationships.
 Remember to quote!
Question 3
 Structure: Consider why Duffy repeats the statement ‘I give you an onion’ in
line 13.
 Ideas and attitude: Look at what the words ‘fierce’, ‘possessive’ and
‘faithful’ show about Duffy’s view of the nature of relationships.
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 Ideas and attitude: Furthermore, how does the phrase ‘for as long as we
are’ show that the speaker is realistic about the outcome of a relationship?
 Remember to quote!
Question 4
 Imagery: How is the metaphor extended using the scent and physical traits
of an onion to represent a relationship?
 Tone/emotion: Select words that demonstrate how the speaker feels about
a relationship coming to an end.
 Structure: Consider why certain words/phrases are isolated here and what
effect this has on the speaker’s feelings.
 Remember to quote!
Using the prompts, learners should now be able to construct model answers
for each question. Get learners to swap their answers and mark how well their
partner has responded to each question (for further detail refer to the skills
sampling section).
Using quotations – how to P.E.E.
By the time a learner has reached National 5 level, it will be expected that they
have written critical essays before and will have therefore used quotations.
Most learners will already be familiar with the P.E.E. structure (Point.
Evidence. Explanation) for helping to develop arguments in essays. Before
tackling the 8-mark question, learners should be reminded of this structure.
A way to do this, and to act as a warm-up to the final question, is to ask
learners to select the poem that comes to mind as being the most similar to
‘Valentine’. It is likely that they will select ‘Havisham’ or ‘Anne Hathaway’. For
this example, ‘Havisham’ will be used.
Question: Show how one example of language makes the speaker’s
strong emotions clear at the start? (2 marks)
Ask the learners to provide a response to this question using the P.E.E.
structure and prompts in each paragraph. The following template could be
used for this.
Hint: Look at the marks to indicate how much information is needed.
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Point (here you will need to identify
what the strong emotion is)
P–
E–
E–
Evidence (you should quote from the
first two lines of the poem – look at the
first three words!)
Explanation (describe how specific
words in the quotation link clearly to
the strong emotion – for a thorough
answer, you could also explain how the
quotation sets the tone for the rest of
the poem)
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Subsequently, learners should take their notes from the P.E.E. grids and
structure fuller answers. Remind learners that if the quotation is just a word
then it can be structured in the prose.
For example:
The speaker’s furious anger and bitterness is made clear with the use of the
word ‘bastard’ ...
However, if the quotation that the learner wishes to use is longer than one line,
structurally it should be placed on a separate line and indented:
For example:
In the first stanza, Duffy uses two metaphors to emphasise the physical effects
of her rage and heartbreak:
‘so hard I’ve dark green pebbles for eyes
Ropes on the back of my hands I could strangle with’
This creates two powerful images ...
Learners must remember the correct structuring of P.E.E. and accurate
formatting of quotations in order to answer questions thoroughly. Further
exercises for practising this skill are given in the skills sampling section.
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The final question!
Below is an example of how the final question in the exam paper might look.
This is taken from the currently available SQA specimen papers.
With close textual reference, show how the ideas and/or language of this
poem are similar OR different to another poem or poems by Duffy which you
have read. (8 marks)
The first step in approaching this final question is to break down what it is
actually asking the reader to do. Ask learners to divide the question up into
parts and write a note of what that part is asking the learner to do.
It might look something like this:
Line
With close textual
reference …
… show how the ideas
and/or language of this
poem …
… similar OR different
…
… to another poem or
poems by Duffy…
What it is asking you to do
Quote specific examples from the poem extract
here, as well as quoting from others
Analyse the ideas, imagery, language, structure,
tone etc of ‘Valentine’
Compare these techniques
Link what you have shown about ‘Valentine’ to the
poems with themes such as love, relationships,
heartbreak, commitment, ideals, compromise, etc
Most likely links are to ‘Havisham’, ‘Anne Hathaway’
and ‘Mrs Midas’
Once learners have a good idea about what the question is asking, it will be
important to consider what poems to pair the given extract with. The initial four
questions should have established what the key themes are for that specific
poem. Learners should therefore use their learning of how the poems fit
together to narrow down which other poems to use.
Remember that in order to achieve the full 8 marks learners must refer to at
least two other poems and at least three techniques. Exact wording from the
specimen paper (questions on Burns’ ‘Song Composed in Autumn’) is given
below.
Candidates should show awareness of the ideas and/or language of the wider
works of Burns, and be able to relate this awareness to ‘Song Composed in
Autumn’.
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Additional guidance
8–7 marks
Candidates should identify at least three features/ideas in the poem and be
able to comment on these in at least two other poems. The discussion should
be supported by detailed quotation from the poems being discussed.
Skilled discussion of other Burns’ poetry in relation to ‘Song Composed in
August’. (8)
Still skilled, but lacking in some assurance. (7)
(See the National 5 English Critical Reading Specimen Paper Marking
Instructions for a full breakdown of assessment criteria.)
It is therefore clear that learners must discuss three of the six poems they
have studied in order to achieve full marks. It will not be specified which
poems should be used and learners should therefore be able to quickly draw
on their knowledge of the poems in order to form a response.
For example, if ‘Valentine’ is the poem extract given, learners will be expected
to consider two of the other Duffy poems that link to it. A way of doing this
quickly is to consider what the four questions are asking for. In the case of the
example given:




structure/word ordering
imagery, particularly metaphors
attitude/word choice
tone and emotions.
Once learners have reminded themselves of the questions’ purpose, this can
be used to structure the mini essay for the 8-mark question. Learners will be
able to develop a more thorough essay if they draw mainly on similarities – it
will also be easier than just describing why it is different to two other less wellconnected poems, and probably less random.
As mentioned, most thematic similarities can be drawn from ‘Anne Hathaway’
and ‘Havisham’. ‘Mrs Midas’ is a further possibility, but it is a longer text to
deal with.
Below is a possible essay plan for comparing ‘Valentine’ with ‘Anne Hathaway’
and ‘Havisham’, using the four questions as a basis for its structure.
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Introduction
Briefly describe the thematic connections that link all three poems. Discuss the
purpose of the essay, ie to show the similarities between the poems, as well
as highlighting one or two key differences.
Paragraph 2: Short summary of each of the poems and the speaker in
each
Mention how they are all personas. What happens to them and how do they
feel about it? At end of paragraph, summarise their specific similarities, eg
first-person speaker, subject matter of love and its disappointments, language
and imagery, etc.
Paragraph 3: Structure and word order
How is each of the poems built? Are they split into stanzas? Are any words or
phrases on lines of their own? Is there enjambment? Is there any inverted
word order? What is the effect? Remember to focus on the similarities but
there is nothing to say that differences cannot also be analysed. For example,
it should be noted that ‘Anne Hathaway’ has the form of a sonnet but this
could be linked to her relationship with Shakespeare.
Paragraph 4: Language and imagery
What kind of language is used in each of the poems? How are strong feelings
of love and/or rejection evoked through specific use of language in each?
Select an image from each poem and show how they are similar. For
example, all three poems reference intimate moments as part of a
relationship, which could be linked.
Paragraph 5: Tone/attitude/emotions
What is the tone of each speaker in the poems? In what ways are they similar
to each other? Quote words/phrases here to demonstrate the tone. How are
strong emotions about love/relationships demonstrated in the poems?
Conclusion
In your conclusion you should sum up your main points. Describe three
techniques that you have analysed in reference to the poem. Explain any
deeper meanings/messages you think the poems are trying to show,
particularly emphasising the similar messages that the poems share.
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Below is a word bank for phrases that could be used for a comparative essay.
To show similarities
similarly likewise in the same way both like in the same manner
just as again
To contrast/show difference
however in contrast even though on the other hand conversely but
otherwise as opposed to nevertheless on the contrary yet still
To further a point
furthermore additionally as well likewise equally important moreover
another besides for example along with for this reason indeed
to repeat also to emphasise with this in mind
To conclude
consequently accordingly to sum up thus in summary finally to
clarify
as a result therefore it is clear all in all
It does seem like a lot to cover in the time-frame! It is important to think of the
essay in terms of covering three or four techniques and three poems. Try to
simplify it as much as possible and ensure that learners know the basic areas
of analysis for poetry in order to quickly and coherently structure an essay
plan.
It is worth a reminder at this stage that learners are advised to complete this
final section in essay format but bullet points are acceptable if time is
restricted.
The next sections will provide prompts for learners to link the poems, followed
by teaching and learning activities to help learners compare the poems. There
are further essay-writing tasks towards the end of this pack.
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Prompts to enable learners to record links
The overall philosophy of the new Curriculum for Excellence and National
qualifications is the emphasis on learners facilitating their own learning
experiences. Whilst it is important that learners are thoroughly taught the
poems, there is an expectation that they will be able to recognise where the
thematic links lie between the six poems.
Once the most obvious links between the poems have been identified,
learners can begin a deeper analysis of comparing those two or three poems.
If ‘Valentine’ is taught as an initial text, introduction to subsequent poems
could take the form of a research task (again, if poems are being studied one
at a time, research tasks could be given individually or all at once if
comparisons want to be made evident from the start). The following
tasks/websites could be used to find out background information for each.
Remember to keep a record of all progress and learning!
1.
‘Havisham’
Who was Miss Havisham?
http://www.telegraph.co.uk/culture/charles-dickens/9084922/MissHavisham-My-favourite-Charles-Dickens-character.html
http://www.sparknotes.com/lit/greatex/canalysis.html#Miss-Havisham
https://sites.google.com/site/greatexpectations9h/home/the-convict/miss-havisham-and-estella/miss-havisham-2
http://www.youtube.com/watch?v=P2V6gTuxE58
2.
‘Anne Hathaway’
Who was Anne Hathaway? How does history paint the relationship
between her and William Shakespeare?
http://www.william-shakespeare.info/william-shakespeare-annehathaway.htm
http://shakespeare.about.com/od/shakespeareslife/a/Anne-HathawayShakespeares-Wife.htm
http://www.bardweb.net/content/ac/hathaway.html
3.
‘Mrs Midas’
What is the myth of King Midas? Considering the moral of the myth, why
is it appropriate that Duffy has used this to explore modern
relationships?
http://www.greeka.com/greece-myths/king-midas.htm
http://www.mythweb.com/encyc/entries/midas.html
http://www.youtube.com/watch?v=L2tMUbB2wXY
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And for a bit of fun, the latest ‘Skittles’ advert (great for demonstrating
the misery of the wish!)
http://www.youtube.com/watch?v=YyLJMejwj5Y
4.
‘War Photographer’
What does the job of being a war photographer involve? How do you
think he/she feels at the end of the day?
http://photography.lovetoknow.com/Career_as_a_War_Photojournalist
http://www.telegraph.co.uk/news/9862761/War-photographer-felt-hehad-pushed-his-luck-on-day-he-died.html
http://www.youtube.com/watch?v=OVZe4rQKcls
5.
‘Originally’
Whilst you should never absolutely assume that the speaker is the poet
themselves, it is certainly useful to look at biographies of Carol Ann
Duffy’s life when investigating this poem. Find out some information
about her childhood and background.
http://www.bbc.co.uk/poetryseason/poets/carol_ann_duffy.shtml
http://www.poetryfoundation.org/bio/carol-ann-duffy
Further web links are given at the end of this pack.
Research could be used to develop notes on the themes of each poem, which
could then allow learners to make connections between similarities and
differences.
Making links between the poems
Regardless of method or time-frames of study, learners should have had the
opportunity to study each of the six poems individually. As the original
emphasis is simply on learning and teaching, comparison could be drawn out
in many possible ways with many combinations of the six poems.
The following ways could help learners to make wider links between the
poems.
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1.
Learning wall
This is a method of study that could be implemented at the beginning of
the year when a class are beginning to examine the six poems. If a
classroom has space, it could cover a large section of the wall and be
added to as each poem is studied.
Start with a basic structure as shown below:
Subject/themes
‘Valentine’
‘Anne Hathaway’
Language
Form/structure
‘Mrs Midas’
Tone/emotion/attitudes
Carol Ann Duffy
poetry
‘War Photographer’
‘Havisham’
‘Originally’
 As each poem is studied, add the appropriate analysis to the learning
wall.
 For example, if ‘Mrs Midas’ was studied, learners could add notes
about the tone/emotion, structure, language and themes.
 The learning wall will get a lot bigger as the study proceeds!
 Once all the poems have complete annotations, begin a colourcoding system that links all of the similar points together.
 For example, for ‘Mrs Midas’ and ‘Havisham’ learners may have
noted under tone/emotion that both can be seen as bitter, confused
and heartbroken, and may therefore colour this in green.
 Alternatively, lines could be drawn between the similarities on the
learning wall.
 Learners should be able to examine the learning wall and see links at
a glance. They could also capture it as an image on phones/iPads but
this will be up to the practitioner.
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2.
‘Valentine’-based spider diagram
 If learners have used ‘Valentine’ as the foundation for studying the
subsequent poems, it could be used to make links to the other
poems.
 See the partly completed template for this below.
All poems except ‘War
Photographer’. This has
the effect of
emphasising what is
said as one person’s
voice and experience.
Shifting tone
Use of metaphor
First-person speaker
‘Valentine’
Direct/blunt/honest
tone
Words in line
of their own
Contrasting
images
Explores love
and
relationships
‘Mrs Midas’ also looks
at the reality of
modern relationships
and the decisions that
we make when in
them. Memories that
stay with a person
and wishing it had
been different.
 Similar to the learning wall task, this should be done on a larger
scale.
 Any of the Duffy poems could be used as the central focus for
analysis and learners could narrow it down to just looking at three of
the poems that fit well together.
 Again, a colour-coding system could be used to indicate where
poems share techniques.
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Thematic linking of poems
One of the best and easiest ways of linking and comparing poems is through
the ideas and themes conveyed.
The task that follows could be based on the themes shown below. These
themes are present in at least two of the six Carol Ann Duffy poems.
IDENTITY
LOVE
RELATIONSHIPS
ISOLATION
HYPOCRISY
LOSS
TRANSITION
REALITY
HEARTBREAK
Task
 This task will enable learners to see how two poems can fit together under
the umbrella of one of the themes.
 Learners should work in pairs for this task.
 Cut up the themes on the grid and distribute one to each pair of learners.
 Ask each pair to select two poems that clearly display this theme and get
them to write four ways that this theme is shown individually in each poem.
 For example, ‘War Photographer’ and ‘Originally’ both examine the reality
of experiences from different perspectives.
 Learners should then describe how this shows similarities and differences
between the poems.
 Learners could also begin to tie in some of the other themes to their area of
study.
 This could be a collaborative written task or delivered to the class as a
presentation.
 A further possibility is to create a visual display of learners’ understanding
of how the particular theme links the poems together.
 Repeat this task so learners get to experience a different theme and
different poems.
 It would be practical at this stage for learners to complete an individual mini
essay of their findings.
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Wider learning
‘Rolled-up’ skills-sampling opportunities
This section contains a variety of learning and teaching tasks that will help
learners to combine their knowledge of the six poems. Many of the tasks can
also double-up with National 5 learning outcomes in reading, writing, talking
and listening.
By this point learners should have knowledge of each of the poems
individually. The first tasks could be applied to furthering understanding of any
of the poems as each works on the premise of the overall theme of personas.
Each task will be divided into a combination of writing, talking, reading and
listening exercises
The tasks allow learners to show their learning of the six poems by creating a
product of their knowledge. It will begin with tasks that examine each persona
individually, followed by further opportunities for learners to teach others about
what they have produced.
1.
Writing task: Facebook profile
Skills to be gained: subject matter, characterisation, ideas/attitudes,
speaker’s perspective, themes, language
 Many learners will have a Facebook profile and it is an interesting
way to gain immediate access to information about others. This
makes it an excellent format for creating character profiles.
 This task could be completed electronically using a standardised
format or on larger paper templates.
 Either allow learners to select their own persona from one of the
poems or assign a range around the room. Alternatively, write the
names of the speakers on slips of paper and get learners to randomly
select one.
 The speakers are
- the giver of the onion from ‘Valentine’
- Miss Havisham from ‘Havisham’
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- Anne Hathaway from ‘Anne Hathaway’
- Mrs Midas from ‘Mrs Midas’
- the war photographer from ‘War Photographer’
- the speaker from ‘Originally’.
 Learners create a Facebook profile from that character’s perspective.
They should complete each of the following layout headings:
- profile picture and timeline cover
- background information, such as where they live, their education,
job and their relationship status
- three or four pictures showing images of their lifestyle
- most recent status update, eg the war photographer might have
remarked ‘Just returned from Afghanistan and am still shaken from
the horrors I have witnessed’
- several wall posts from friends and family.
 Knowledge of subject matter, attitudes and ideas from the poem must
be demonstrated. Specific language from the poem can also be
displayed on the page.
2.
Writing/reading task: Autobiography
Skills to be gained: characterisation, subject matter, mood,
ideas/attitudes, speaker’s perspective, themes, language, creative
writing skills
 In this task learners will explore who each character is by writing a
chapter of their autobiography.
 As with the Facebook profile, learners could have a choice of which
character to use or be assigned one.
 For all poems, possibly with the exception of ‘Originally’, this is a
creative writing piece as learners will need to write from that
character’s perspective and imagine what they are experiencing.
 It is possible to do ‘Originally’, but the practitioner will need to decide
if a learner is to imagine they are speaking as Carol Ann Duffy or as
an imaginary person having the experience of growing up and moving
country.
 Learners should use their poem as a focus for what they write about.
For example, if they write as Mrs Midas, they may describe the point
at which the marriage truly broke down and Midas moves into the
caravan; if it is Anne Hathaway, they may write their fictional account
of a day spent with Shakespeare and how this may not have been
what the public perceived.
 Once the writing has been completed, learners should read each
other’s work and give some constructive feedback. They could
assess both the understanding of the character/ideas from the poem
and the writing skills.
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 Whilst this is creative task, learners should also demonstrate that the
ideas they have used have come from the poem.
3.
Writing/talking task: Scrapbook/collage
Skills to be gained: characterisation, subject matter, ideas/attitudes, a
speaker’s perspective, themes, language, tone, style
 This could be used as an extension of the previous creative writing
task or as a stand-alone task.
 Some educational facilities will have the option of doing this
electronically but to gain the full effect, it may be better done using
card, paper, newspapers, pictures, tickets, leaflets, objects etc.
 Selecting one of the personas, learners create a scrapbook of their
life, including short descriptions of each object or picture placed in the
scrapbook.
 It may be necessary to show learners examples of scrapbooks and
explain what they do.
 As a homework task, learners gather all of the resources they will
need to create a scrapbook for their character.
 For example, if a learner is exploring the character of Havisham, they
may get torn bits of wedding invitations, dark pebbles, rope, a
deflated red balloon, material that could be a veil, a heart, pictures of
a mirror, a wedding cake, perhaps even a miniature ‘male corpse’!
 It is important to note to learners that this is also a written task and
they will therefore need to label and explain each item using
examples from the poems.
 Display the scrapbooks around the classroom as a learning wall and
ask learners to peer assess one another’s work.
 This could also be a talking task as learners explain their decisions to
another learner or smaller group.
4.
Writing/talking task: Personal perspective
Skills to be gained: subject matter, ideas/attitudes, speaker’s
perspective, themes, reflection, personal writing skills
 This will enable learners to relate to the themes in each poem and
also produce a piece of writing that could be used as a folio piece.
 Options for a personal writing piece based on each poem are:
‘Valentine’ – Write about an object that has personal significance to
you and the memories it reminds you of.
‘Havisham’ – Write about a time when you suffered a significant
disappointment and how you dealt with it.
‘Anne Hathaway’ – Write about a time when a judgement was made
about you and/or a relationship you have that wasn’t true.
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‘Mrs Midas’ – Write about a time when you were affected by a
decision that someone else had made.
‘War Photographer’ – Write about a time when you witnessed conflict
and/or hypocrisy and the impact it had on you afterwards.
‘Originally’ – Write about an important transition that you have had to
make in your life.
 Some learners may want the option of writing a poem for any of these
tasks.
 This could also be delivered as a solo talk.
5.
Writing task: ‘How to’ information booklet
Skills to be gained: subject matter, ideas/attitudes, narrative stance,
speaker’s perspective, themes, style, tone, form and structure, mood,
denotation/connotation
 This task will enable learners to compare two of the poems and also
to teach others about those two poems.
 Learners should work in pairs for this task and a range of poem
pairings should be distributed around the room, eg one pair does a
‘Havisham’/’War Photographer’ comparison, another does a ‘Mrs
Midas’/’Anne Hathaway’ comparison, etc.
 Learners develop an information booklet that teaches the reader how
to analyse two of the poems and how they could be connected in their
subject matter, form and structure, ideas and attitudes, and language.
 The instruction booklet should demonstrate the analysis skills
learners have gained and show knowledge of the poems.
 The booklet should have an illustration on the front and three main
sections: one on each of the poems and the third a comparison
detailing what the poems have in common (the similarities/differences
grid from earlier in the pack could be used for this).
 Once completed, put two pairs together who have analysed different
comparisons and get them to teach the other pair what is in their
booklet.
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6.
Writing task: Text conversation
Skills to be gained: characterisation, subject matter, ideas/attitudes,
speaker’s perspective, mood, themes, style
 Many learners either own a phone or will have seen a phone that
displays a text message conversation in the following way:
Hey Anne, how are things going with
Wills?
Not too bad, but people down at
the market have been whispering
in a not-so-subtle way. 
But that’s just it, they are rumours!
It’s so frustrating, they don’t know
what really happens in a relationship.
Oh no, what has Mr Midas done
now?!
Aw, I’m sorry to hear that. I know
that there were those rumours a
while ago.
I know how you feel. I would just die
if anyone found out about the crazy
decision my husband has just made.
 Learners should write their own text conversation between two of the
speakers of the poems who they believe have the most in common.
 For example, the speaker of ‘Originally’ might speak to the war
photographer about where they feel their identity most belongs and
how they are perceived by others.
 A template could be provided or this could be done electronically.
 In order to keep the task focused, supply each learner with a list of
subjects that must be covered, eg four images from the poem must
be suggested, eight words from the poems combined must be quoted
within the texts, similarities of themes shared between the poems
must be referenced.
 Learners could be paired up to deliver their text conversations to
smaller groups or to the rest of the class.
 This task will enable learners to understand the specific voice of the
poems and to draw comparisons with each of the speakers.
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7.
Writing/reading task: Critical essays and sample answers
Skills to be gained: subject matter, ideas/attitudes, speaker’s
perspective, themes, style, tone, form and structure,
denotation/connotation, P.E.E., comparative language, critical essay
structuring
 Whilst many of the writing tasks here are designed to engage
learners by getting into the head of each of the personas, it is also
important for learners to write critically about each of the poems.
 Practice essays should be completed on individual poems, as well as
comparisons.
 Ongoing practise of P.E.E. should be incorporated in critical essay
writing tasks.
 A way of making this more manageable is to write mini essays on an
aspect of each poem and then build up to the longer comparative
piece of writing.
 For example, learners could write a mini essay on tone and attitude in
‘War Photographer’ and another mini essay on themes in ‘Mrs Midas’.
 Marking criteria for the questions in the sample paper should be
shared with learners and used for peer-assessment purposes.
 Learners could also use the sample material available to create
questions for their peers.
 Remind learners of the importance of using positive feedback as well
as offering constructive comments for improvement.
8.
Writing/talking/listening task: Persuasion for poem comparisons
Skills to be gained: subject matter, ideas/attitudes, speaker’s
perspective, themes, style, tone, form and structure,
denotation/connotation, persuasive techniques (rhetorical questions, rule
of three, commands, use of ‘you’, emotive language,
comparatives/superlatives, repetition), public speaking
 By National 5 level most learners will have gained knowledge of
persuasive techniques. Here they will be used to argue that two
poems are similar to one another.
 This is a difficult task that is best suited to higher ability classes.
 As a further challenge, poems could be used that make the least
natural pairings, eg ‘Originally’ and ‘Havisham’.
 Learners write a speech that argues for poems to be paired with one
another because of their similar themes, ideas, tone, language,
structure, etc, for example:
Who is Miss Havisham? Why does tragedy blight her existence?
What sort of a heartless cad would leave her in such a state of
hopeless bitterness? Ah yes, she may call him a ‘bastard’ but cannot
deny that he is still her ‘beloved’. She deserves our sympathy, our
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kindness, our help. Havisham is a poem that highlights the potentially
twisted nature of man and vividly condemns the behaviour of some. It
is of the utmost importance that the stark similarity can be seen with
the courageous but ultimately dejected plight of the battered war
photographer. Like Havisham, he has come to view our society and
traditions as a disappointment, his language ...
 Get learners to deliver their speeches to smaller groups.
 Ask each member of the group to keep track of the content with a
peer-assessment sheet that asks them to evaluate both the use of
persuasive techniques and how well they have referenced the
techniques of the poem.
 Encourage learners to ask further questions at the end of each
speech.
9.
Talking/listening task: Chat show
Skills to be gained: subject matter, ideas/attitudes, speaker’s
perspective, themes, style, tone, structure, public speaking
 This is similar to the ‘Valentine’ hot-seating task but in this case all
speakers could be called to the sofa.
 The task could also be done on a smaller-scale with the poems
grouped into threes.
 Learners should each take on a role of one of the speakers of the
poem. This could be done at random or learners could select which
role they wanted to play.
 Learners are to imagine that their character has been asked to
appear on a chat show and must be prepared to answer questions on
the following:
- name, age and where they live
- occupation, hobbies/interests
- views on relationships
- how they see their own identity (eg do they have a role to play in
society?)
- how they imagine that other people perceive them
- what they think about their childhood and how they see their
future.
 The practitioner should decide if he/she wishes to act as chat show
host or if this role is given to a learner (perhaps a less-confident
learner). This person should prepare questions similar to the outline
above.
 Each learner should respond to the questions in character, ideally
adopting a tone and style appropriate to their persona.
 Learners should be encouraged to also respond to other speakers on
the panel (similar to ‘The Graham Norton Show’). This should also
help to identify where there are clear links between poems, for
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example Miss Havisham and Mrs Midas might have a lot in common
with each other!
 Ask the learners watching to evaluate the performance of each
person on the panel.
10.
Talking task: Informative solo talk
Skills to be gained: subject matter, ideas/attitudes, speaker’s
perspective, themes, style, tone, form and structure,
denotation/connotation, solo talk skills
 Learners write and deliver a solo talk on two chosen poems to the
class or a smaller group.
 This could take a similar format to the written task of the information
booklet. In other words, it could be structured into three sections: one
on each of the chosen poems and the other a comparison between
the two.
 The choice of poems could be down to the learner or assigned to
create a good range across the class.
 This could be accompanied by a PowerPoint presentation or other
visual aids to enhance the audience’s understanding.
 Peer assessment could be in the form of audience members writing
down three new pieces of information they learn about those two
poems.
11.
Reading task: Assessing comparative essays
Skills to be gained: understanding, analytical and evaluative language,
structuring quotations, structuring critical essays, comparative phrases
 Learners should work in groups to analyse a range of model
comparative essays of varying skill.
 If Duffy essays are available, these will be ideal, but other essays that
compare one poem to another will be suitable.
 Ask learners to make notes on the following:
- quality of introduction and conclusion – do they state purpose
clearly and sum up effectively?
- topic sentences and if paragraphs sustain this
- depth of analysis
- linking phrases and critical language
- accuracy of P.E.E. structure.
 Groups should be supplied with the National 5 marking criteria and
assess what they would give to each essay.
 Equipped with this analysis, groups should now plan out their own
essays based on the specimen question.
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12.
Listening task: Poetry readings
Skills to be gained: critical listening skills, style, tone, language,
emotions, denotation/connotation, structure attitudes, language, talking
 This task should help learners to understand the way that the poem is
supposed to be said.
 It should examine where emphasis should be placed upon specific
words/phrases and how this reflects the tone, attitudes and emotions
of the speaker.
 It should also help with pronunciation and meaning.
 Learners work in pairs and take it in turns to slowly read through each
poem aloud. Some learners may feel nervous about this but try to
reassure them that everyone is taking part and think carefully about
pairings; it may be okay here to pair friends with friends.
 Learners should read through the poem carefully, being sure to look
out for structural points and punctuation.
 Ask the partner to listen carefully to the other’s reading and to give
verbal feedback about how accurately they captured the feelings of
the speaker and why. Select specific examples of words/phrases that
were spoken well.
 If some learners are feeling brave, ask them to recite the poem in
front of the class.
Tasks which sample skills and knowledge
This final section will focus on further suggestions for learning and teaching
activities that should enable learners to secure their knowledge of the texts
before sitting the final exam. The emphasis here is on final consolidation of
textual knowledge and understanding, as well as focusing on practising
sample questions.
The first tasks detailed below focus on learners working in groups in order to
interrogate the different texts in engaging ways.
Task: Duffy Pursuit – the board game
Learning intention: to understand important aspects of each poem through
creation and play of group board games.
 This is an extended group task that will require learners to have a good
knowledge of each poem in order to progress to the middle and win.
 In groups of no more than four, learners design a board and questions for
six categories, in this case, the six different poems.
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 The board games will be based on the well-known Trivial Pursuit and will
therefore require players to journey round the board collecting pieces of
‘pie’ after answering questions on each category correctly.
 Learners should be supplied with materials such as large sheets of card in
different colours, assortment of paper in different shapes, colours and
sizes, marker pens, coloured pens and pencils, glue and sticky tape, and
other available decorative materials to make their boards and counters.
 It may be necessary to show learners examples of Trivial Pursuit and to
explain the concept if unknown.
 This should be a collaborative group effort and initial roles could be
assigned such as board architect, board artist, counter builder, rules writer.
 It should be emphasised that once the initial design has been completed,
every member of the group must be in charge of writing the questions and
assigning the colours, eg ‘War Photographer’ brown, ‘Mrs Midas’ orange.
 The questions must be challenging and appropriate to the areas of study
for the exam.
 It may be the case that learners in the group feel themselves to be
‘specialists’ within the group for a certain poem, and will volunteer to write
those questions.
 The two poems that learners have found to be most difficult should be
written as a group effort.
 Traditionally in Trivial Pursuit, the winner is the person to get a question
correct in each category and then travel to the middle where they face a
difficult question selected by the other players. The middle question could
be structured like an exam question and the other players select the three
poems to answer on.
 Once all the Duffy Pursuits have been created, ask each group to move
round each game and play it for at least a 20-minute slot each. This will
allow learners to gain a full impression of the game and to respond to
several of the questions written by the other groups.
 Supply a peer-assessment sheet to each group/learner to comment on the
playability/design and challenge of the questions. This should be completed
after testing each game and the assessment sheets given to each design
group.
 Game-play time will be variable depending on the quality of the play and
the value of the questions.
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Task: Duffy – the computer game
Learning intention – to consolidate understanding of the different personas
and important technical aspects of each poem through development of
computer programmes.
 These days it has become very easy to create actual computer games
using websites and software available on most computers. Learners will
probably know of many sites that can do this.
– Some sites worth exploring are
http://www.roblox.com/Landing/Animated, www.sploder.com and
www.habbo.com/, but there are many more.
 If time or resources are limited, this task can easily be conceived on paper
with storyboards and explanations of concept that can be presented to the
class.
 The task itself asks learners to design a simple idea for a computer game
that creates a world where personas from the Duffy poems exist.
 This will enable each learner to consider the themes shared by each
persona and to create puzzles and challenges in their games based on the
poems’ techniques.
 Before beginning this task it will be useful to have a class discussion about
the types of computer games that learners already play and whether or not
they have developed their own games before.
 This task is probably best completed in pairs in order to develop learning
through collaboration with others.
 Initially, learners should come up with ideas for their computer game – it
should have up to three of the personas explored in the poems and contain
a question element that will allow learners to progress to the next
stage/level.
 The settings that the games are set against should show relevance to those
of the poems, eg ‘War Photographer’ could be set against a warzone
backdrop, ‘Valentine’ in a supermarket vegetable aisle or a card shop for
the irony!
 One idea is that the character/player has to answer questions about poems
of that setting before moving on to the next.
 It is highly likely that learners will have experience of creating these games
before and will therefore have their own ideas about how to explore themes
and characters through the medium of computer games.
 Remind learners throughout that there must be a puzzle/question element
to their games in order to demonstrate revision of exam techniques.
 Pairs should present their computer games/concepts to the rest of the class
and the practitioner could offer formative feedback on their efforts.
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Task: Whole-class quiz!
Learning intention – to consolidate knowledge and understanding of the six
Duffy poems through competitive quiz-zing!
 This task should be structured around the traditional format of a pub quiz
(but without the alcohol!)
 The class should be divided into six different teams, with each being
responsible for a different set of questions for a poem.
 To increase the fun and competitive nature of this task, ask learners to give
themselves a team name, eg ‘The Havisham Harridans’ or ‘Originally the
Winners’. They could even design a banner or flag if there is time.
 Ask each team to use their study notes and copies of the poem to develop
ten questions for their poem that can be used in the final quiz. These
should be based on characterisation, context, themes, narrative stance,
attitudes, tone, emotion, structure, rhythm, language, imagery, tone etc.
 Each team should submit their ten questions, as well as a marking scheme.
Quiz answer sheets should be given to each team.
 This will be most effective if a competitive quiz atmosphere is created in the
class.
 Highlight that there will be six rounds but each team can only answer on a
possible five and therefore the final mark will be out of 50.
 The practitioner could act as quiz-master and ask questions in each round,
giving no more than a minute or two for teams to answer each question.
 At the end of the quiz, get teams to swap answer sheets and go through
each answer.
 Count up the marks and the winning team at the end could get a prize.
 It is also possible to have a bonus round where each team writes an
extended response to a four-mark question.
Task: Question-development
Learning intention – to understand the question types in the final exam paper
 Learners should work in groups of four for this task, on the basis that there
will be around four questions in the first part of the Scottish text extract
questions.
 Firstly, give each group a set of sample questions for one of the poems, eg
the examples used in this unit for ‘Valentine’ or specimen questions from
additional SQA material or examples from new National 5 textbooks.
 Below is a general framework that has been adapted from the initial SQA
specimen paper and applied to ‘Havisham’.
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‘Havisham’ questions
1.
2.
3.
The emotions and attitudes of the speaker in the poem come across
clearly in the first stanza.
(a) Identify two of these main ideas or concerns from stanza 1.
2
(b) Show how two examples of the poet’s language in stanza 1
help to illustrate her meaning
4
Show how any two examples of the poet’s use of language in
stanzas 2 or 3 effectively contribute to the main ideas or concerns of
the poem.
4
How effective do you find any aspect of the final stanza as a
conclusion to the poem?
Your answer might deal with ideas and/or language.
2
 It is clear from the questions in the box above that there is room for
learners to adapt the wording of these questions to other poems they have
studied.
 Using the example questions, the group write a new set of questions for a
different poem that has been studied.
 Each member of the group should write one question.
 Once the questions have been developed, share the marking criteria with
the groups for the original example questions that were supplied.
 Using these as a basis, now ask each learner to write a possible answer for
the question that they have written.
 The current specimen marking instructions use bullet points to demonstrate
the range of answers possible. Encourage learners to use the same format
and to put as many possible answers as they can.
 Now get learners to swap their questions with another group for them to
answer.
 Learners can work as a group to answer questions or complete them
individually before putting them together.
 Original groups should mark the effort of the other group and share their
success with them.
Task: Final question response
Learning intention – to understand how to construct a response to the final 8mark question using critical essay skills
 In this task learners should work together in developing a bullet-point essay
plan for the final plan before going on to write their own individual
responses to each task.
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 Learners should work in the same groups as the previous task to ensure
continuity and consistency of response.
 Groups should continue to respond to the poem that they answered
questions about.
 Share with learners the marking criteria for gaining high marks for this
question in the SQA marking instructions and supply each with a large A3
sheet of paper/card.
 Groups should write a detailed bullet-point plan for responding to a
question. The specific quotations that are to be used should be included in
this plan.
 Once plans have been constructed, supply each group with a blank
feedback sheet.
 Now ask learners to move round each group and write down feedback
notes for what works well about the plan and what could be improved.
 Groups should add any suggested feedback to their plans and should then
go on to write their own individual essay responses to the question. This
could be done under exam conditions and timed to give learners a good
idea of what they can achieve in a certain time-frame.
 Individual responses should then be swapped with another member of the
group for peer assessment based on the criteria in the marking instructions.
 The current SQA marking instructions for the 8-mark question could be
divided up for peer assessment in the following way:
Criteria
Comment: How well have they covered this
aspect? Examples should be provided
Three features/ideas
from poem extract
identified
Comment on these
features/ideas in at
least two other Duffy
poems
Detailed quotations and
analysis evident
throughout
Accurate critical essay
language and structure,
including introduction
and conclusion
Overall skilled
discussion between
three Duffy poems
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 At this stage, encourage formative assessment in the form of detailed
comment on what went particularly well and what could be improved.
 The practitioner could also contribute additional comments to enable
learners to learn from this model answer.
Remember to also refer back to the question types and response markers
section for further guidance about how to approach question types and sample
answers.
Practitioners will know from experience that learners really benefit from model
answers and further question exemplars. As the National 5 qualifications
continue to evolve, the resources available will increase and as learners
continue to engage with the material, the best ways of responding to questions
will become apparent.
Further reading and resources
The following titles could support study of the National 5 qualifications and the
six selected Carol Ann Duffy poems:
How to pass National 5 English, by David Swinney (Hodder and Gibson, to be
published September 2013).
National 5 English Practice Past Papers for SQA Exams, by Craig Aitchison
(Leckie and Leckie, to be published October 2013).
New Selected Poems, by Carol Ann Duffy (Picador, 2009).
The World’s Wife, by Carol Ann Duffy (Picador, 2000).
Great Expectations, by Charles Dickens (Wordsworth Classics – Wordsworth
Editions Ltd, 1992).
Shakespeare’s Wife, by Germaine Greer (Bloomsbury Publishing plc, 2008).
The Poetry of Carol Ann Duffy: Choosing Tough Words, by Angelica Michells
and Antony Rowland (Manchester University Press, 2003).
The Deregulated Muse: Essays on Contemporary British and Irish Poetry, by
Sean O’Brien (Bloodaxe Books Ltd, 1997).
Carol Ann Duffy (Writers and Their Works), Deryn Rees-Jones (Northcote
House Publishers Ltd, 2010).
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Links to websites
http://www.educationscotland.gov.uk/
www.sqa.org.uk/
https://secure.glowscotland.org.uk/login/login.htm
http://www.bbc.co.uk/bitesize/
http://www.bbc.co.uk/learningzone/clips/
http://www.spl.org.uk/
http://www.sheerpoetry.co.uk/
http://www.universalPractitioner.org.uk/
Links to websites used in this resource
http://www.bbc.co.uk/learningzone/clips/sunetra-sarker-on-carol-annduffy/8653.html
http://www.history.com/this-day-in-history/st-valentine-beheaded
http://www.bbc.co.uk/religion/religions/christianity/saints/valentine.shtml
http://www.talktalk.co.uk/lifestyle/agonyaunt/
http://www.dearfriend.co.uk/
http://www.problempages.co.uk/
http://www.hallmark.co.uk/valentines-day-cards-gifts
http://www.moonpig.com/uk/valentines-cards-his
http://www.funkypigeon.com/Pages/Branding/valentinesday.aspx
http://www.thefreedictionary.com/
http://www.simplesite.com/pages/receive.aspx?partnerkey=ffgoogle:UK_Searc
h_Website_EM_SimpleSite&target=ftp3:crea
http://www.telegraph.co.uk/culture/charles-dickens/9084922/Miss-HavishamMy-favourite-Charles-Dickens-character.html
http://www.sparknotes.com/lit/greatex/canalysis.html#Miss-Havisham
https://sites.google.com/site/greatexpectations9h/home/the-convict-/misshavisham-and-estella/miss-havisham-2
http://www.youtube.com/watch?v=P2V6gTuxE58
http://www.william-shakespeare.info/william-shakespeare-anne-hathaway.htm
http://shakespeare.about.com/od/shakespeareslife/a/Anne-HathawayShakespeares-Wife.htm
http://www.bardweb.net/content/ac/hathaway.html
http://www.greeka.com/greece-myths/king-midas.htm
http://www.mythweb.com/encyc/entries/midas.html
http://www.youtube.com/watch?v=L2tMUbB2wXY
http://www.youtube.com/watch?v=YyLJMejwj5Y
http://photography.lovetoknow.com/Career_as_a_War_Photojournalist
http://www.telegraph.co.uk/news/9862761/War-photographer-felt-he-hadpushed-his-luck-on-day-he-died.html
http://www.youtube.com/watch?v=OVZe4rQKcls
http://www.bbc.co.uk/poetryseason/poets/carol_ann_duffy.shtml
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http://www.poetryfoundation.org/bio/carol-ann-duffy
http://www.roblox.com/Landing/Animated
www.sploder.com
www.habbo.com/
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