Macbeth ‘boosters’ 2006
Lesson 1
Shakespeare (Macbeth):
Success criteria (character)
Learning objectives for
lesson
•
To understand what
is needed for a
successful (L5+)
answer.
Remember
Framework objectives
9R14 Analyse scenes
9Wr17 Cite evidence
Vocabulary
Criteria
Character
Motivation
Themes
Language
Performance
Introduction
Conclusion
Explanation
12 minutes
Remind pupils that Macbeth is assessed for reading and that there are
four possible assessment foci for the questions: character and motivation;
ideas, themes and issues; language; and the play in performance.
Use handout 1.1 as a card sort activity. Ask the pupils to put the criteria for
the essay in order from high to low.
Brief discussion ensuring that pupils are aware of the key criteria to
achieve level 5 or above. (see 1.2)
Model
8 minutes
Model writing a section of an answer including the desired success criteria.
Use 1.3 as template for this. Focus on the level 5+ criteria.
Try
12 minutes
Pupil groups to look at other example answers on 1.3 and pick out
features of success criteria.
Resources
Copies of set scenes
Annotate OHT of 1.3 to gather feedback.
OHTs of 1.1, 1.2,1.3,
Handouts of 1.1, 1.2, 1.3
Apply
5 minutes
Consider other features of answers and add to overall success criteria e.g.
introduction, conclusion, clear explanations.
Secure
8 minutes
Allow pupils time to discuss success criteria (1.2). Give them 3 minutes to
prepare an explanation for another group of what is expected in a
successful answer.
Homework /challenge
Write the opening section to the essay from 1.1 or use another example
from 1.3 using the success criteria.
© 2006 www.teachit.co.uk
4961.doc
Page 1 of 24
Macbeth ‘boosters’ 2006
1.1
Teacher sheet
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
The answer shows that there is some awareness of what
Macbeth is like in the scenes e.g. crafty, ruthless, undecided.
There may be some broad reference to how he speaks showing
his state of mind but the evidence used may not always be
relevant.
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
The answer shows general understanding of what Macbeth’s
state of mind is like and how he is feeling. There could be some
evidence about how Shakespeare makes Macbeth’s state of mind
obvious. Points made are supported by relevant references to the
text.
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
The answer shows Macbeth’s different states of mind in the
scenes and a general understanding of the scenes. There may be
some suggestions as to how we could view Macbeth. Evidence
from the text is used with some explanation to support the choice
and ideas are developed.
© 2006 www.teachit.co.uk
4961.doc
Page 2 of 24
Macbeth ‘boosters’ 2006
1.1
Pupil sheet
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
The answer shows general understanding of what Macbeth’s
state of mind is like and how he is feeling. There could be some
evidence about how Shakespeare makes Macbeth’s state of mind
obvious. Points made are supported by relevant references to the
text.
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
The answer shows Macbeth’s different states of mind in the
scenes and a general understanding of the scenes. There may be
some suggestions as to how we could view Macbeth. Evidence
from the text is used with some explanation to support the choice
and ideas are developed.
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
The answer shows that there is some awareness of what
Macbeth is like in the scenes e.g. crafty, ruthless, undecided.
There may be some broad reference to how he speaks showing
his state of mind but the evidence used may not always be
relevant.
© 2006 www.teachit.co.uk
4961.doc
Page 3 of 24
Macbeth ‘boosters’ 2006
1.2
Key features of a level 5+ answer
Comment on both parts of the text referred to in the
task
Illustrate with evidence from the text, picking out
words or phrases
Comment with understanding on character, relating
characters’ speech and actions to motives, rather
than simply describing what they do.
Analyse the features and effect of language
Show awareness of audience response
Write about themes and ideas
© 2006 www.teachit.co.uk
4961.doc
Page 4 of 24
Macbeth ‘boosters’ 2006
1.3
What do we learn about Macbeth’s state of mind in Act 2
scenes 1 and 2?
Macbeth gives an appearance of being calm and in control when
he speaks to Banquo at the beginning of Act 2 scene 1. He says
that he is not interested in what the witches promised him (“I think
not of them”) but the audience knows that he is thinking of killing
King Duncan to make one of the prophecies come true.
When Banquo leaves the stage however we find out the true state
of his mind in the soliloquy he speaks at the end of that scene.
Macbeth is feeling confused and is almost trying to persuade
himself that he has to kill Duncan.
Well I don’t think that Macbeth is very happy at the
beginning of Act 2. he tells lies to banquo and feels that Lady
Macbeth has made him kill Duncan when he knows that he
shouldn’t. “it’s the bloody business” tells us that he doesn’t
really like what he is about to do.
We don’t see Macbeth kill Duncan. It happens between
scenes 1 and 2. when we see Macbeth in scene 2 we know
that he is nervous and jittery. He speaks in short bursts, talking
to Lady Macbeth in questions and statements. “As I
descended?”
© 2006 www.teachit.co.uk
4961.doc
Page 5 of 24
Macbeth ‘boosters’ 2006
Things appear to be normal at the beginning of Act 2
with Macbeth speaking to Banquo in a casual way,
promising to speak about the prophecies on another
occasion.
“We would spend some words on that business”
It is ironic that he says this to Banquo because we
know that he is plotting to kill Duncan and become king
himself.
Macbeth’s real feelings are revealed to the audience at
the end of the scene when his ‘heat-oppressed brain’
sees an imaginary dagger and pictures the possible
scene of the murder. Guilt makes him feel that he can
see things.
“it is the bloody business which informs thus to mine
eyes.”
© 2006 www.teachit.co.uk
4961.doc
Page 6 of 24
Macbeth ‘boosters’ 2006
Lesson 2
Shakespeare (Macbeth):
Planning answers (themes)
Learning objectives for
lesson
•
To plan an answer to
the test question
Remember
Framework objectives:
9W17 Layers of meaning
9R14 Analyse scenes
Vocabulary
Theme
Motivation
Treachery
Guilt
Themes
Resources
OHT of 2.2a,
Handouts of 2.1a
7 minutes
Remind pupils about the main themes to be found in the extracts: evil,
power, treachery, deceit, guilt, relationships. Pupils in pairs match themes
to scenes. 2.1
Model
12 minutes
Consider essay question ‘How is the changing relationship between
Macbeth and lady Macbeth shown in Act 2 scene 2 and Act 5 scene 3?’
and model picking out main points of the question using different
techniques: underlining, boxes, highlighting. Move on to picking out four
main points for a possible answer using OHT and teacher guide 2.2
Try
5 minutes
Give students a possible question to consider. In pairs, practise using a
variety of techniques to pick out the main points of the question. Take
feedback.
Apply
8 minutes
Pupil pairs use the suggested models to plan an answer for the question.
Secure
8 minutes
Take feedback from the class, using ideas on an OHT to show how they
would work.
Homework /challenge
Pupils to find suitable evidence (quotes) from the text to support the points
in their plan. These could be extended to include explanations.
Plan an answer for an alternative test question to be completed in another
session in timed conditions.
© 2006 www.teachit.co.uk
4961.doc
Page 7 of 24
Macbeth ‘boosters’ 2006
2.1
What themes can be found in each scene?
Scenes
Possible themes in the scene
Act 2 scene 1
Act 2 scene 2
Act 5 scene 3
Act 5 scene 4
Act 5 scene 5
© 2006 www.teachit.co.uk
4961.doc
Page 8 of 24
Macbeth ‘boosters’ 2006
2.2
Planning an answer on Macbeth
Act 5
scene 3
Act 2 scene 2
What does Macbeth
say that shows his
changing attitude?
How does the
relationship change in
the scenes?
Language
used in
each scene
How is the changing
relationship between
Macbeth and Lady Macbeth
shown in Act 2 scene 2 and
Act 5 scene 3?
Dramatic devices –
people off stage
Lady Macbeth’s
situation
The behaviour and
motivation of the
characters
The change in
power between
the characters
© 2006 www.teachit.co.uk
4961.doc
Page 9 of 24
Macbeth ‘boosters’ 2006
Lesson 3
Shakespeare (Macbeth):
language
Learning objectives for
lesson
• What do we mean by
‘language’?
• How does Shakespeare
choose language to
convey moods and
feelings?
Remember
Framework Objectives
9W7 Layers of meaning
9R12 Rhetorical devices
9R14 Analyse scenes
Vocabulary
language
image
metaphor
simile
choice
rhyme
Resources
OHTs of 3.1a, 3.1b, 3.2a,
3.3, 3.4a (x3)
Handouts of 3.1a (cut up
into cards), 3.3, 3.4a, 3.5
(for homework)
Levelled criteria
Level 4:
Students show some
awareness of how characters
speak. Students mention a few
words or phrases from the
text although they may not
always choose very relevant
ones.
Level 5:
Students show some limited
awareness of the language
characters use. Students
comment on the effects of
particular words.
© 2006 www.teachit.co.uk
7 minutes
Remind pupils that in Act 2 scene 1 Macbeth is worrying about killing
Duncan. He is in a sort of mental agony.
3.1a has five ways of expressing Macbeth’s mental torment, and five
explanations of what those ways suggest. Cut 3.1a into cards and get
pupils to match each way to the best explanation. (Quick alternative: get
pupils to draw lines between way and appropriate explanation.)
Use OHTs of 3.1a and 3.1b (the ‘correct’ alignment of ways and
explanations) to take quick feedback.
Model
12 minutes
Use OHT of 3.2a to model an analysis of Shakespeare’s language
choices in this speech. Talk about what some examples of the language
suggest about Macbeth’s state of mind (see teacher guide 3.2b). Look at
how the speech is saturated in the language of evil, darkness, violence,
stealth.
Try
5 minutes
Give student pairs a few lines each to explore (see 3.3). Ask students
about the mood of the lines/the speaker, and how the language (the
choice of words) helps to create this mood. Suggest to students that
they think about how the lines could have been expressed differently so
that they basically mean the same thing but have a different mood.
3.3 suggests five extracts and this can be used as an OHT to gather
feedback.
Apply
8 minutes
Get the whole class to study Act 5 scene 3 lines 25-31 (see 3.4a and
3.4b teacher guide). Ask students to identify interesting word choices
and try to identify Macbeth’s shifting states of mind in these lines.
Ask some students to work on an OHT copy of the lines so that they can
easily feed their ideas back to the whole class.
4961.doc
Page 10 of 24
Macbeth ‘boosters’ 2006
Secure
Level 5/6:
Students show awareness of
characters’ use of language
and its effects. Students
comment on the effects of
particular phrases and
images.
8 minutes
Take feedback from the class, using OHT of 3.4a, and getting the
students who worked on OHTs to show their ideas to the class.
Homework /challenge
Get students to read one paragraph from an essay about Macbeth’s
language and what it tells us about him (see 3.5). Get students to see
which of the level criteria are met in the paragraph. They should draw
arrows from criteria to examples. They could have a go at writing
another paragraph from the answer. The question was
What similarities and differences in Macbeth’s state of mind are shown
by his language in Act 2 and Act 5?
© 2006 www.teachit.co.uk
4961.doc
Page 11 of 24
Macbeth ‘boosters’ 2006
3.1a
OHT & cut into cards
heat-oppressed
brain
The alliteration gives these words a
direct impact, but they might be
confusing if a reader takes them too
literally.
over-worked
brain
This is very direct and powerful: it
makes us feel what Macbeth is feeling:
very hot and under pressure.
Shakespeare’s language has a very
strong, physical feel.
hot head
This sounds very weak. The language is
too ordinary and seems to understate
what Macbeth must really be suffering.
mangled mind
These words make us realise that
Macbeth is thinking very hard and he
can’t cope, but the words make Macbeth
sound like a very ordinary person: after
all, we all have to think hard sometimes!
nervous
thoughts
These words are strong for two reasons:
the alliteration makes them direct and
attention-grabbing, and the words also
create a strong image in the reader’s
mind: Macbeth is twisted and messed up
in his head.
© 2006 www.teachit.co.uk
4961.doc
Page 12 of 24
Macbeth ‘boosters’ 2006
3.1b
(suggested alignment)
OHT
heat-oppressed
brain
This is very direct and powerful: it
makes us feel what Macbeth is feeling:
very hot and under pressure.
Shakespeare’s language has a very
strong, physical feel.
over-worked
brain
These words make us realise that
Macbeth is thinking very hard and he
can’t cope, but the words make Macbeth
sound like a very ordinary person: after
all, we all have to think hard sometimes!
hot head
The alliteration gives these words a
direct impact, but they might be
confusing if a reader takes them too
literally.
mangled mind
These words are strong for two reasons:
the alliteration makes them direct and
attention-grabbing, and the words also
create a strong image in the reader’s
mind: Macbeth is twisted and messed up
in his head.
nervous
thoughts
This sounds very weak. The language is
too ordinary and seems to understate
what Macbeth must really be suffering.
© 2006 www.teachit.co.uk
4961.doc
Page 13 of 24
Macbeth ‘boosters’ 2006
3.2a
OHT
Now o'er the one halfworld
Nature seems dead, and wicked dreams abuse
The curtain'd sleep; witchcraft celebrates
Pale Hecate's offerings, and wither'd murder,
60
Alarum'd by his sentinel, the wolf,
Whose howl's his watch, thus with his stealthy pace,
With Tarquin's ravishing strides, towards his design
Moves like a ghost. Thou sure and firm-set earth,
Hear not my steps, which way they walk, for fear
63
Thy very stones prate of my whereabout,
And take the present horror from the time,
Which now suits with it.
© 2006 www.teachit.co.uk
4961.doc
Page 14 of 24
Macbeth ‘boosters’ 2006
3.2b
Words chosen for
their violent
effect: “dead”
instead of
“asleep”; “abuse”
rather than “get
through”
To what extent
does Macbeth
sound like a witch?
What adds to this
effect?
He speaks directly
to the earth.
Compare with ‘I
hope I can walk
silently enough.’
Teacher guide
Now o'er the one halfworld
Nature seems dead, and wicked dreams abuse
The curtain'd sleep; witchcraft celebrates
Pale Hecate's offerings, and wither'd murder,
Alarum'd by his sentinel, the wolf,
Whose howl's his watch, thus with his stealthy pace,
With Tarquin's ravishing strides, towards his design
Moves like a ghost. Thou sure and firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones prate of my whereabout,
And take the present horror from the time,
Which now suits with it.
© 2006 www.teachit.co.uk
4961.doc
Words deliberately
chosen to suggest
darkness, evil and
stealth (creeping
up).
How can murder – a
non-living thing – be
“wither’d”? Ask
students what is
suggested by this.
What images does it
summon up?
The “stealthy pace”
is worrying,
threatening, but
“ravishing” suggests
extreme violence.
He seems to be
revelling in the
horror of the
moment.
Page 15 of 24
Macbeth ‘boosters’ 2006
3.3
A heavy summons lies like lead upon me,
And yet I would not sleep:
(Banquo, Act 2 scene 1 lines 7-8)
I see thee still,
And on thy blade and dudgeon gouts of blood,
Which was not so before.
(Macbeth, Act 2 scene 1 lines 52-54)
You do unbend your noble strength, to think
So brainsickly of things. Go get some water,
And wash this filthy witness from your hand.
(Lady Macbeth, Act 2 scene 2 lines 54-56)
They must lie there: go carry them; and smear
The sleepy grooms with blood.
(Lady Macbeth, Act 2 scene 2 lines 59-60)
'tis the eye of childhood
That fears a painted devil. If he do bleed,
I'll gild the faces of the grooms withal;
(Lady Macbeth, Act 2 scene 2 lines 66-68)
© 2006 www.teachit.co.uk
4961.doc
Page 16 of 24
Macbeth ‘boosters’ 2006
3.4a
25
OHT
I have lived long enough: my way of life
Is fall'n into the sear, the yellow leaf;
And that which should accompany old age,
As honour, love, obedience, troops of friends,
I must not look to have; but, in their stead,
30
Curses, not loud but deep, mouth-honour, breath,
Which the poor heart would fain deny, and dare not.
Seyton!
© 2006 www.teachit.co.uk
4961.doc
Page 17 of 24
Macbeth ‘boosters’ 2006
3.4b
‘fallen’ suggests
something faster
and more
irreversible than
gone down or even
declined. Perhaps
students could rank
order synonyms in
terms of their
dramatic
temperature: gone
down, fallen,
dropped, plummeted,
etc
There is something
very delicate about
this line, which
clashes with the
Macbeth’s recent
violent and
tyrannical behaviour
Teacher guide
I have lived long enough: my way of life
Is fall'n into the sear, the yellow leaf;
And that which should accompany old age,
Dried-up, yellow leaf
is poetic image for
being near death.
Since Macbeth is
not old, is this image
a bit melodramatic
and self-pitying?
As honour, love, obedience, troops of friends,
Accompany suggests
friendship
I must not look to have; but, in their stead,
Troops reminds us
of the military
context of
Macbeth’s musings
Curses, not loud but deep, mouth-honour, breath,
Which the poor heart would fain deny, and dare not.
Seyton!
Sudden shift in
tone: Macbeth
returns to barking
out orders.
© 2006 www.teachit.co.uk
Shakespeare has
invented this word.
What does it mean?
Its physical, visual
nature is very
powerful and
immediate.
We almost feel sorry for Macbeth in these lines,
except that gentle, poetic, delicate style of
language sounds false. It clashes with his ‘normal’
style of language, His sudden “Seyton!” makes
this contrast all the more obvious.
4961.doc
Page 18 of 24
Macbeth ‘boosters’ 2006
3.5
OHT
Question: What similarities and differences in Macbeth’s
state of mind are shown by his language in Act 2 and Act 5?
At the start of Act 5 scene 3 Macbeth seems to have changed.
By this point he sounds full of bravado; he’s really ‘up for it’.
He gives orders: “Bring me no reports; let them fly all.” (Line 1)
I underlined those words to show how bossy he is being. He
also asks questions that are aggressive. He sounds like he is
just daring anyone to answer them. His words seem to suggest
that thoughts of defeat are pathetic and unmanly: he seems to
be sneering when he asks if his enemy, Malcolm, was “born of
woman” (line 4) and he makes the English sound pathetic by
calling them “epicures” – they’re too soft to fight. However,
Macbeth does sound desperate. It is as though deep down he is
frightened and he has to use strong, angry, sarcastic language
to give himself a boost.
Level 4:
Students show some
awareness of how
characters speak.
Students mention a few
words or phrases from the
text although they may not
always choose very relevant
ones.
© 2006 www.teachit.co.uk
Level 4/5:
Level 5/6:
Students show some
limited awareness of the
language characters use.
Students show awareness
of characters’ use of
language and its effects.
Students comment on the
effects of particular words.
Students comment on the
effects of particular
phrases and images.
4961.doc
Page 19 of 24
Macbeth ‘boosters’ 2006
Lesson 4
Shakespeare (Macbeth):
Using evidence
Learning objectives for
lesson
• To use textual evidence
effectively
Remember
Framework Objectives
9R14 Analyse scenes
9Wr17 Cite evidence
Vocabulary
point
evidence
explanation
example
illustrate
Resources
OHTs & handouts of 4.1, 4.2,
4.4
Levelled criteria
Level 4:
Students show some
awareness of how characters
speak. Students mention a few
words or phrases from the
text although they may not
always choose very relevant
ones.
Level 5:
Students show some limited
awareness of the language
characters use. Students
comment on the effects of
particular words. They back
up their ideas with relevant
references to the text.
Level 5/6:
Students show awareness of
characters’ language and its
effects on the reader or
audience. Students comment
on the effects of particular
phrases and images. They
develop their points by making
relevant references to the text.
© 2006 www.teachit.co.uk
7 minutes
Remind pupils of the essay title they were looking at last session:
What similarities and differences in Macbeth’s state of mind are shown
by his language in Act 2 and Act 5?
Remind pupils that evidence from the play has to be used carefully when
backing up ideas. Use OHT/handout 4.1 to illustrate different levels of
the use of evidence. Briefly talk through how the level 5 and level 6
extracts use evidence selectively. They both use brief quotations to
provide examples of the way Macbeth speaks to his servant in Act 5.
The level 6 extract develops the point more fully.
Model
12 minutes
Use OHT/handout 4.2 to direct pupils’ attention to the opening of Act 2
Scene 2. Model writing one PEE (point, evidence, explanation)
paragraph in response to the test question, What do you learn about
Macbeth’s and Lady Macbeth’s attitudes towards one another in these
extracts? (See teacher guide 4.3.) Emphasise how evidence is
introduced by a specific point, and then its relevance is explained. Write
just one PEE sequence (down to “…very in control”), and then write the
first word of the next sentence (“However…”) and take ideas about how
the paragraph might continue with a new, related point.
Try
5 minutes
Tell pupils to continue writing the paragraph, deliberately using a PEE
sequence, giving special attention to using brief and precise evidence.
Apply
8 minutes
Write a first, topic sentence for the next paragraph. For example, “This
mixture of bossiness and nervousness can be seen in the way Lady
Macbeth speaks to Macbeth in the rest of the scene.” Now get pupils to
write their own continuation of the paragraph, paying special attention to
their use of supporting evidence.
Before they start, you might like to guide pupils in selecting useful, brief
quotations from the scene to focus their comments on.
4961.doc
Page 20 of 24
Macbeth ‘boosters’ 2006
Secure
8 minutes
Take feedback from pupils’ writing and get them to check each others’
paragraphs against the success criteria.
Homework /challenge /extension
Suggest that pupils study Act 5 scene 5 lines 19-30 (“She should have
died hereafter”). Ask them to consider this speech in relation to the
essay question they have been working on.
Key questions:
How would you describe the way Macbeth speaks in these lines? What
mood is suggested? What is suggested about his attitude towards his
wife? What point could you make?
Suggest this topic sentence:
“When Macbeth hears that his wife has died, we realise that he still has
a thoughtful, sensitive side to him.”
© 2006 www.teachit.co.uk
4961.doc
Page 21 of 24
Macbeth ‘boosters’ 2006
4.1
Level 4
Handout/ OHT
Macbeth is rude to his servant. He calls him lilylivered and patch and things like that.
Level 5
Macbeth calls his servant names. He calls him
“lily-livered” and “whey face”. He means his
servant is pale like a coward.
Level 6
The way Macbeth speaks to his servant is quite
shocking really because in just four lines he hurls
lots of insults at him: he calls him an idiot
(“patch”) and a coward (“lily-liver’d” and “whey
face”). Macbeth tells him to make his face red
like women did to make themselves look healthy,
so basically he is calling him a woman.
Level 4:
Level 5:
Level 6:
Students show some
awareness of how
characters speak.
Students mention a
few words or
phrases from the text
although they may not
always choose very
relevant ones.
Students show some
limited awareness of the
language characters use.
Students comment on the
effects of particular
words. They back up
their ideas with relevant
references to the text.
Students show awareness of
characters’ language and its
effects on the reader or
audience. Students comment on
the effects of particular
phrases and images. They
develop their points by making
relevant references to the text.
© 2006 www.teachit.co.uk
4961.doc
Page 22 of 24
Macbeth ‘boosters’ 2006
4.2
OHT/handout
Act 2 scene 2
The same. Enter LADY MACBETH
LADY MACBETH
That which hath made them drunk hath made me bold;
What hath quench'd them hath given me fire.
Hark! Peace!
It was the owl that shriek'd, the fatal bellman,
Which gives the stern'st good-night. He is about it:
The doors are open; and the surfeited grooms
Do mock their charge with snores: I have drugg'd their possets,
That death and nature do contend about them,
Whether they live or die.
MACBETH Within
Who's there? What, ho!
LADY MACBETH
Alack, I am afraid they have awaked,
And 'tis not done. The attempt and not the deed
Confounds us. Hark! I laid their daggers ready;
He could not miss 'em. Had he not resembled
My father as he slept, I had done't.
© 2006 www.teachit.co.uk
4961.doc
Page 23 of 24
Macbeth ‘boosters’ 2006
4.3
Point
Teacher guide
At the start of Act 2 scene 2 Lady Macbeth is
not quite as confident as she makes out.
What she says first sounds very controlled
Evidence/
example
and balanced. For example, her first two lines
Development of
point
are well-organised around repeated words:
“hath made…hath made” and “hath
quench’d…hath given.” It’s a bit like she has
written down her speech before saying it, and
Contrasting
connective to
signal
contrasting
point
that makes her sound very in control.
However, she loses this control in the next
line when a noise makes her jump. Now she
can only manage single words: “Hark!
Peace!” She also uses other sudden, jerky
Evidence/
Example
Explanation/
conclusion
Explanation
words after this: “alack” and “Hark!” and that
New point
Development of
point
Further evidence
to develop the
point
suggests she is much jumpier than we first
thought.
© 2006 www.teachit.co.uk
4961.doc
Page 24 of 24