English literature unseen poetry

Context

• Renaissance = 1485-1660- Peak of metaphysical poetry. Philosophical intricate metaphors. Royal absolutism / divine right of kings. Ascension of James I - themes of tyranny or abuse of power. Rising middle class. Thomas Wyatt. Elizabeth golden age (1558-1603). Humanist ideas and individualism Sonnets perfected by Shakespeare - love/beauty/time. Religious divide during Elizabethan especially after Mary. Lizzy loved arts and drama - flourishment.

• Waves of feminism ? 60s and 70s . Figures like Betty Friedman who came up with theorising idea such as ‘gilt cage’ theory - exploring idea that women made to belief that being a housewife was ideal but rlly it trapped them in a cage. Think TGG context.

• Religious society? Marriage = sacred

• Expectations of etiquette contrasting w thirst for liberation.

• 1837- late 19th ( end = naturalism) - Victorian society - women expected to be subservient to men and it was normalised for men to commit adulterous and face no consequence or shame. Divorce unheard of. Women expected to be conservative / modest / pure . Artistic intricate love expressed. Love = mean to experience beauty and wonders of life. Transcendent love. Thomas Hardy. Naturalism = more complex ideas abt love - affected by external factors like society and class - lead to disillusionment

• Natural imagery - 1798-1837 romantic era - idealised transcend pure love. More free verse in this era. French Revolution - liberty/ equality. Percey Shelley.

• Gothic literature - late 1700s - Mid 1800s. Romantic fascination w emotion. Extreme psychological depth - knowledge from FR / englightenment? Inner turmoil themes - madness/guilt/passion etc. Loves dark side. Acknowledgment of destructive/ toxic love. Christina Rossetti.

• Modernism - 1890s - 1940s - Lost and fading love. Social imperfection - psychological complexity - no idealisation. Less religious society. Human imperfection and economic pressure. Objective detached tones. Charles Dickens. Less hyperboles and intricate natural imagery metaphors. Post 1900 techniques possibly a reflection of how poetry has become more university accessible and is no longer penned for by the educated elites.

• If running out of comparisons for a specific time period - And think abt context from previous eras - what’s the impact of this now.

• 1950s-70s sexual revolution - challenged traditional norms surrounding marriage, love, and gender roles, leading to more open discussions about sexuality, relationships, and women’s autonomy. Ginsberg and Audre Lorde ( The Woman Who Thought She was an Planet)explored themes of love, sexual identity, and desire in new ways, breaking taboos and embracing previously hidden or repressed aspects of sexuality.

• World War I & II (1914-1918, 1939-1945)

  • Key Event: Both world wars led to widespread trauma, disillusionment, and a questioning of traditional values, including religion and societal norms.

  • Contribution to Poetry:

  • Marriage: The horrors of war and the disruption of families made poets question the sanctity of traditional institutions like marriage. There was also a recognition of the emotional strain of love and marriage during times of war. • Religion: Many poets, particularly modernists, grappled with religious faith after the catastrophic events of the wars, leading to poems that explored doubt, existentialism, and the crisis of belief (e.g., T.S. Eliot’s The Waste Land).

  • Pre 1900 = metaphors, religious imagery, hyperbole, rhyme, natural imagery. Post = realism/ free verse

  • Post 1900 - more liberal society but pre - couples married before any sexual union

  • Idea of hysteria- Greek word for uterus. Used for when women talk back and aren’t obedient. Suggested they were irrational thus taking away a woman’s power in speech. Misogynistic

  • - modern ra = focus on pragmatism and cynicism - ( practical approach to problem solving and attitude of distrust in human motives).

Strucutre

Intro. Include detailed relevant context. Writers intentions. Quotes but not analysis - embed to support a statement. AO4 - between all three - what similarities do they all share but is there any contrasts in how it’s presented between 3 . E.g both have x but in poem A it’s bc of Y and in poem B = Z. Marry me how are the poems? Similar or different? And how is this done? How far apart are the time periods between all poems and why is this important and is that message still the same or different? What could’ve influenced this? Talk about the title or symbolism if you can and a deeper meaning. What does it immediately suggest and make the reader want to get at?

Paragraph 1 : Poem A - language technique. PRTEZEL. AO1/2/3/4/5

Paragraph 2 : Poem B - language techniques. PRTEZEL. AO1/2/3/4/5

Paragraph 3 - Poem A form and structure

Paragraph 4 - Poem B form and structure

Tips

• Detailed and relevant context is so important throughout. What’s the significance? How could this historical context be influencing the speakers thoughts and opinions? Is their historical context unusual or expected in relation to the speakers message because of societal expectations? Be critical . Don’t generalise context too much e.g don’t say pre 1900 poem or post. State the century or year.

• AO4 - embed throughout wherever and use a connecting word before jumping straight in. E.g when comparing language technique iques used and their significance or when making a comparative point. If you run out of time to get onto Poem B - consistent AO4 will help

• Deeply analyse all quotes and structure. Alternative interpretations AO5. Writers intentions and impact on the reader. Is it intentional? Is it constant? What’s the effect of it? Link back to the question and stay on track. Use inferences when analysing - speaker could be suggesting this or either this.

• Keep using the poets names throughout e.g Jennings does this , Jenning wants the reader to…

• Be confident when speaking - sound like a critic - critical language. If you agree or disagree with the statement - make this very clear

• If there’s a contrast - can you find a critical point of similarity regardless

• When doing AO1 as well as occasionally relating wording of question - it’s also about rewording the question with same meaning.

• Avoid Generalisations – Use Evidence (AO1 & AO5)

  • Don’t say things like “Women were always expected to obey” without connecting it to the poem. Instead:
    

    • “In Puritan New England, women like Bradstreet were expected to serve their husbands obediently—a duty she embraces, but also idealises beyond realism in her devotional tone.

    • Anchor wider ideas in the text: show how the poem reflects, resists or critiques that idea (AO4 & AO5).

  • Don’t bolt on the second poem—interweave comparisons:
    

    • Structure your paragraphs like this:
      

      1. Make a clear point about Poem A (e.g. Bradstreet)

      2. Support with a method + quote

      3. Transition to Poem B (e.g. Limón) by comparing tone, perspective or technique

      4. End with a comparative judgement

  • Try a comparative sentence starter like:
    

    • “While Bradstreet presents love as sacred and unwavering, Limón challenges this ideal, instead portraying…”

  • Use critical terms subtly: feminist reading, romantic idealism, postmodern scepticism, etc.

  • Pose questions to open up debate: “Is this devotion empowering or a symptom of oppression?”

  • • Make context relevant and evaluative, not just factual:

What makes a high level essay?

1. Argument-Driven Paragraphs (AO1)

What most do: Focus paragraphs on techniques or vague themes.

What top students do: Each paragraph centres on a clear conceptual debate (e.g. “Is love freeing or entrapping?”, “Is this romanticism or repression?”).

• Why it works: Shows control of argument—examiners want to see a thread throughout.

• How to apply:
  

  • Topic sentence = idea + stance.

  • Keep linking back to that idea: “This reinforces the idea that…”

Example:

“While Donne glorifies romantic permanence, Jennings uses restraint to question whether love can realistically endure over time.”

2. Comparison Threaded Throughout (AO4)

What most do: Compare briefly at the end of each paragraph.

What top students do: Weave comparison into every sentence of analysis.

• Why it works: It shows synthesis, not just parallel commentary.

• How to apply:
  

  • Think: For every point about Poem A, what can I contrast or echo in Poem B?

  • Use: “Whereas… Similarly… By contrast… Echoing this…”

Example:

“While Walcott’s speaker embraces solitude after heartbreak, Duffy’s clings to emotional residue—suggesting a more unresolved aftermath.”

3. Two Interpretations per Quote (AO5)

What most do: Offer one reading.

What top students do: Explore ambiguity and tension in the poem with multiple possible meanings.

• Why it works: It proves originality and critical thinking.

• How to apply:
  

  • After analysis, ask: Could this be read another way?

  • Use: “However, it could also imply…”, “Alternatively…”

Example:

“The ‘sun’ may symbolise hope, but could also reflect the blinding nature of Donne’s idealism—too intense to sustain.”

4. Evaluative Use of Context (AO3)

What most do: Drop historical facts.

What top students do: Use context to evaluate the poet’s intentions or limitations.

• Why it works: You’re not just knowledgeable—you’re thinking like a critic.

• How to apply:
  

  • Ask: Does context support or complicate the poem’s message?

  • Use: “Reflecting…”, “Though relevant then, this may now seem…”

Example:

“Duffy’s secular tone reflects modern scepticism about romantic ideals, contrasting sharply with Bradstreet’s Puritan belief in divinely ordained love.”

5. Tonal Precision + Shifts (AO2)

What most do: Use general tone terms (“sad”, “hopeful”).

What top students do: Identify subtle shifts in tone—e.g. resignation to bitterness, reverence to cynicism.

• Why it works: Tracks emotional progression and shows depth.

• How to apply:
  

  • Look for turning points or syntax changes.

  • Use: “Initially… but later…”, “Shift from…”

Example:

“Atwood’s tone evolves from accusatory to quietly empowering, suggesting liberation lies in rejection rather than confrontation.”

6. Form Reflects Mindset or Message (AO2)

What most do: Mention rhyme or enjambment superficially.

What top students do: Explain how form mirrors psychological state or ideology.

• Why it works: Judges will reward deeper structural insight.

• How to apply:
  

  • Think: Does the structure feel controlled, chaotic, cyclical, trapped?

  • Use: “The rigid rhyme mirrors…”, “Fragmented lines reflect…”

Example:

“Siddal’s rigid ABAB structure contrasts her explosive tone, perhaps highlighting the societal constraints on female expression.”

7. Speaker ≠ Poet: Analyse the Constructed Persona (AO5)

What most do: Treat the speaker’s voice as the poet’s own.

What top students do: Recognise the speaker as a crafted persona, possibly ironic or exaggerated.

• Why it works: Demonstrates awareness of poetic construction.

• How to apply:
  

  • Ask: Why has the poet adopted this voice? Is it sincere, performative, ironic?

  • Use: “The speaker appears emotionally detached—but this may be a deliberate mask of control…”

Example:

“Limón’s speaker seems passive, yet her refusal to idealise love could signal quiet resistance rather than submission.”

Final Tip: The A Formula

*

Each paragraph should include:

• A debated idea (AO1)

• Specific methods and their effect (AO2)

• Relevant context used evaluatively (AO3)

• Constant comparison (AO4)

• Layered, critical interpretation (AO5)

Structural techniques to spot

• A regular rhyme scheme often suggests order, harmony, or traditional themes (e.g., love, beauty). An irregular rhyme scheme can signify chaos, complexity, or emotional tension.

• Caesura - Adds emphasis to a phrase or creates a reflective pause. It can signify a shift in thought, tone, or emotion.

• Symbolism - Adds depth and layers of meaning to the poem, often reflecting universal themes like love, death, or nature.

• A poem’s layout can reflect its themes or emotional tone. For example, a scattered or fragmented layout may reflect chaos, while a neatly aligned structure can suggest order.

• Enjambment - Creates a sense of flow, urgency, or emotional tension. It often mirrors the speaker’s uncontained thoughts or feelings.

• Stanza structure - The length and form of stanzas can suggest pacing, emphasis, or division of thought. Short stanzas may create urgency, while longer stanzas suggest reflection or a more complex idea.

• Volta - shift or turn in the argument, tone, or theme of the poem.