online.htseden.co.za · Web view2020. 8. 30. · [Source: Adapted from: Activities to spark...

ENGLISH HL

GRADE 12

REVISION

GRADE 12 EHL REVISION Page 2

INDEX

CONTENT PAGE NR

Skill 1: Listening and speakingInformal discussions/conversations 3

Skill 2: Reading and viewingAnalysing an advertisement 5Activity 1.1: Advertisement 7Analysing a cartoon 9Activity 1.2: Cartoon 10Poetry: Somewhere I have never travelled (Seen Poem) 12Activity 2.1: Somewhere I have never travelled (Seen Poem) 17Activity 2.2: Thank You (Unseen Poem) 18

Skill 3: Writing and presentingTransactional writing

Formal letters 19 Informal letters 21 Curriculum Vitae 23 Obituary 25 Agenda and minutes of a meeting 26

Skill 4: Language structures and conventionsActivity 3.1: Using language correctly 28

Answers to activities 30

Templates 36


SKILL 1: LISTENING AND SPEAKING

Content: Informal discussions/conversations Features and conventions

INFORMAL DISCUSSIONS/CONVERSATIONS[Source: CAPS 2013; Amended CAPS 2019]

During these activities learners should be provided the opportunity to acquire the following skills: Initiate and sustain conversations Turn-taking conventions Defend a position Negotiate Fill in gaps and encourage the speaker Share ideas and experiences and show understanding of concepts

8 TIPS FOR SPEAKING AND LISTENING[Source: Adapted from: Dr Allen Mendler, 2013, www.edutopia.org]

While it is impossible to know all of the reasons, there is no doubt that learning to listen and talk is an extremely important way to broaden knowledge, enhance understanding and build community. Perhaps this is why the curriculum in English include an important emphasis on developing speaking and listening skills, the basic tools for conversation. The eight tips below can be used regularly to help learners acquiring good conversational skills.

1. Model a Good Conversation Make a point of having one-to-two minute interactions, one-on-one, at least a few times

each week with students who struggle conversationally. Share information about yourself as you might when meeting a friend or acquaintance, and show interest in the student by asking questions about his or her interests.

Conversation enhancers include responses and prompts like:"Really?""Wow!""That’s interesting.""No kidding!"

2. Encourage Physical Cues Identify procedures for having a conversation that includes appropriate non-verbal behavior.

For example, you might teach a strategy like S.L.A.N.T.S- Sit up straight.L- Listen.A- Answer and ask questions. N- Nod to show interest.T- Track the speaker.


3. Challenge Put-Downs or Hurtful Comments For example, if a student says, "I think what she did was really stupid," challenge with

"How else can you say that without being hurtful?" If the student seems unaware, teach an alternative like, "I disagree with that." Ask the student to repeat what you said and then move on to:

"What happened to make you feel that way?" "How would you have handled things differently?" "Do you think there is only right answer, or could there be more?"

4. Ask Open-Ended Questions These are questions without one correct answer, questions that stimulate discussion and

can be a very powerful way to reinforce the idea that there are different views of an issue, or a set of beliefs that can be equally valid.

For example: "So if Columbus came knocking on your door and told you that sailing to the New World would be an amazing adventure and there might be lots of riches there, but you might never arrive because the world was flat, would you go?"

5. Put Thinking Ahead of Knowing When asked a question, don’t accept "I don't know." Tell students that you don't require them to "know" but that you do expect them to "think." Teach them how to wonder aloud, speculate, guess or give the best answer they

can. ("I'm not sure about that, but I wonder .")

6. Have Informal Chats Before class begins or in the hallway, ask students about their other classes, what

they think about a current event, or how they feel about the outcome of a game. Share your thoughts as well. ("I thought it was more that Pirates lost the game than

anything the Manchester United did to win. How did you see it?")

7. Make Eye Contact When a student is speaking in class and you are listening, give him or her your eye contact. However, gradually scan away from the speaker and direct your gaze and movement

towards other students. This will often get the speaker to redirect his or her talk toward peers, and it invites peers

to get and stay involved with what's being said.

8. Encourage Turn-Taking Use an object, such as a talking stick, as a signal for turn-taking. Teach your students that

when they have the object, it is their turn to talk or pass while others are expected to listen.


Examples of informal discussion/conversation activities[Source: Adapted from: Activities to spark discussion in the classroom, www.busyteacher.com]

Role Play Scenarios Bring in real-world application by having students role play common scenarios. You can start with a script to get students comfortable, and then ask students to share

their thoughts on what happened during each scene. Once students are familiar with role play, you can simply throw out a scenario and

have them act out how they would respond.

Anticipation Guides Anticipation guides contain statements about key themes found in a text. These statements are often controversial, such as "It is okay to lie sometimes" or "War

is evil." Students write whether they agree or disagree with each statement, and then share their

reasons for believing that way. When students discuss their answers, remind them that there is no right or wrong for each

question as long as students can back up their positions.

Socratic Seminars A Socratic seminar can be held in response to a short article, a longer novel, or common

themes you have discussed in class. Students sit in a circle and respond to questions. Typically, they are given the questions in advance and allowed to jot down notes to

use during the discussion. Not only are students assessed on the content they bring to the discussion, but they are

also assessed on their participation during the seminar, including how well they listen and respond to others and whether they dominate the discussion or show other disrespectful behaviour.

Gallery Walks (Not suitable during COVID protocol) In a gallery walk, you place pictures, short texts, quotes, or other items to spark

discussion around the room. Students walk around the room in small groups and comment on those items or

write responses to them on big sheets of paper. As they walk around the room, students are encouraged to talk with the people in their

groups to share their thoughts.

Hot Seat A student who takes the hot seat sits at the front of the room and pretends to be a book

character or an expert on a topic. Other students in the class pose questions for the one in the hot seat to answer.

Talk Show Host your own version of a popular talk show and have a few students sit around the

table to discuss a special topic. You can also use a more traditional format with a host and a guest, such as on The Ellen Show.


SKILL 2: READING AND VIEWING

READING FOR MEANING AND UNDERSTANDING

Content: Interpretation of visual texts; advertisements, cartoons, pictures

ANALYSING AN ADVERTISEMENT[Source: Mind the Gap, Department of Basic Education, 2015]

1. When you analyse advertisements, ask yourself the following questions: What is being advertised? Who is likely to be interested in this product? How do the designers try to make the product appealing? Why do they use specific words in the advertisement? What does the picture show and why was it chosen?

2. Know the meaning of the following terms: Slogan: Words that are linked to a product and that are easy to remember (for

example, “Finger-licking good”). Logo: A visual design, sometimes including letters, words or symbols, that is the

official sign of a company or organisation (for example, the Nike tick). Font: The style and shape of printed letters, often especially chosen for emphasis in

advertisements or cartoons. Target market: The type of people an advertisement wants to attract (for

example, fashionable young people; wealthy business people). Layout: The way the advertisement is set out on the page so that certain words

and pictures attract attention. Language use: The choice of words and ways of saying things (for example, the use of

slang to sell jeans to young buyers; formal language used to sell banking services to business people; dramatic language used to sell adventure equipment; repetition used to make the reader remember the message).

Figures of speech: The use of metaphor, simile, hyperbole (great exaggeration), onomatopoeia, puns, personification and alliteration (for example, hyperbole and alliteration used together: ‘Betty bakes the best bunsin the world’).

Sound devices: Words chosen for the effect of their sounds (for example, onomatopoeia and alliteration used together: ‘Shush, baby’s sleeping).

3. To answer questions on advertisements, you need to: Understand what the words in the advertisement mean; and understand what is shown

in the advertisement drawings or pictures. Pay attention to how the words and the pictures work together to persuade the reader

to buy a product or do what the advertisement suggests (for example, a road safety advertisement may ask that drivers drive slowly).

Understand how the layout of the advertisement and the use of fonts attracts the reader’s attention.

Pay attention to how punctuation has been used. Notice the use of figures of speech.


ACTIVITY 1.1: ANALYSING AN ADVERTISEMENT[Source: DBE, NSC, November 2015]

Study the advertisement below and answer the questions set.

[Source: www.thebicyclecompany.co.za]

The text in small font reads as follows:

Compared only to the very best, the F29 is pure speed.

The carbon fibre components of this Italian race machine are passionately handcrafted in the same production facility that manufactures Ferrari, Ducatti and Augusta Helicopters in Varese, Italy. What's unique to the bloodline of Full-Dynamix is that each bike is exclusively hand built with nothing but speed in mind. Winning across Olympics, XC, Marathon and Cape Epic podiums, no wonder the F29 is the preferred choice of world champions.

The Bicycle Company are exclusive distributors of Full Dynamix mountain bikes,www.thebicyclecompany.co.za

9 Queenspark Ave, Salt River, Cape Town, 7925/Trade Enquiries – Shan Wilson 082 584 2761/ Scott Fraser 082 378 8853


Account for the use of 'very best' in 'Compared only to the very best, the F29is pure speed'. (2)

Discuss the persuasive appeal of 'Same Blood'. (2)

Critically discuss the effectiveness of the words, 'handcrafted'/'hand built' and 'unique'/'exclusively'. (3)

In your view, do the visuals support the advertiser's message? Justify yourresponse. (3)

[10]



ANALYSING A CARTOON[Source: Mind the Gap, Department of Basic Education, 2015]

When analysing a cartoon, it is important to look at the following aspects:

1. Setting Where and when is the cartoon set? What is the particular social context?

2. Characters: What actions and emotions are communicated through body language? What emotions are communicated through facial expressions? What does the body language suggest about the relationships between characters?

3. Action What is happening in the cartoon? How is the action portrayed?

4. Language What words have been used? How has punctuation been used to suggest emotion?

5. Stereotypes / Symbols Has the cartoonist made use of stereotypes? Has the cartoonist used any symbols to represent something else?

6. Caricatures: A caricature is a drawing of a public figure that shows exaggerated features for

easy identification and/or ridicule. Caricatures can be insulting or complimentary and can serve a political purpose or be

drawn solely for entertainment. Caricatures of politicians are commonly used in editorial cartoons, while caricatures

of movie stars are often found in entertainment magazines. Most of us don't like to face ugly truths about ourselves or the society in which we live.

What satirists do is force us to confront these issues through humour. They use wit, irony or sarcasm to mock or expose people, events or attitudes which

they feel we, as a society, need to think about. What they hope to achieve is change. They hope that in viewing their work, we will

realise how ridiculous we're being, and that these moments of insight will cause us to change our attitudes and actions, or put pressure on others to do so.

FRAME 1 FRAME 2

FRAME 3 FRAME 4

GRADE 12 EHL REVISION Page

ACTIVITY 1.2: ANALYSING A CARTOON[Source: DBE, NSC, November 2015]

Study both TEXT A and TEXT B and answer the questions.

TEXT A

[Source: www.shenow.org]

QUESTIONS: TEXT A

Explain how the setting contributes to the message of the cartoon. (2)

Discuss what the cartoonist conveys about Curtis's attitude in frame 2.Focus on both his body language and his speech. (3)

FRAME 2FRAME 1

FRAME 4FRAME 3


TEXT B

[Source: www.shenow.org]

QUESTIONS TEXT B

Refer to frames 1 to 3.

Explain why Curtis does not respond to the girl. (2)

QUESTION: TEXTS A and B

Refer to both TEXT A and TEXT B.

Comment on the use of stereotyping in both cartoons. (3)[10]

17181920

(i do not know what it is about you that closes and opens; only something in me understands the voice of your eyes is deeper than all roses)nobody, not even the rain, has such small hands

13141516

nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me what the colour of its countries,rendering death and forever with each breathing

9101112

or if your wish be to close me, i andmy life will shut very beautifully, suddenly, as when the heart of this flower imagines the snow carefully everywhere descending;

5678

your slightest look easily will unclose me though i have closed myself as fingers,you open always petal by petal myself as spring opens(touching skilfully, mysteriously)her first rose

1234

somewhere i have never travelled, gladly beyond any experience, your eyes have their silence:in your most frail gesture are things which enclose me,or which i cannot touch because they are too near



Content: Poetry (Seen poem)

somewhere i have never travelled, gladly beyond- ee cummings

NOTES[Source: Linda Holm, 30.12.2018, EHL/EFAL FET Teachers, Facebook]

Background notes of poetee cummings was born in 1894, in Massachusetts, in the United States of America. He served as an ambulance driver in World War I, and was detained in France for several months. After the war he lived in France, studying art, and finally settled in New York. Cummings was one of the most experimental poets of the twentieth century, and the style of his poetry is unusual: he uses distorted syntax, unusual punctuation, new words and slang words. These elements make his poems look complicated, but the ideas contain in them are generally quiet simple.

Title Like many poets, Cummings never gave his poems titles, so editors just use the first line

as the title of each poem. That said, "somewhere i have never travelled, gladly beyond" seems like a fitting title,

because the poem takes on such a surreal, yet strangely happy voyage into the weird world of the speaker and his lover.

The unusual word order, unfinished sentence and the missing space after the comma alert us to the unusual language use throughout the poem.


Theme The poem deals with the mysterious and incomprehensible nature of love, while also

emphasising its overwhelming force and intensity.

Tone This poem combines bewilderment at love’s mysterious power with a joyful acceptance

of his love. The speaker’s tone is one of admiration, awe, wonder and reverence. He finds it amazing

that the mere presence can overwhelm his senses, thoughts and emotions. The expression in her eyes conveys the intensity of her love for him.

The usual connection the speaker makes between the senses suggests that even without words, there is communication an understanding between the lovers. There is the idea of love’s being inexplicable, mysterious and spiritual.

There is no logic to explain why his beloved is able to exert absolute power over him yet instinctively he is willing to accede to her.

Content The poem is similar to many traditional love poems in that the speaker spends a lot of

time talking about his lover's eyes, and in that the poem uses the well-worn symbol of a rose.

The speaker is a total slave to his lover. He goes on and on about how she has total control over his emotions and there's nothing he can do about it. Rather than this being a bad thing, though, the speaker is really seems to love her more the more power she has. She manages all this with subtlety and a mysterious grace.

The use of the word ‘gladly’ shows that the speaker is enthusiastic about and open to new possibilities in his life. Although it is the unknown, the anticipation fills him with excitement. He welcomes the thought of the adventure and looks forward to the experience.

This love poem takes it to a whole other level. The speaker isn't just kind of infatuated, or even in the throes of violent passion, his love is transcendent. He's so in love with this girl that it's like he's going through a religious conversion of some kind. His feelings for her connect him to something bigger than both of them, something that's infinite and ultimately unknowable.

The poem is full of images of the natural world: flowers, rain, references to the seasons. "somewhere i have never travelled, gladly beyond" shows man and nature in a kind of harmony. The speaker actually describes himself as a flower, opening and closing with the seasons. So you could say that this isn't a poem about man and nature; it's a poem about man as nature.

Cummings uses unusual words, punctuation and sentence structure. Once the reader adjusts to the strange language use and relaxes, the emotional associations are not difficult to understand.

This is a love poem, although it is quite an unconventional one. The speaker seems to be attempting to understand his beloved’s power over him but he admits that her appeal is intangible and difficult to pinpoint. He cannot work out why she has this ability to move him but he welcomes it nonetheless.

The poet makes use of images of nature and the concept of travel to develop his ideas. The capitalisation of the word ‘Spring’ recognises the importance and the power of

Spring. Spring is the giver of life and transforms the winter landscape into something of beauty. Like Spring, his beloved has transformed him by bringing love into his life.


Form and structure Given all the unusual features of Cummings’ writing, it might be surprising to see a

definite form being used. The poem is composed of regular four line stanzas and each stanza deals with a new,

separate point.

Poetic / language devices The idea of closing and opening recurs in this poem. The first stanza hints at this with the

use of the word ‘enclose’ (line 3), which becomes more significant in the light of the later reference to ‘unclose’ (line 5), ‘closed’ (line 6), ‘open’ (line 7), ‘close’ (line 9), ‘shut’ (line 10) and ‘closes/ and opens (lines 17-18)

The paradox in line 4: ‘i cannot touch because they are too near’. The speaker’s inability to touch something despite its nearness is contradictory. His feelings for his beloved are ‘too near’ to his heart and an intimate part of him and he is reluctant to expose himself as he is afraid that his love makes him vulnerable and defenceless to potential heartbreak and pain. The mystery of the depth of the power of this love scares him.

The poem often uses run-on lines, or enjambment. In one instance the line could even be said to ‘jump over’ words to complete the thought, as in line 7 where ‘Spring’ skips over the content in brackets to find its object, ‘her first rose’ (line 8).

The poet skilfully makes use of imagery, and expresses the images through the use of similes and vivid personification. This can be seen in the capitalisation of ‘Spring’ (line 7), and the rain’s ‘hands’ in the final line.

Sound devices Notice the alliteration of the hard ‘c’ sound repeated in line 15 which gives extra power

to the words and draws the reader’s attention. The sound of the word ‘enclose’ (line 3) is echoed by its opposite ‘unclose’ (line 5).

Perhaps Cummings is saying that in the context of his love’s power over him, both actions and equally wondrous.

The fact that there is little rhyme used in the first four stanzas makes the use of rhyme in the final stanza all the more noticeable.

This trek deep into the mysteries of the universe—and the human heart—is helped by Cummings's constant use of the long ‘O’ sound. It reminds us a whole lot of the "omm" sound people make when they're meditating. Throughout the poem, Cummings rhymes words like "enclose", "unclose", and "rose". He also connects it all with assonance by using "open" and "opens".

So, all the way through our journey, we hear the meditative "ohh" sound, which is also a subtle sonic reminder of the sense of awe in our speaker, too.

Symbol AnalysisTouch

There is a lot of touch imagery in this poem. You'll find mentions of fingers, hands, mysterious touches, and textures. This motif is knit tightly with some others, like flowers and nature, with Cummings blending the images so well that it's hard to pull them apart. The motif also fits neatly with the poem's overall use of paradoxical images. Translation: you get a bunch of references to the speaker being touched by things that are untouchable. At first, it might not make sense, but then if you think of a time you were truly, madly in love, it totally does.


Lines 3-4: We spot touch imagery early on when the speaker describes his lover's "most frail gesture." Whatever this tiny flick of the hand is, the speaker is totally awestruck by it. The speaker is so enraptured by all the things in his love's "frail gesture" that he isn't sure if it they "enclose him," or if there are things in them that he "cannot touch because they are too near."

First of all, how can a tiny gesture totally enclose somebody? And secondly, why can't he touch something that's so close to him? These are deliberate paradoxes. This touch imagery conjures contradictions that place us in the love-dazzled mind of the speaker.

Lines 5-6: The speaker says, "your slightest look easily will unclose me/ though i have closed myself as fingers." The digits on our hands are probably the parts of our body we most often associate with our sense of touch. Here, the speaker uses a simile to compare the feeling of being closed off emotionally to the image of the closed fingers. He can't manage to stay closed off around his love. All she has to do is give him the "slightest look," and he opens up again. Notice that she doesn't even have to touch him to make this happen.

Lines 7-8: The touch imagery continues when the speaker describes his love as "touching skilfully, mysteriously." For one, we definitely get a sensual feeling from this line: skilful and mysterious. Notice, though, that the lines equate this mysterious touching the way "Spring opens/ [...] her first rose." - It's with sunlight and rain. Again an image of him being opened without any literal hands being put on him.

Lines 13-14: Once again we hear about the speaker's love's "fragility," and once again it's related to touch. This time, the speaker says its "texture/ compels [him] with the colour of its countries."Many paradoxes are found here. First, how can fragility have a texture? It's a quality of a person, not something that's tangible. Also, how can a texture have colours? A texture is something you can feel, not something you see. Not in the world of Cummings, where senses mingle in a phenomenon called synaesthesia. Here again, we see the speaker being touched by things you wouldn't be able to feel in a literal sense.

Line 17: Personification is found in the last line of the poem, saying "nobody, not even the rain, has such small hands." Once again, the speaker describes himself as being opened by some intangible thing about his love. He compares himself to a flower being opened again, but notice that it isn't the rain that opens him. It's some mysterious, subtle thing with even smaller hands than the rain.

Eyes Lines 1-2: Cummings opens up the poem with the lines, "somewhere i have never

travelled, gladly beyond/ any experience, your eyes have their silence." This could be interpreted to mean that the unexplored place the speaker is heading into is the depths of his lover's eyes. The fact that her "eyes have their silence" makes them seem even more mysterious and unknowable.

However, aren't all eyes silent? In a way they can: "the eyes are windows to the soul." You can look into a person's eyes and see what they're feeling and thinking, which could be described as a way of talking without words. If the speaker's eyes are silent at times, it can mean that she can be really hard to read, which only makes her more exciting to the speaker.


Line 5: At the top of the next stanza, the speaker says that his lady's "slightest look will unclose [him]." Notice that we've gone from inscrutable, silent eyes that don't seem to be paying much attention to him to ones that are at least sparing him a glance. Smitten, he goes crazy for this and opens right up to his illusive lady. The speaker gives his lover's eyes power by giving them power over the physical world. Metaphorically at least, she can open his tightly closed fingers with the smallest of glances.

Line 19: "the voice of your eyes is deeper than all roses", first of all, is cool how this line brings us back to the silent eyes from line 2. Here, the eyes have a "voice," but it's not any typical voice. It's "deeper than all roses."

Roses wordplay conjures the image of a lady whose eyes are deep and mysterious. When the speaker looks into them, he can't quite read what's there, but he is mesmerized.

Roses Lines 7-8: The flower of love gets its first mention in the second stanza, where the

speaker uses a simile to compare the way his lover opens him emotionally to the way spring opens roses. The already obvious love symbolism is taken to an erotic place with all this talk of spring "touching skilfully, mysteriously." Cummings also describes the speaker, presumably a male, as the flower.

Lines 9-12: The third stanza carries the image of the rose through, but this time uses another simile to compare the way the speaker's lover can close him down emotionally to the way a rose shuts in winter. All the connotations from the previous line apply here, too. What's interesting is that this doesn't come off as a sad image at all. Instead, it's described as being beautiful. The act of it closing itself against the cold is celebrated.

Lines 17-20: The speaker ties up this extended metaphor of his lover being able to open and close him like a rose in the final stanza by saying that he has no idea how she has this mysterious power. He goes on to say that whatever this power is, it's "deeper than all roses." There's some deep natural force that makes roses grow and if you stare into the folds of a rose's petals, it really can seem like you're staring into another dimension. You can get lost in the patterns of its design. The speaker says, "the voice of [his lover's] eyes is deeper than all roses [our emphasis]." So she's even more powerful and more mysterious than a rose.


ACTIVITY 2.1: POETRY (Seen Poem)

Somewhere i have never travelled – ee cummings[Source: C. Buss, Queenstown HS, Grade 12 Study Guide 2019, EHL/EFAL FET Teachers, Facebook]

Who is the speaker addressing in this poem? (1)

What is he saying to this person? (2)

Identify and discuss the effectiveness of the following figures of speech:a) ‘your eyes have their silence’ (line 2)b) ‘you open always petal by petal myself as Spring opens … her first

rose’ (lines 7-8)c) ‘as when the heart of this flower imagines / the snow

carefully everywhere descending’ (lines 11-12)d) ‘nobody, not even the rain, has such small hands’ (line 20)

(3)(3)

(3)

(3)

Explain the effectiveness of the irony/paradox in line 4. (3)

Cummings uses a number of contradictions and opposites in this poem. How do these contradictions/opposites help us to understand what the speaker is revealing about the way he feels about this person:

a) closing and openingb) fragility and powerc) vastness and smallness

(2)(2)(2)

Identify and explain the figure of speech in ‘though i have closed myself as fingers” (line 6).

(3)

How is ‘Spring’ (line 7) the only capitalised word in the poem? Discuss the effectiveness.

(2)

Explain how ‘fragility’ can have ‘power’ (line 14). (2)

Discuss the use of parentheses in the poem. (2)

What is synaesthesia? Find an example of this in the poem. (2)

Describe the atmosphere/mood of this poem. Quote in support of your answer. (2)

Explore the metaphor of travel as it is used in this poem and evaluate its effectiveness.

(3)

Comments critically on Cummings’s unusual use of punctuation and sentence structure.

(2)

How does the syntax manipulation add to the meaning of the poem? (2)[44]

Thanks most of all Lord for these kneeling knees

15

Thanks for sending your Angels to watch over me My friends and co-workers and my familyThank you Lord, I must say, for todayAnd for this chance to say what today I convey

10For the job that I work, for my boss who's a jerkFor the sun, moon, and mars... what a beautiful perk I thank you my Lord again and againThanks for being above and removing my sin

5

Thank YouBY MICHAEL COPE

There once came a day... just yesterday That made me kneel on my knees and pray With little I wanted to convey or sayOther than to say thanks for today

For all I have got and all I have notFor the ability to put thoughts into thoughtFor the things I've sought and the things I've got For the money I used to buy what I've bought


ACTIVITY 2.2: POETRY (Unseen Poem)[Source: Department of Education Free State Province, Poetry Example Questions]

NB: Refer to the Week 1-2 Booklet for notes on answering questions about the unseen poem.

Read the poem and answer the questions.

Unseen Poem

What is the theme of this poem? (1)

Identify two examples of redundancy in stanza 1. (2)

Quote one word from stanza one to prove that the poet is religious. (1)

With reference to the poem, explain what the word “perk” in stanza twomeans. (2)

Describe the general tone of the poem, using evidence from the poem tomotivate your answer. (2)

In your opinion, is the poet sincere? Justify your answer. (2)[10]


SKILL 3: WRITING AND PRESENTING

Content: Transactional texts: Friendly/formal letters, Curriculum Vitae, obituary, agenda and minutes of a meeting

Notes[Source: Adapted from DBE, Guideline for teaching and writing essays and transactional texts, 2018]

OFFICIAL/ FORMAL LETTERThere are different kinds of formal letters, e.g. a letter of application, a letter to the editor of a newspaper, a letter of complaint, etc.

While the letters may set different requirements for the writer, the following are applicable to all of them:

Style The formal letters must be written in direct, simple English. The writer must keep in mind

that the intended audience should understand what is communicated for the results/ response to be positive.

The letter should be … clear and straightforward – the recipient must not be left wondering at what you are

trying to communicate; concise and to the point; and logical.

Structure All letters should have an introduction, a body and a conclusion. There must be two addresses, the writer’s and the recipient’s; A formal salutation – Dear Sir, Dear Mrs Bukov, etc. - follows the recipient’s address; A title or subject line follows the salutation. This is a one-line summary of the letter and

should be underlined; The language register must be formal; The conclusion must also be formal – Yours faithfully – followed by the writer’s surname

and initials.

Issues to avoid Slang and colloquial language; Contractions, abbreviations and acronyms; Unsubstantiated accusations, threats that cannot be carried out, emotional

language, sarcasm, clichés, etc.


Examples of formats of Formal letters.

1. Letter to the Editor 2. Application for a vacant post

The Editor

City Post Magazine

79 Sort Street

Pretoria

0001

27 Lechwe Street

Fauna

9301

12 February 2010

XXXXXXX OPEN LINE

XXXX OPEN LINE The Manager

City Groove Magazine 55

Tabloid Street Bloemfontein

9300

Sir/ Madam

XXX OPEN LINE

BIASED JOURNALISTS RUN OUR COUNTRY TO THE GROUND

XXX OPEN LINE

The current cohort of journalists ………………………. XXXXXXXXXX OPEN LINE

…………………………………………………………….. Sir/ Madam

……………………………………………………………. XXX OPEN LINE

APPLICATION FOR A VACANT POST

XXX OPEN LINE

Kindly receive herewith, my application for the

XXXX OPEN LINE post of ……………………………………………...

I hope someone speaks to them about being a patriot.

XXXXXX OPEN LINE XXXXXX OPEN LINE

Concerned citizen

Kihika (pseudonym)OR

Yours faithfully

Keabetswe K.

Yours faithfully

Katlego K. (Ms)

Katlego K.

12 Macumba Street

BLOEMFONTEIN

9300

12 February 2010

Keabetswe K.

12 Macumba Street

BLOEMFONTEIN

9300

12 February 2010


FRIENDLY/ INFORMAL LETTER

Friendly/ Informal letters are usually written to people who are close to the writer, e.g. friends, family, etc. They mainly written to express an emotion, e.g. congratulate, sympathise, advise, etc. the recipient. Due to the nature of the relationship between the writer and the recipient, the language register and style, among others, differ from those of the formal letter.

Style Like the formal letters, informal letters must also be written in simple English. However,

the writer may elaborate a little on a point, for example, reminding the recipient about a shared moment that might have partially led to the letter being written. While there is a restriction on the number of words, the writer is allowed a little flamboyance. Informal letters are, as a result, livelier than formal letters.

The letters should, nonetheless, be logical and pursue the intended point to the end.

Structure All letters should have an introduction, a body and a conclusion. There must be only one address, the writer’s, with a date in which it was written below it; An informal/semi-formal salutation – Dear Jerry, Dear Aunt Juliet, Dear Father and Mother,

etc. - follows the writer’s address; The language register is mainly informal, but could be semiformal to formal, depending

on who the recipient is. For example, the writer will use a different register when writing to parents compared to that used when writing to a friend;

The conclusion ranges from informal to semi-formal – Yours sincerely; Your loving son; etc– followed by the writer’s first name.

Issues to avoidWhile the language register is more relaxed than in the informal letter, the following still have to be avoided:

Slang and colloquial language; Contractions, abbreviations and acronyms; Innovations as used in sms and mxit texts; and, Foul language.


Examples of informal/friendly letters

1. Letter to a friend 2. Letter to an uncle

621 Nelson Mandela Drive 27 Lechwe Street

Pretoria Fauna

0001 9301

15 June 2010 12 February 2010

XXXX OPEN LINE XXXXXXX OPEN LINE

Dear John Dear Uncle Tall


Ever heard about tales around the evening fire? Well, my friend, what I am going to tell you is not one of this tales, and neither is it a tall story.

It gives me great pleasure to write this letter to you, my loving uncle. I have you have fully recovered use of your right hand since the encounter with the lion. Everybody at school knows about my brave uncle.


My uncle Tall single-handedly saved a lamb from the jaws of a marauding lion…

We have been given a Life Orientation project in which we must identify someone in the community who can be referred to as a hero and interview them. Having heard about your brave deed, my group thinks that you deserve the honour and requests permission to interview you…

I know you find it hard to believe what I told you. My uncle has agreed to be interviewed by my group for the Life Orientation project. I invite you to come with us so that you can get it from horse’s mouth.

I look forward to your reply. On behalf on the group, I look forward to your positive response to our request.

Yours sincerely Your loving nephew

Chana Smiley


CURRICULUM VITAE (CV)

A Curriculum Vitae (CV) is a document through which the writer presents himself/herself to the world. The document should present a strong, first impression of the candidate. It should present information clearly, objectively and concisely.

Remember, the CV must address the post for which the candidate seeks employment. For example, a candidate who applies for a sports-related post will present a CV which speaks more about the candidate’s prowess in sports than in the academic.

The following aspects must be addressed: Personal details Formal Qualifications Work experience (if applicable) Referees


CURRICULUM VITAE OF

PERSONAL DETAILSSurname and full names Date of birthIdentity number AddressContact numbers GenderMarital status Dependants Religion Nationality Criminal record

FORMAL QUALIFICATIONS

Secondary Education

Name of institution Highest qualification obtainedYear of completion

Tertiary Education

Name of institution Highest qualification obtainedYear of completion

WORK EXPERIENCE

Name and address of employerDate of employment Position

REFEREES

Name Relationship Contact number 1.2.3.

MASQUERADEPascaline (neé Honeyball)

Passed away on 17 April 2010, after a long illness. A short family service will be held at 12 Sirrah Street, Sundale, Pretoria, at 08h30, followed by a church service that will be held at Free for Christ Church, Church Street, Pretoria at 09h00.

Messages of condolences and any form of support may be sent to Jone Toms at 12 Sirrah Street, Sundale, Pretoria.

She will always be fondly remembered for her love, generosity and kindness by her husband, children, siblings, brothers-in-law, siblings friends and the community of Sundale.


OBITUARY

An obituary is a notice of the passing on of someone known by the target audience. Over and above ‘formally’ announcing the death, it also sketches the cause of death as well as the funeral arrangements.The aspects below should be included:

Surname first, in bold, then the name (the first or second, that the deceased was better known of). If the deceased was married and you want to mention the maiden name, then you can add it, in brackets, as follows: (neé Honeyball).

A nickname of the deceased may also added (how he was commonly known). Details of the service, possible cause of death (e.g. long illness, accident, etc)

and instructions concerning condolences are given. Euphemism is used, e.g. passed away instead of died.

NB: Some obituaries add a personal note in the form of a loving poem. This can be a bit

sentimental and does not impart much necessary information. Some funeral parlours, when appointed to run a funeral, prepare an obituary as a ploy to

advertise their service. In such cases, details of the service, reason for the death and the name of funeral parlour, are given. Emphasis is more on the funeral parlour than the deceased.

Example

1. Opening and Welcome

2. Apologies

3. Reading and adoption of minutes of previous meeting

4. Matters arising from the minutes

5. New matters

6. Reports

7. Feedback from stakeholders

8. Date of next meeting

9. Closure


AGENDA AND MINUTES OF THE MEETING

An agenda gives an outline of what is to be discussed at a meeting. It is normally given beforehand to people/delegates who are invited to a meeting. The agenda is usually drawn up by the chairperson and the secretary, who, among others...

Check minutes of the previous meeting for items that were carried over; List and collect items that the meeting may need to address; and, Invite members/delegates to forward items they want discussed.

The chairperson and the secretary arrange the items according to their importance beforehand, and then make the final agenda available to the members/delegates. When the final agenda is circulated/availed, the chairperson shall have determined how much time would be allocated to each item.

The following items are common:

The minutes of a meeting are a record of what happened at a meeting. The minutes have to be adopted as a true record in the following meeting for them to be binding, and remain so until they can be revoked.

The minutes: Reflect the name of the organisation; Show the date, the place and the time at which the meeting was held; State the name of the people who attended the meeting – can be added as an annexure,

attendance register; Quote resolutions word for word; Provide a summary of what was proposed and finally agreed upon; Are written in the past tense; Leave out trivialities like jokes; Only become legal and binding once signed and dated by the chairperson after being

read and adopted in the next meeting.


Example

Minutes of a Grade 12 Literature Study Group

Venue: Central Library Gardens Date: 12 April 2010Time: 09h00

1. Attendance: See attached register

2. Apologies: Thato Mokoena who was in detention; Marylyn Macvy who was absent due ill-health; Groovy Fourie and Styles Maphoo who had attended rugby and soccer tournaments respectively.

3. Mr Toffolux, the chairperson, welcomed all the members.

4. The minutes were read and adopted as a true reflection of what transpired in the previous meeting.

3. Matters arising 3.13.2

4. New mattersPreparations for the literature test were presented by Ms Loud. The meeting accepted the presentation. Ms Loud was commended for the good work.The chairperson presented a plan to invite Mr Shakespeare, the author of the drama Othello, to address the Study Group on the drama. The meeting appreciated the chairperson’s efforts. Ms Speaks volunteered to present a vote of thanks and a bouquet of flowers to Mr Shakespeare after the address.Mr Pokeman proposed that funds be raised to pay for expenses like buying a bouquet in the future. The meeting accepted the proposal. Mr Pokeman volunteered to lead the fund raising.

5. The meeting closed at 09h45.

6. The next meeting will take place at 14h30 at the Chimp cage foot on 18 April 2010.

NB: It is more correct to have the meeting CLOSED than ADJOURNED


SKILL 4: LANGUAGE STRUCTURES AND CONVENTIONS

Refer to the notes in the Week 1-2 Booklet.

ACTIVITY 3.1: USING LANGUAGE CORRECTLY[Source: DBE, NSC November 2015]

Read the text which contains some deliberate errors, and answer the set questions.

POSSESSIONS DON'T MAKE YOU RICH

1 A colleague of mine recently quoted a young girl as saying, 'I would rather cry in a BMW than smile on a bicycle.'

2 That's one of the saddest comments about life you're likely to hear. I am not for a moment saying it is not a big deal for people to strive for a betterlife (and heaven knows, we have millions of deprived people in this 5 country) but why is it that we believe material things will bring us happiness? Has contentment ever been guaranteed by mansions and expensive cars?

3 Possessions, like the song goes, have a way of weighing one down. Theolder one gets, the more one acquires, the more one grows layers of 10 insensitivity. 'A mountain of things' (as another song calls it) helps recreate something approaching happiness, but it never quite does.

4 Thinking about it, the times when you had little were often when you were happiest.

5 It was after a long, slow bicycle ride through a quiet spring afternoon with 15 a pretty, clever young woman, that we decided we fitted together. We hadvery little when we were young and now, 31 years later, we still don't have much in the way of cars and mansions.

6 We've got two talented children, a fat cat and two dogs in the yard andthe memories. And one of the best of this is of a bicycle, not a BMW. 20

[Source: The Star, Wednesday 21 May 2014]

Rewrite the colloquial expression 'big deal' (line 4) in formal English. (1)

Choose the correct response from the options provided below. Write down only the letter of your choice.

The pair of brackets in lines 5 and 6 could be replaced by a pair of ...

A inverted commas. B hyphens.C semi-colons.D dashes. (1)


Rewrite the following question in the active voice:

'Has contentment ever been guaranteed by mansions and expensive cars?' (lines7–8). (1)

Provide the noun form of 'acquires' (line 10). (1)

Rewrite the following sentences so that they are grammatically correct:

a) 'Possessions, like the song goes, have a way of weighing one down'(line 9).

b) 'Thinking about it, the times when you had little were often when you were happiest' (lines 13–14).

(1)

(1)

How would the meaning of the phrase 'a pretty, clever young woman' (line 16)change if the comma were omitted? (1)

'We had very little when we were young and now, 31 years later, we still don't have much in the way of cars and mansions' (lines 16–18).

Write down the adverbial clause in the above sentence. (1)

Correct a colloquial redundancy in paragraph 6. (1)

A word has been incorrectly used in the last sentence: 'And one of ... not a BMW.' Correct the error. (1)

[10]


ANSWERS TO ACTIVITIES

ACTIVITY 1.1 : ANALYSING AN ADVERTISEMENT[Source: DBE, NSC November 2015]

The advertiser wishes to emphasise the speed at which the bicycle can travel./This bicycle can hold its own among leading bicycles./The advertiser's metaphor, 'the F29 is pure speed' puts the bicycle in a class of its own.

[Award 1 mark for mere identification of a concept.][Award 2 marks for both identification and elaboration.] (2)

The advertiser has linked the distinctive qualities of the horse to the bicycle. The manufacturers of the bicycle are renowned for the creation of technologically advanced vehicles. Famous brand names appeal to the reader's desire for excellence/quality.

[Credit answers making reference to the Ferrari insignia.][Award 1 mark for reference to eye-catching font.] (2)

'handcrafted'/'hand built':The quality of the product is guaranteed because the manufacture of the individual bicycle has been directly under the control of experts/does not depend on mass-production techniques.'unique'/'exclusively':The advertiser reinforces the exclusivity of the bicycle. It would appeal to the snobbishness of some buyers. The word 'exclusive' underscores the claim that this bicycle is 'the preferred choice of world champions'.

[Award 3 marks for a reference to both the quotations and a critical comment.] (3)

YES

The stallion, on its hind legs/raised tail/flowing mane, exemplifies strength and beauty. The bicycle mirrors this stance and in doing so the reader is led to believe that the F29 is both strong/durable and fast.

[Credit responses that refer to the stallion as the insignia of Ferrari.]

ORNO[Credit cogent alternative responses.] (3)

[10]


ACTIVITY 1.2: ANALYSING A CARTOON[Source: DBE, NSC November 2015]

The domestic setting clearly defines the mother's role. She takes responsibility for all work done in the kitchen while her son sits idly at the

table. (2)

The boy displays contempt for his mother's aspiration to further her studies. He has an indignant expression on his face; his raised finger signals his incredulity/rudeness at his mother's 'madness'. His disrespectful questions,

e.g. 'Didya hit your head?' highlight his disbelief.

[Award 1 mark for merely identifying the attitude.][Award 3 marks only if attitude is discussed with reference to both body language and speech.] (3)

Curtis is overwhelmed by the girl's domineering manner. He is intimidated by her assertiveness. Her tone becomes more threatening towards frame 3 and leaves no room for debate. The exclamation marks, italics and bold 'I' indicate her overbearing approach.

[Award 1 mark if the candidate merely states that the boy is eating/chewing.][Award 2 marks for TWO ideas.] (2)

In Text E, the mother is stereotyped as someone who needs to fulfil domestic demands and perform tedious chores. Her desire to further her studies is frowned upon by a young male character. The mother's sarcasm in frame 4 further highlights the sensitive nature of gender stereotypes.

In Text F, the female character debunks the notion that stay-at-home mothers be content with limited possibilities, e.g. future studies. As the dominant character, the girl discredits gender stereotypes.

[Award 3 marks only if the candidate makes reference to BOTH texts.] [Award a maximum of 2 marks if the candidate refers to only one cartoon.][Credit candidates who make reference to the stereotyping of the boy.] (3)

[10]


ACTIVITY 2.1: POETRY (Seen Poem)

Somewhere i have never travelled – ee cummings[Source: C. Buss, Queenstown HS, Grade 12 Study Guide 2019, EHL/EFAL FET Teachers, Facebook]

His beloved – a person with whom he is passionately in love. (1)

He is saying he loves her (no contra-indication of a ‘him’) and that the strength of his love is beyond his own understanding. He compares his love to a journey to somewhere he has never been before, suggesting that the intensity of his love is a new and extraordinary experience for him. His attraction to her is so great that he

takes the journey ‘gladly’. (2)

Personification – brings life to the eyes highlighting that mysterious and inexplicable pull one feels when drawn to someone. Our eyes are the windows into our soul and by looking into this person’s eyes, the speaker expresses his desire to be one with this person. The ‘silence’ suggests that this experience of loving her

is beyond words. Being speechless when looking at someone.

Simile – compares how this person has the capacity to open him up emotionally in the way Spring opens its first rose. The transformative power of Spring is miraculous which speaks volumes about the way he feels about her. When one bears in mind that a rose is symbol of love, the image becomes even more powerful. The personification of Spring emphasises the skilful, mysterious way in which this love is able to touch and transform him. It also intimates the physical aspects of the relationship. ‘as when the heart of this flower imagines / the snow carefully everywhere descending’ (lines 11-12) (3)

Simile – He compares the way a flower closes up when it snows to his own closing up at the will of this lady. The comparison emphasises the power she has over him while the personification of the flower, as something with a heart, reminds us of the speaker’s intense feelings

Personification – the rain is described as having small hands. This comparison highlights the paradox of the immense power she has over the speaker, despite being fragile. The reference to ‘hands’ is also a reminder of the physical aspects of the relationship.

He implies that his sense of touch fails him when she is too near. The intimacy is

(3)

(3)

(3)

(3)

beyond physical. (3)

The speaker tells us that she can ‘easily unclose’ him, which suggests that she has the power to open up his heart. His love is so intense that he is willing to die for her. (‘if your wish be to close me, i and my life will shut very beautifully,

suddenly’)

The delicate nature of the one he loves is what makes his love more powerful. He sees this love, in all its textures and colours, as beyond the measure of what is known or understood in the world. The love is everlasting.

His love is as vast as the countries but there is a paradox in the fact that this power is wielded by ‘small’ hands. It seems beyond his comprehension that someone with such a delicate touch can have so much power over him.

(2)

(2)

(2)


Simile – he has cut himself off emotionally, however she can ‘open’ him. She has intense power over him. The closed fingers form a fist – sign of defiance? She

stops all of that. (3)

The capitalised Spring awards the season with power and stature. She is as powerful as nature. This stands in stark opposition to i which is NOT capitalised –

he has no power. (2)

Although this seems like a paradox, something extremely delicate and seemingly vulnerable that excites such a strong reaction from the observer can have power.

This power could be to lead the observer to intervene, protect or any other emotive response in direct response to the quality of the ‘fragility’. Her subtlety is powerful! (2)

The use of parentheses in this poem seems to have the opposite effect of its conventional use. It is almost confession-like and acts as an aside. It is intensely personal and therefore sincere. He seems to interrupt himself. (2)

In literature, synaesthesia refers to a technique adopted by writers to present ideas, characters or places in such a manner that they appeal to more than one senses like hearing, seeing, smell etc. at a given time. ‘the voice of your eyes’ –

mixing of the senses. (2)

The poem is full of mystery as the speaker attempts to articulate the inexplicable, intangible allure. There is a sense of magical enchantment at play. Any quote

which supports this. You could quote almost any line… (2)

The speaker compares his metaphorical journey in this relationship to travelling in foreign, previously unknown lands. This is unchartered territory for him as he has clearly never experienced a connection to another in this way before. He appears willing to embark on this journey/adventure as he ‘gladly’ (line 1) succumbs to her bidding to venture ‘beyond’ (line 1) the known. Her power to move him seems akin to opening up vistas of a new world with ‘the colour of its countries’ (line 15),

compelling him to declare his devotion to her (3)

The unusual use of punctuation gives fresh significance to the words, images and phrases, and prompts the reader to take an active role to decode the possible meanings. For example, the use of parentheses in this poem seems to have the opposite effect of its conventional use. It is almost confession-like and acts as an aside. The lack of capital letters renders the first-person ‘i’ insignificant, at the mercy of the subject’s power and stature. The unusual sentence structure compels

the reader to take time to unravel possible layers. (2)

The syntax manipulation emphasises the importance of the words. Words are emphasised. Our ‘uncomfortability’ adds meaning to those words. (2)

[44]


ACTIVITY 2.2: POETRY (Unseen Poem)[Source: Department of Education Free State Province, Poetry Example Questions]

Thanksgiving / Gratefulness (Any acceptable answer.) (1)

Kneel on knees and convey and say. (2)

2.2.3 “pray” (1)

A perk would generally mean that one has an advantage. In this poem the poet sees his existence and the fact that he is able to experience nature as a positive.

(2)

Thankful, grateful. The poet mentions that even the negative things in his life are to be grateful for. He is extremely pleased to be alive.

(2)

Yes, the poet is sincere. He repeats the fact that he is thankful many times. He lists all the things he has to say thank you for daily.

(2)

[10]


ACTIVITY 3.1: USING LANGUAGE CORRECTLY[Source: DBE, NSC November 2015]

3.1.1 important/significant/essential/problem

[Accept alternative suitable synonyms/synonymous phrases.] (1)

3.1.2 D – dashes. (1)

3.1.3 Have mansions and expensive cars ever guaranteed contentment? (1)

3.1.4 Acquisition(s)/acquirement/acquirer/acquirability/acquisitiveness (1)

3.1.5 a) Possessions, as the song goes, have a way of weighing one down. (1)

b) If/When you think about it, the times when you had little were often when you were happiest.Think about it: the times when you had little were often when you were happiest.

[Accept all suitable pronouns.] (1)

3.1.6 The adjective 'pretty' would modify 'clever' as an adverb of degree. (It changes the meaning of ‘pretty’.)

[Accept appropriate explanation.] (1)

3.1.7 when we were young (1)

3.1.8 'We've got' should be 'We have' or 'We've'. (1)

3.1.9 The word 'this' should be 'these' or 'those'. (1)[10]


TEMPLATES

POETRY ANALYSIS SUMMARY

TITLE: POET:

TITLE:Effectiveness /Reference to word choice

STRUCTUREForm / rhyme scheme

POETIC DEVICES / FIGURES OF SPEECHType/ line reference /effectiveness

STANZA ANALYSISState main idea each stanza without reference to text


DICTION (WORD CHOICE)Line reference/Effectiveness

MOODReference to diction /effectiveness

TONELine/ diction reference

THEME (Main and sub-themes) Line reference / diction

POET’S INTENTIONLine reference.


POETRY REVISION[Source: Jerome Buchler, EHL/EFAL FET Teachers, Facebook

Complete the graphic organizer to highlight contrasts and similarities in the clustered poems.

Cluster 1 Vultures African Elegy First day after the war

Cluster 2 Remember Somewhere I never travelled Funeral Blues

Cluster 3 African Thunderstorm Zulu Girl Hard Frost

Cluster 4 Motho ke Motho Felix Randal Garden of Love

Aspects Poem Poem Poem

Tone

Diction used to support the tone

Message (Sense)

Intention

Form

Sound Devices

Figures of Speech

Structure

Diction


PLANNING A LITERARY ESSAY: NOVEL/DRAMA/POETRY

INSTRUCTION WORD/S : (What is expected of me?)

CLUE WORDS: (Topics per paragraph cluster)

Paragraph 2.CLUSTER 1

Paragraph 8.

Paragraph 9.

CLUSTER 3

Paragraph 3.

THESIS STATEMENT

Paragraph 1.

Cluster 1:

Cluster 2:

Cluster 3:

Paragraph 4.

Paragraph 5.CLUSTER 2 CONCLUSION

Paragraph 10.

WRAP UP SENTENCE

Check if PEEL method was used to ensure continuity between paragraphs and clusters.

Paragraph 6.

Paragraph 7.


CREATIVE WRITING PLANNING TOOL

TOPIC:

GENERAL IDEAS

SPECIFIC EXAMPLES


INSTRUCTION WORDS

Key word Meaninganalyse Break up into separate parts and discuss, examine, interpret, explore and

investigate each part. Say how each part is important. Explain how the parts are linked or related.

apply Use in practical way. When you apply you show in a practical way what yourunderstanding is. Use your knowledge and understanding of the topic to make it relevant to a situation, issue or problem.

assess Judge or estimate the nature, quality or value of something. Make a valuejudgement that you justify by giving reasons.

calculate You need to get to an answer by using numbers. You will add, subtract, multiply or divide numbers to reach an answer.

comment Give your opinion on, explain or criticise. Make a judgement based upon theevidence.

compare Look at two or more things. Identify similarities and differences. See how they are the same, and how they are different. Focus more on similarities than differences.

complete Add the missing information.consider Think about and give your opinion.contrast Focus on the differences between two or more things. Show them in opposition to

each other.create Put together ideas or parts to develop an original idea; engage in creative

thinking; offer a novel or new suggestion or item.criticise You need to make judgements to show your own ideas and evaluation.critically analyse

Show approval or disapproval, or find mistakes or faults, and merits or good aspects; give reasons.

define You need to give the exact meaning of the term or words. Definitions are short and exact. This is not a discussion.

describe Give an account of something where you recall what you have learned or state what you observed.

determine Find out the facts. For example, determine how many learners in Grade 11 dophysical exercise more than four times a week.

discuss Write about something; compare a number of possible views about an issue or problem. Debate, consider, and argue the issues. Include comparisons and contrasts, look at pros and cons. Say what you think about the topic. Give a full answer in sentences, not just a list in point form. Always give a conclusion.

do you think

Give your OWN opinions about an issue or problem. Pay attention to the reason you give and arguments you offer; you will not be given marks just for an opinion. Provide well-reasoned or logical reasons for your opinions, based on facts.

enumerate This is the same as list. Give a number of points.evaluate Give your own opinion and /or the opinions of others. Give evidence to support

your evaluation. Give an indication of the amount, quality or value of something.Compare a number of possible views about an issue or problem. Make judgements based on facts.


examine Carefully look at something and in detail so you can comment on it. Break down an issue or problem into smaller parts to understand it. Then explain what you have learned.

Explain Give details, describe, make clear, make it understandable. Make something plain or simplify. Describe in detail so that it can be understood. Always give examples when you are asked to explain.

give You supply, provide, present, or offer information.

Identify Recognise and name someone or something; to say who or what they are.illustrate Give realistic examples. Explain very clearly. You can use examples and

comparisons.interpret Show your understanding of the topic, comment on it, give examples. Describe

relationships, explain the meaning.in your opinion

This asks you what you think about something or feel about something. Forexample, in your opinion do the youth do enough to celebrate Youth Day on the 16th of June?

list Give a short list of the points. State in the shortest way. Be brief. Do not discuss or write an essay. Usually you write items one below the other in a list.

match Find things that go together; find things that are similar or connected to eachother.

measure Find the size, quantity, etc. of something. Judge the importance, value or effect ofsomething.

mention Write about something without explaining. There should be no detail; keep it brief.

name Similar to mention; give a brief answer without long explanations.outline Summarise, describe main ideas and core points, concepts or events. Give an

overview.prove Give the facts to support the issue.state Explain exactly and clearly as it is.suggest Give possible reasons or ideas. These must be believable; they do not

necessarily have to be proven to work.summarise Give a very short and brief account. Include a short conclusion. Do not give

unnecessary details.

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