DEPARTMENT OF BASIC EDUC

TEACHERS’ GUIDELINE

TEACHING
AND
ASSESSING
LITERATURE

ENGLISH

GRADE 4 – 9

First Edition - 2023

SECTIO
TABLE OF CONTENTS PAGE
N

1 INTRODUCTION

1.1 PURPOSE OF THE LITERATURE STUDY GUIDE

1.2 RELEVANT POLICY DOCUMENTS

2 CAPS ON TEACHING LITERATURE

2.1 WHAT IS LANGUAGE?

2,2 LANGUAGE LEVELS

2.3 THE LANGUAGE SKILLS

2.4 WHY DO WE TEACH LITERATURE?

CAPS REQUIREMENTS FOR FORMAL STUDY OF

2.5
LITERARY TEXTS

ANNUAL TEACHING PLAN AS PER CAPS:

2.6
LITERATURE STUDY

2.7 TIME ALLOCATION FOR LITERATURE STUDY

3 LITERATURE

3.1 WHAT IS LITERATURE?

3.2 WHAT IS GENRE?

3.3 READING LITERATURE

4 APPROACHES TO TEACHING LITERATURE

HOW TO APPROACH THE TEACHING OF

4.1 LITERATURE?

HOW TO APPROACH THE CREATIVE WRITING

4.2 PROJECT

5 TYPES OF LITERATURE

6 LITERATURE TEACHING AND LEARNING STRATEGIES

6.1 POETRY

6.3 NOVEL
 6.4 SHORT STORY

6.5 FOLKLORE

7 ASSESSMENT

7.1 WHY DO WE ASSES?

7.2 ASSESSMENT APPROACHES

COGNITIVE LEVEL DISTRIBUTION OF QUESTIONS IN

7.3
LITERATURE

RESPONDING TO LEARNING DIVERSITY IN THE

8
CLASSROOM

8.1 INCLUSION

8.2 LEARNING STYLES

8.3 MULTIPLE INTELLIGENCE

9 ADVOCACY

10 RESOURCES

11 REFERENCES
 https://calhum.org/literature-can-be-a-powerful-and-essential-tool-for-social-evolution/

SECTION 1 - INTRODUCTION

1.1 PURPOSE OF THE LITERATURE STUDY GUIDE

● The purpose of this resource is to briefly guide teachers on the aspects of formal
study of literature as required in the Curriculum and Assessment Policy Statements
(CAPS) for Languages.

● The guide presents and shares information regarding the main genres, such as
poetry, drama, novels, short stories and folklores.

● It includes content such as literary features/terms, explanations, examples, types,

reasons for studying the genres and suggestions on how to study the genres.

● This guide may be used by teachers teaching English Home Language (HL), First
Additional Language (FAL) and Second Additional Language (SAL).

● Reading with understanding is one of the key proficiencies in any language that a
learner needs to enable them to respond to reading comprehension.

● Responding to questions set based on literary texts is one of the expectations of all
learners across phases.

● This document seeks to fill the content gap between Grades 3 to 4 and Grades 9 to
10

● It responds to the challenges highlighted through internal and external assessments

such as the Progress in International Reading Literacy Reading Study (PIRLS) and
the Southern and Eastern Africa Consortium for Monitoring Educational Quality
(SAQMEC).

● Learners will read, evaluate and respond to the aesthetic quality of literary texts.
They will apply the meta-language of literature study to understand and appreciate
elements of literary texts.
● The target audience for this literature guideline is Curriculum Heads, languages
subject advisors and Grade 4 to 9 teachers.

1.2 RELEVANT POLICY DOCUMENTS

The following are the policy documents that must be considered and adhered to in
Curriculum delivery:

Curriculum and Assessment Policy Statement (CAPS): It clearly states all the skills
(listening and speaking, reading and viewing, writing and presenting and language structures
and conventions) that must be imparted to the learners. The text types are clearly stated as
to when they are to be read or taught in the Annual Teaching Plan (ATP).
National Policy Pertaining to the Promotion and Progression Requirements
(NPPPPR): This document stresses that a learner who does not perform as expected and
does not comply when requested, he or she will be at a disadvantage as he/she may not
meet pass requirements.

National Protocol for Assessment (NPA): It standardises the recording and reporting
processes.

Language in Education Policy (LiEP): The South African Language in Education Policy
promotes multilingualism in the classroom.

DBE Guidelines for responding to learner diversity in the classroom: These guidelines
are intended to provide teachers, principals, subject advisors, administrators, school
governors and other personnel, parameters and strategies on how to respond to learner
diversity and inclusivity in the classrooms through the curriculum.

SECTION 2 - CAPS ON TEACHING LITERATURE

2.1 WHAT IS LANGUAGE?

Language is a tool for thought and communication. It is also a cultural and aesthetic means
commonly shared among people to make better sense of the world they live in. Learning to
use language effectively enables learners to acquire knowledge, to express their identity,
feelings and ideas, to interact with others, and to manage their world.

2.2 LANGUAGE LEVELS

Language learning in the Intermediate and Senior Phase includes all the official languages in
South Africa, namely, Afrikaans, English, isiNdebele, isiXhosa, isiZulu, Sepedi (Sesotho Sa
Lebowa), Sesotho, Setswana, Siswati, Tshivenda, Xitsonga, South African Sign Language –
as well as Non-official Languages. These languages can be offered at different language
levels.

The Home Language level provides for language proficiency that reflects the basic
interpersonal communication skills required in social situations and the cognitive academic
skills essential for learning across the curriculum. Emphasis is placed on the teaching of the
listening, speaking, reading and writing skills at this language level.

The First Additional Language refers to a language which is not a mother tongue, but
which is used for certain communicative functions in a society, that is, medium of learning
and teaching in education.

The Second Additional Language level assumes that learners do not necessarily have any
knowledge of the language when they arrive at school. The focus upon exposure to Second
Additional Language is on developing learners’ ability to understand and speak the language
- basic interpersonal communication skills.
The language skills
Language curriculum is packaged according to the following skills:

1 Listening and Speaking

2 Reading and Viewing
3 Writing and Presenting
4 Language Structures and Conventions

2.3 WHY DO WE TEACH LITERATURE?

According to the CAPS document on page 10, “The main reason for reading literature in the
classroom is to develop in learners a sensitivity to a unique use of language that is more
refined, literary, figurative, symbolic, and deeply meaningful than much of what else they
may read.

While most literary texts are forms of entertainment, amusement, or revelation, serious
writers create novels, plays and poems because they have ideas, thoughts and issues;
principles, ideologies and beliefs that they most want to share with or reveal to their
prospective readers. Their imaginative use of language is an added method of revealing,
reinforcing, and highlighting their ideas."

When Teachers were asked, “Why do we need to teach

Literature?”

This is what they

said…
‘To help them
understand life
lessons because we
‘To give them
experiences beyond
find truth through
their own communities’ fiction’

‘To expose them to

‘Give them critical
diverse cultures
thinking skills because
that is just what To educate young minds
teachers do’ about a variety of
subjects To foster a love
for reading’
2.4 CAPS REQUIREMENTS FOR FORMAL STUDY OF LITERARY TEXTS

1. Learners read, evaluate and respond to the aesthetic qualities of literary text.

2. They apply the meta-language of literature study to understand and appreciate elements
of literary texts.

NOTE: The emphasis in formal text study will change depending on the
setwork/chosen text.

● Understand the distinctive qualities of different literary forms, e.g., that a poem has
distinctive characteristics from a novel

● Identify and explain figurative language and rhetorical devices as they appear in
different texts, e.g., simile, metaphor, personification, alliteration, onomatopoeia,
hyperbole, contrast, irony, sarcasm, anti-climax, symbol, euphemism, pun,
understatement

● Identify and explain writer’s/producer’s intention

● Explain choice and effectiveness in poetry of how elements support the

message/theme. Elements may include figures of speech: imagery, rhyme, refrain,
rhythm, alliteration.

● Explain choice and effectiveness in drama of how elements support the

message/theme. In addition to figures of speech and imagery, elements may include
plot, characters, characterisation, stage directions, dramatic irony, setting, dialogue,
monologue, soliloquy, flashback, etc.

● Explain choice and effectiveness in short stories/novels/folklore of how elements

support the message/theme. In addition to figures of speech and imagery, elements
may include role of the narrator, structural elements, e.g., plot, exposition, rising
action, conflict, climax, falling action/anti-climax, denouement/resolution, setting.

Remember to keep your choice of literary texts relevant and suitable for the learners
you teach.

Adapt the content included in this guide to suit your particular needs, keeping in mind
however, that you are guided by the requirements as set out in the CAPS Policy
Document.
 2.5 ANNUAL TEACHING PLAN AS PER CAPS: LITERATURE STUDY

SUGGESTED ANNUAL TEACHING PLAN FOR LITERATURE STUDY

GRADE

GENRES 4 5 6 7 8 9 BREAKDOWN OF ACTIVITIES

GRADES 4-6: There should be a total of three

poems taught annually – spread over the terms.
POETRY 3 3 3 5 5 5 GRADES 7-9: There should be a total of five
poems done annually, two in Term 1 and one
each in Terms 2 to 4.

GRADES 4-6: There should be three short stories

SHORT (1-3 pages) done annually, in Terms 3 or 4.
3 3 3 2 2 2
STORIES GRADES 7-9: There should be two short stories
(3-5 pages) done annually - in Term 3 or 4.

GRADES 4-6: There should be three folklore (1-3

pages) done annually, in Term 1 or 2.
FOLKLORE 3 3 3 2 2 2
GRADES 7-9: There should be two folklore (3-5
pages) done annually - in Term 1 or 2.

The novel/novelette/novella will be studied over

the semester (Term 1 to 2):
Grade 4: 10-20 pages
Grade 5: 20-30 pages
NOVEL 1 1 1 1 1 1
Grade 6: 30-40 pages
Grade 7: 40-50 pages
Grade 8: 50-60 pages
Grade 9: 60-70 pages

The drama will be studied over the second

semester (Term 3 to 4):
Grade 4: 1 Act play (max. 10 pages)
Grade 5: 1 Act play (max. 10 pages)
DRAMA 1 1 1 1 1 1
Grade 6: 2 Act play (10-15 pages)
Grade 7: 2 Act play (15-20 pages)
Grade 8: 3 Act play (20-30 pages)
Grade 9: 3 Act play (30-40 pages)

Assessment Note:

Grades 4 to 8 will complete the activities listed in the table 1.3 as informal or formative activities.
Grade 9 will complete a formal assessment task which will include the writing of a Paper 4 in
Term 4.
2.6 TIME ALLOCATION FOR LITERATURE STUDY (As per CAPS)

The time allocation for literature study falls within that of the Reading and Viewing skill.
In a two-weekly cycle the following time allocation for literature study is suggested:

TIME ALLOCATION PER TWO-WEEK CYCLE

LANGUAGE LEVEL GRADE 4 GRADE 5 GRADE 6

English HL 2 hours 30 min

English FAL 2 hours 30 min 2 hours

TIME ALLOCATION PER TWO-WEEK CYCLE

LANGUAGE LEVEL GRADE 7 GRADE 8 GRADE 9

English HL 1 hour 45 min

English FAL 1 hour 30 min

SECTION 3 – WHAT IS LITERATURE?

Literature is a term used to describe written and sometimes spoken material. Derived from
the Latin word literature meaning "writing formed with letters," literature most commonly
refers to works of the creative imagination, including; poetry, drama, fiction/nonfiction novels,
short stories and folklore in some instances, journalism, and song.

In Grades 4 – 6 learners start to build their literacy skills needed to understand a wide variety
of literature texts. They also apply these skills they have already learned in their Home and
First Additional Languages.

In Grades 7-9, learners will continue to strengthen their skills. By the time learners enter
Grade 7, they would have a well-developed reading and viewing skill that is of the utmost
importance, central to successful learning across the curriculum. Learners develop
proficiency in reading and viewing a wide range of literary and non-literary texts, including
visual texts. This enables learners to recognise how genre and register reflect the purpose,
audience and context of texts.

3.1 WHAT IS A GENRE?

The term “genre” originates from French, a language based on Latin. Many people struggle
with the pronunciation of this word. Genre has a specific form, content and style. Literature is
therefore just a type of genre amongst so many. Literature has three main genres: poetry,
drama, prose (fiction and non-fiction). All these genres have particular features and functions
that distinguish them from one another.

3.2 WHAT IS LITERATURE, LITERARY AND LITERACY?

Etymologically, ‘literature’ means any written work. The term literary is used as an absolute
synonym of literature, wherein the substitution of the other does not impact on meaning.

What then is ‘literary’?

“Literary comes from the Latin litterarius, meaning “letters,” as in letters of the alphabet.”
Literary is writing of high artistic qualities and that includes literary essays.

Literacy

Is the ability to read and write. It is the critical foundational skill that opens doors for other
evolving literacies (computer literacy, financial literacy, etc.). Literacy is the ability to decode
text and to produce text to make meaning. Literacy is when you expand your knowledge of
reading and writing.

Prose versus poetry

Prose, for the purpose of this Literature Study Guide is a type of a literature genre that uses
ordinary language or natural speech, which comparatively is different from the poetic
language used for poetry. Poetry mostly uses language that is full of rhythmic structure.
Poetry uses lines whereas prose uses mostly paragraphs. Some paragraphs could be in the
form of a dialogue.

Literature, therefore, is the art of writing any form of poetry or prose as part of a collection of
written work. The main reason for reading and teaching literature in the classroom is to
develop in learners a sensitivity to a unique use of language that is more refined, literary,
figurative, symbolic and meaningful.

3.3 THE SKILL OF READING AND VIEWING IN LITERATURE STUDY

For learners to become successful readers they need to develop reading skills motivated by
the five basic components of reading: phonemic awareness, phonics, vocabulary, reading
fluency, and reading comprehension. These five aspects work together to create the
reading experience. Knowledge of these five basic components, coupled with awareness of
morphology, syntax and semantics enhances reading atomicity. CAPS advocates using a
balanced approach to teaching reading. This approach encourages children to learn to read
through phonics – by recognising the sounds in words and by sounding words out, and
through whole language – by recognising words as whole pieces of language. Reading
skills are developed by reading a text over with the teacher, by recognising familiar words,
and by working out what other words are.
3.4 FREQUENCY TABLE FOR LITERARY DEVICES AND FEATURES ACROSS THE INTERSEN PHASE

3.4.1 Literary devices

A literary devise is a tool used by authors to highlight their themes, ideas and meaning in a particular story or genre. Each device
serves a purpose. Not all literary devices are taught in all genres. Even where poems may contain more intricate devices, educators
are discouraged from attempting to teach too much. The following guidelines are suggested when choosing which devices to teach
across the phases:

Devices Description Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9
Alliteration (sound A pattern of sound that includes the repetition of consonant
device) sounds. The repetition can be located at the beginning of
successive words or inside the word
Antithesis (contrast) The expression of two opposed or different ideas in
balanced contrast (e.g., ‘more haste, less speed’)
Assonance (sound Is the repetition of vowel sound in words that are close
device) together
Consonance (sound Is remarkably similar to alliteration, but the distinction
device) between the two lies in the placement of the sounds
Contrast (obvious) To consider the way in which things differ. This could be a
sympathetic character living in an abusive home.
Emotional responses It is the reader’s emotions responding to something in a text.
(more complicated) Lyric poems tend to focus more on personal emotions,
attitudes, and the author’s state of mind, e.g., happiness,
sadness, hope, luckiness, gladness, love, anger
Enjambment When one verse runs into the next without the use of any
punctuation
Euphemism a mild or vague expression substituted for a thought or word
(understatement) which is felt to be too harsh or direct
Exposition The action or event that start the rising action in a story
Figurative meaning Words or phrases used in a non – literal way to create a
Devices Description Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9
desired effect; associative or connotative meaning
Figures of speech Word, phrases, or sentence that (1) presents a “figure” to
the mind of the reader, (2) presents an imaginative or
unusual use of words that the reader is not to take literally,
or (3) presents a special arrangement or use of words or
word sounds that create an unusual effect.
Flashback When the author uses images from the past to support
events in the present.
Hyperbole A deliberate exaggeration (e.g., to describe something in
such a way that it seems much bigger than it really is.
Imagery Words, phrases, and sentences which create images in our
minds.
Ironic twist / Ending / A statement or situation that has an underlying meaning
Irony different from its literal or surface meaning. Irony is related
to tone
Poetic justice is a literary device in which virtue is ultimately
rewarded or vice punished in such a way that the reward or
punishment has a logical connection to the deed.
Lines A single line of words in a poem.
Literal and figurative The plainest, most direct meaning that can be attributed to
meaning words
Things / people / places / elements / characters/ persons
ideas / incidents / episodes / experiences
Litotes (understatement) Express something in restrained terms rather than giving the
true or full facts, usually for emphasis, as a form of evasion,
as a form of humour
Metaphor using one thing to describe another thing which has similar
qualities.
Meter / Syllables A unit of rhythm in poetry
Metonymy The use of a part to represent the whole or the use of one
item to stand for another with which it has become
Devices Description Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9
associated, e.g. He gave up the pen for the sword.
Monologue A speech given by a character
Mood Atmosphere or emotion in written texts; it shows the feeling
or the frame of mind of the characters.
Onomatopoeia (sound The use of words to create the sounds they describe.
device)
Oxymoron A combination of words with contradictory meanings, used
deliberately for effect; it is usually formed by using an
adjective to qualify a noun with an opposite meaning (e.g.,
an open secret)
Paradox A self – contradictory statement or one that seems in conflict
with logic; lying behind the superficial contradiction there is
logic or reason.
Pause (rhetorical (caesura) A pause for a beat in the rhythm of the verse
device) (often indicated by a line break or a mark of punctuation)
Personification Attributing human characteristics to non – human things.
Plot The events that drive a story
Pun A play on words which are identical or similar in sound in
order to create humour.
Punctuation Specific punctuation marks used for effect
Refrain (rhetorical Group of words repeated at key intervals in a poem
device)
Repetition (rhetorical Certain sections / some words are repeated
device)
Rhetorical devices A device such as pause and repetition, used by a speaker to
effectively persuade or convince; some devices may be
manipulative.
Rhyme (sound device) Words or lines of poetry that end with the same sound
including a vowel, e.g., alliteration, consonance, assonance
Rhythm / Pace / Tempo A regular and repeated pattern of sounds
 Devices Description Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9
(sound device)
Sarcasm An ironic expression or tone of voice which is used in order
to be unkind or offensive or to make fun of someone
Satire The use of ridicule, sarcasm, and irony to comment critically
on society or an individual or a situation
Simile comparing one thing directly with another, a word such as
‘like’ or ‘as’ is used to draw attention to the comparison.
Stage directions Instructions given to actors when they do a play
Stanzas Lines that form a division or unit of a poem. Stanzas have
four lines
Symbols Something which stands for or represents something else; in
literature, a symbol is expected to have significance.
Synecdoche substituting a part for a whole.
Referring to a hundred ships as “a hundred sails
Word choice / diction Determine word choice by using appropriate, descriptive,
and evocative words, phrases and expressions.
Diction involves the writer’s choice and use of words
Tone Quality and timbre of the voice that conveys the emotional
message of a spoken text. In written text, it is achieved
through words that convey the attitude of the writer.
Typography The layout, shape, form of a poem

3.4.2 Literary features

Features Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9
Anti-climax (contrast): When an expectation of some high point of importance or
Features Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9
excitement is not fulfilled, or the seriousness of a literary plot is suddenly lost as a result
of a comical, digressive or meaningless event
Plot
The structure and relationship of actions and events in a work of fiction.
Background, setting and narrative related to character and theme
includes the broad and immediate situation including aspects such as social, cultural
and political background.
Setting:
The setting is usually established primarily through description, though narration is also
used, i.e., the area where the events took place is described.
Characterization: easily identifiable, easily conveyed through the theme / plot
Climax: The most exciting, effective, or important part of the story
Conflict (interpersonal)
It is not part of the stages of a plot. It is the struggle that arises between characters or
between individuals and their fate or circumstances
Conflict (surroundings, inner, etc.)
Denouement / Resolution
Dialogue (basic)
Dramatic irony
Emotional responses (basic)
Exposition:
Falling action: All of the action which follows the climax
Genres
Intention
Link between dialogue and characters
Mood
Narrator is someone who relates the events of a story.

Resolution / Denouement: The conclusion, the tying together of all of the threads and the
Features Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9
solution to the conflict that arose in the rising action.
Rising action: The basic conflict is complicated by the actions of the characters.

Setting (place)
Setting (time, space)
Suspense
Theme and message
The central/ main idea or ideas of a literary text;
Timeline
Types of characters:
Protagonist / Antagonist
Soliloquy
3.5 READING LITERATURE

3.5.1 The Five Basic Reading Components:

3.5.1.1 Phonemic Awareness

Phonemic awareness is the ability to hear and isolate the different sounds in a word aurally
(through hearing). Learners must recognise all the letters in the alphabet. They need to learn
both the letter name and the sound the letter makes. They must be able to read letters
quickly and identify the sound they make correctly. Learners should have knowledge of
sound changes on words in their languages.

3.5.1.2 Phonics & Word Study

Learners’ knowledge of the relationship between a letter and a sound is foundational in

reading. Learners must be able to sound monographs (single letter sounds), diagraphs two
letter sounds, trigraphs (three letter sounds), quad graphs (four letter sounds) and blends
(combination of letters and or sounds) in words that they are reading. They must be able to
identify and write all the sounds and blends that are used to build words. By learning
phonics, children learn the code of reading. Learners must be taught to blend and segment
sounds, in order to read and write. This means that learners must be able to say all the
individual sounds in a word, and to blend them together until they can ‘hear’ the word.
Teachers must know that sometimes, letters make different sounds in different languages.

3.5.1.3 Vocabulary

Learner’s vocabularies needs to constantly be developed. Learners cannot read and

understand words they do not know. The more words learners know, the more easily and
fluently they will be able to read. For this reason, learners must be exposed to many new
words in an authentic context. By repeatedly hearing the word or phrase in context, the
learner will learn new vocabulary and language. Teachers must also be encouraged to
expand and enrich children’s vocabulary, both in home language and first additional
languages. Teachers must also develop children’s cognitive academic language, by using
these words in context. The different literature genres provide plenty of vocabulary that is
rich in carrying societal cultural values. Learners should be encouraged to read a range of
literature genres in order to expand on their vocabulary. Reading of more literature genres
improves reading proficiency.

3.5.1.4 Reading fluency

The different literature genres provide reading materials for various reading activities.
Teachers should identify reading resources and or extracts that are age and reading ability
appropriate. The selected reading texts should also be at a suitable level for learners.
Learners must practise their reading skills using reading texts where they use both their
phonic decoding and word recognition skills. They should practise reading the text, working
towards reading fluently.

3.5.1.5 Reading comprehension

The different literature genres enhance learners’ reading comprehension skills.

Comprehension involves constructing meaning that is reasonable and accurate by
connecting what has been read to what the reader already knows and thinking about all of
this information until it is understood. Comprehension is the final goal of reading instruction.

Comprehension strategies represent many different ways of thinking about what has been
read. They can be thought of as thinking strategies? they are ways of thinking about what
has been read that help readers go beyond understanding the surface meaning of the text. A
brief list of examples of comprehension strategies includes comprehension monitoring,
cooperative learning, using graphic and semantic organizers including story maps,
answering questions about what has been read, having learners create their own questions
about what they have read, using prior knowledge to connect what they read to what they
already know, and summarizing what they have read.

We must teach learners strategies to try and understand what they are reading. Reading
without understanding has no purpose. Whilst teaching learners technical reading skills is
especially important to teach the skills learners need to understand what they are reading.

Firstly, while learners should be able to decode any words they see, this does not mean they
will be able to understand the word. Just because learners can read a word, does not mean
that they can comprehend the word.
Learners need large oral vocabularies
and background knowledge to
understand the texts they decode.

It is also important to teach children that

they must think about and understand
every text that they read. Learners must
be taught that there is no point to
reading if you do not understand what
you are reading. Learners must also
know that the minute they lose their way
in a text, they must go back and reread
what has been read and try to visualise
and remember what is happening.

https://www.corelearn.com/science-of-reading

3.6 READING ALOUD

3.6.1 Reading and Viewing combines two elements:

a. Learning and applying strategies for decoding and understanding text.

b. Learning and applying knowledge of text features.

Both aspects should be present in reading/viewing instructions of literary texts.

The impact of applying focused strategies when reading is convinced to be of utmost

importance in any act of reading. Below are a few suggested strategies teachers could follow
when practising reading in Literature study:

a. Use graphemic rules and patterns to aid in bottom-up reading.

b. Use different silent reading techniques for rapid reading.
c. Skim the text for main ideas.
d. Scan the text for specific information.
 e. Use semantic mapping or
clustering.
f. Guess when you are not certain.
g. Analyse vocabulary.
h. Distinguish between literal and
implied meanings.
i. Capitalize on discourse markers to
process relationships.

Brown,H.D. (2007). Principles of learning and teaching.

White Plains, N.Y.: Pearson Education.

https://www.inc.com/christina-desmarais/why-you-should-be-reading-books-every-day-according-to-science.html

SECTION 4 – APPROACHES TO TEACHING LITERATURE

4.1 HOW TO APPROACH THE TEACHING OF LITERATURE?

According to the CAPS document. “The teaching of literature should focus on teaching for
comprehension and will include the reading process strategies (pre-reading, reading and
post/after reading).

The teaching of literature is never easy, but it is impossible without the personal, thoughtful
and honest interpretations and comments from the learners themselves. Unless they learn
how to understand a literary text on their own, they will not have learned much.

Teachers need to restrain their own interpretations and ideas of literary texts and allow as
much learner participation as is reasonable. Interpretation is not about right or wrong. It is
about searching for what is meaningful to the reader.

4.1.1 The best ways to approach the teaching of literature would involve some or all of
the following:

1. Make every attempt to read as much of the text in class as possible without breaking for
any other activity. This should not take more than two weeks. It is essential that learners
have a clear idea of what is going on at the most basic level of the text. Spending too
long on reading a text is deleterious to a clear understanding of narrative line and plot.
Some classes can read texts without such support. That is to be encouraged.

2. Poetry should be taught, not poems. Read as many as possible in class and ensure that
learners draft poems as well.

3. Literary interpretation is a university level activity and learners in this phase do not have
to learn this advanced level of interpretation. However, the purpose of teaching literary
texts is to show learners how their home language can be used with subtlety,
intelligence, imagination and flair. This means a close look at how text is being created,
manipulated, and re-arranged to clarify and emphasize what is being expressed. Such
work might involve examining the presence or absence of imagery; what kind of imagery
 is being selected by the writer and why; sentence structures and paragraphing, or the
layout of poems; choice of words, continuing motifs through the text; the use of symbol,
sound and colour where appropriate. Most of this work should be text based, but line-by-
line analysis of any text is destructive to its subtlety.

4. Creative writing should be closely attached to the study of any literary text. Writing
activities that demand a close understanding of the text can prove extremely helpful in
reaching more creative levels of appreciation on the part of the learners. Class
discussions can be fruitful as long as everyone is involved; but class discussions that
lead to written work activities serve a clearer purpose and benefit both.

5. Finally, it is important to point out that Literature is not about right answers. A whole text
means something, not just bits and pieces of it; a proficient reading of a text incorporates
the whole text in interpretative, creative, personal, and exploratory practices.

4.1.2 The other approaches to literature which can be integrated with teaching for
comprehension and for understanding the key features of literature are:

[a] Chronological approach

Learners can research and combine the literature period with the historical events for
the same timeframe.

[b] Author approach

Learners can participate in a broad and deep study of an author especially in poetry
and can link his/her poems with a particular historical period.

[c] Thematic approach

Learners can look at themes such as justice, success, love, etc. across a number of
poems or across different genres and relate them to events in real life situations.
They can make judgments about the character’s actions and comment on the theme.

[d] Genre approach

Learners can classify,
compare and contrast
several types of literary
genre, e.g., the difference
between the plots in a
novel/short
story/drama/folklore.”

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annamloquinario/teaching-literature-24690678
4.2 HOW TO APPROACH THE CREATIVE WRITING PROJECT

The literature project is part of the Programme of Assessment for Term three and assesses
the learners’ skill to research, write and do an oral presentation. According to the Guidelines
on Informal activities, it is expected that Literature study be taught as part of Reading and
Viewing, where the Literature genres are explicitly taught focusing on the features thereof.
Teachers are to give learners a project, based on a genre that has been taught during the
year.

4.2.1 Becoming familiar with the genre during Literature Study period.

 Identify and introduce a genre (text type) for the research project.
 Genres need to be explicitly taught by the teacher.
 Brainstorm: The teacher needs to start by finding out what learners already know
about the genre.
 The teacher reads, and the learners listen to the text being read aloud several times.
 Learners to summarise and make notes of the information (the features of the genre
and the differences in language of genres).
 Name the title, and author of the text.
 Read up and share facts on the author.
 Study and identify the features of the genre.

4.2.2 Referencing
 All sources must be referenced. The teacher can provide the learners with a
reference list of sources used. If learners use additional
 sources they can include it in their reference list
 Very Simple referencing to be done

4.2.3 Bibliography
 Name of Author, Year, Title
 e.g., Roald Dahl, 2005, Charlie and the Chocolate factory
 Or Web address: e.g.www.roalddahl.com

A project must be a learner’s work. Resources and direct quotes must be credited to their
original source. The teacher, parents and other adults may give suggestions and guidance to
the learner; however, the learner must perform all actual construction of the project by
themselves.

4.2.4 Key Features of the genres that should be considered in the project (Teachers
may select features as per grade expectations and project requirement)

 Title
 Author
 Publisher and Publication date
 Main characters (only those important in the story)
 Setting – place and time of story
 Plot summary – outline of what the story is about and what takes place
 Conflict – the problem or tension in the story
 Solution or resolution – why the author drafted the story (to entertain, inform and/or
persuade) the reader?
  Tone or mood – describes how the author wants the reader to feel while reading the
story
 Learner’s connections (text-to-self, text -to-text, text-to-world)
Created by GDE LANGUAGES TEAM

4.2.4 Layout of the Creative Writing Project

INFORMAL ASSESSMENT FORMAL ASSESSMENT

 Happens throughout the process CWP STAGE 1: RESEARCH
 Teacher monitors learner/s during the Intermediate Phase (10 marks)
Senior Phase (20 marks)
research process
CWP STAGE 2: WRITING
 SUGGESTION:
Intermediate Phase (30 marks)
o During Stage 1: Research - Allow Senior Phase (30 marks)
learners to source and compile
CWP STAGE 3: PRESENTATION
information in their own time and Intermediate Phase (20 marks)
bring these to class Senior Phase (20 marks)

o During Stage 2: Writing Process – SUGGESTION:

Allow learners to do Planning / Mind
 During Stage 1: Research - The completion of research
map at home notes and compilation of evidence to take place in
o Ensure that work is done by the class under the supervision of the teacher
 Learners refer to the Checklist (which was discussed
learner and not by a family member. beforehand) to guide them.
 Teacher pace the activities and checks in
 During Stage 2: Writing Process – The rough draft,
regularly with learners regarding their editing, review and writing of the FINAL draft must be
progress completed in class under the supervision of the
teacher
 Teacher provides guidance and constructive  Learners refer to the Rubric (which was shared
feedback regularly beforehand) to guide them.

 It is important to break down the Creative  Stage 3: Oral Presentation - The Oral component of
Writing Project according to clear timelines the project will only be used in Term 4. Commence
with the Orals in Term 3 and conclude in Term 4
 Every learner should have a copy of the Checklist/
Rubric at the onset of the respective stages.

 Note: Teachers may use a Rubric to assess Research

evidence / Portfolio (ensure that the criteria and
descriptors in the Rubric are in line with this)
 Learners submit their respective Tasks on the required
due dates
ASSESSMENT INSTRUMENTS TO BE USED

 Checklist; Rubric
Created by WCED LANGUAGES TEAM
 SECTION 5 – TYPES OF LITERATURE

5.1 TYPES OF LITERARY GENRES

The list of types and literature genres can seem endless. But it is still possible to narrow
down the vast amount of literature available into a few basic groups. The five genres of
literature learners should be familiar with are Poetry, Drama, Fiction/Nonfiction novels,
short stories and folklore each of which is explained in more detail below.

Literary Genres - Prose

Fiction Non-fiction

Realistic Science Fantasy Traditional Historical Informational Biography Autobiography

Fiction Literature
Fiction
Fiction Dictionaries Someone else Story about
(Folklore) life story yourself
TV guide

Mystery Legend Fairy Tale Memoir

Tall Tale Fable

Myth Folk Tale

5.2 LITERARY FEATURES

 Literature study requires knowledge of literary features.

 Literary features are the elements that the different literature genres have.
 Poetry and prose (drama, novel, short story and folktale) share many of the literary
devices and therefore should never be dealt with in isolation.
 This study guide will try, where possible, to sequence the literary features in a logical
manner, focusing on the most common ones.
 Teachers are advised to exercise their professional discretion on the depth of these
literary features.
 For lower grades learners can be introduced to some of these literary features in a
simpler manner and subsequently phasing in more complex concepts in higher
grades.
 The model of focussed and incidental teaching should be the norm.
 For the former, where possible, some of the concepts within the literary feature
should be spread across the grades, thereby ensuring full coverage thereof.
 The incidental teaching of these concepts is encouraged and should be defined by
the context of the text being used.
 However, the incidental teaching should never take priority over focussed teaching
for each grade.
 This Guide will focus on the most common ones – starting with the cover page (title,
author, publishing (publisher and date), International Standard Book Number (ISBN))
moving into the content of the story, focusing on characters, conflict, plot, setting,
language, dialogue, narrator, point of view, suspense, irony, foreshadowing and
flashback.

5.3 ABOUT THE TITLE

 The title, simply put, is the name of a book or any published text.
 It serves as an identity of the published work.
 It can be a word, a phrase, or a sentence given to a text (an essay, article, chapter,
report, other any other genres).
 The title of a book is what greets us first into the book and is found on the front cover.
 A title may be followed by a colon and a subtitle, which usually amplifies or focuses
the idea expressed in the title.
 Titles catch the attention of readers and provide a clue to the content of the genre.
 The title page or pages comprise the title itself, the author, publishing (the name of
the publishing company, place where the work was published and the date on which
the work is published).
 It contains the International Standard Book Number (ISBN).
 Knowledge of titling is crucial since it provides with bibliographical information that
learners will require at tertiary schooling.

5.3.1 Examples and observations of titles

● "It is important to know the title before you begin—then you know what you are
writing about." (Nadine Gordimer, quoted by D. J. R. Bruckner in "A Writer Puts the
Political Above the Personal." The New York Times, Jan. 1, 1991)
 https://self-publishingschool.com/book-title-ideas-choose-perfect-title-book/

5.4 AUTHOR

An author is someone whose written work

has been published. In addition to producing
published work, people who write are
considered authors when they originate the
ideas and content of their written work. For
this reason, most authors are writers, but
not all writers are authors.

https://www.neverendingvoyage.com/south-
africa-books/
5.4.1 The difference between an author and a
writer?

The primary difference between a writer and an

author has to do with whether your work is
published. Writer writes or expresses ideas or
concepts through the written words while authors
write or often published a completed literary work.

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5.5 PUBLISHING

Each published genre has publishing details. The publishing details comprises, though not
limited to the following:

● The name of the publishing company,

● The year in which the work is published, and
● The place (town/city) where the work is published.

5.6 BIBLIOGRAPHY

When we do any type of research or investigation, we must acknowledge the resources

of our information. We are not allowed to use information that is not ours. It is called
plagiarism and you may receive no marks for your project or assignment. We use a type of
structure called a bibliography when we must write down the names and books / websites
we used to find all our
information.

5.6.1 How do we create a

bibliography?

 When we used any

information from
magazines, books, maps,
pictures, graphs,
webpages, blogs, (any
virtual information), we
write down information.
 Make a list of all the
documents you read while
conducting your research.
You can write it down or
simply copy and paste the
address (URL) in the bar on top.
 You will also have to keep track of sections, pictures, quotes, or any other
information you selected from the resource.
5.6.2 Exemplar Bibliography Template:

Author’s name _____________________________

Surname _________________________________

Title of book (underline the title of the book)

_________________________________________________________

Place of publication: ________________________________________

Publisher: ________________________________________________

Copyright year: ____________________________________________

Internet article:

Article author’s last name _____________________________

Author’s first name __________________________________

Title of the article in inverted commas

“____________________________________________”

Date of the internet publication _____________________________________________

http://address/filename ____________________________________________________

Date of document download _______________________________________________

 SECTION 6 – TEACHING AND LEARNING STRATEGIES

The following are literary genres that learners need to engage with in Intermediate and
Senior Phase as per CAPS:

6.1 POETRY

a. What is poetry?

Poetry is language written with rhythm, figurative language, imagery, sound devices
and emotionally charged language to inspire thoughts and feelings in the reader. It
can be written in a specific form (usually using lines and stanzas) or in free verse.
Literature in verse form in a controlled arrangement of lines and stanzas. It utilizes
concise musical and emotionally charged words to express multiple layers of
meaning verse.

b. Types of poems

TYPES FEATURES

● A short poem
Lyric ● Usually written in first person point of view
● Expresses an emotion or an idea or describes a scene
● Do not tell a story and are often musical

Shakespearean
Sonnet ● A fourteen-line poem with a specific rhyme scheme.
● The poem is written in three quatrains and ends with a couplet.
● The rhyme scheme is abab cdcd efef gg

E.g. Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate.

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date.

Sometimes too hot the eye of heaven shines,

And often is his gold complexion dimmed;

And every fair from fair sometimes declines,

By chance or nature’s changing course untrimmed.

But thy eternal summer shall not fade

Nor lose possession of that fair thou ow’st;

Nor shall Death brag thou wanderest in his shade,

When in eternal lines to time thou grow’st

So long as men can breathe or eyes can see,

 So long lives this, and this gives life to thee.

A sonnet consisting of an octave rhyming abba abba and a sestet rhyming in

any of various patterns (as cde cde or cdc dcd) —called also Petrarchan
sonnet, e.g.

When I Consider How My Light Is Spent

When I consider how my light is spent

Ere half my days, in this dark world and wide,
And that one talent which is death to hide
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
Italian Sonnet
My true account, lest he returning chide;
"Doth God exact day-labour, light denied?"
I fondly ask; but Patience to prevent

That murmur, soon replies, "God doth not need

Either man's work or his own gifts; who best
Bear his mild yoke, they serve him best. His state
Is kingly. Thousands at his bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait."

John Milton

Concrete poems
● A poem that tells a story.
● Longer than the lyric styles of poetry because the poet needs to
establish characters and a plot., e.g.

Poetry

Is like

Flames,

Which are

Swift and elusive

Dodging realization

Sparks, like words on the

Paper, leap and dance in the

Flickering firelight. The fiery

Tongues, formless and shifting

 Shapes, tease the imagination.

Yet for those who see,

Through their mind’s

Eye, they burn

Up the page.

● A poem that tells a story.

Narrative poems
● Longer than the lyric styles of poetry b/c the poet needs to establish
characters and a plot.

● A poem that is very conversational - sounds like someone talking

with you.
Free verse ● A more modern type of poetry.
● Unlike metered poetry, free verse poetry does NOT have any
repeating patterns of stressed and unstressed syllables.
● Does NOT have rhyme.

● It is a short narrative poem.

● It has a simple and dramatic action.
● The ballads tell of love, death, the supernatural, a historical event,
Ballad
or a combination of these.
● It has a refrain.
● Ballads often open abruptly.
● It uses concise dialogue.
● The ballad stanza is a quatrain in which the second and the fourth
lines rhyme while the first and the third lines do not (abcb).

● Expression of individualized feelings, especially love, sad

Elegy meditations on the fleeting quality of happiness, fleeting youth, the
necessity of old age and death.
● Sad, retrospective contemplation of present in relation to past.

● The hero is a figure of great national or even cosmic importance,

and represents a culture’s heroic ideal.
● The setting of the poem is ample in scale, and may be worldwide, or
even larger.
● The action involves superhuman deeds in battle.
Epic
● In these great actions, the gods and other supernatural beings take
an interest or an active part.
● An epic poem is a ceremonial performance and is narrated in a
ceremonial style which is deliberately distanced from ordinary
speech and proportioned to the grandeur and formality of the heroic
subject matter and the epic architecture.

Praise poem African praise poem

African names carry stories of:

● who you are,

● where you are coming from, and
 ● what you have been through, so that you and others can "know"
you.

If you were born an African child, you might be taught to:

● recite a special chant of self-naming that identifies your family,

community, and regional affiliations; proclaims your clan and revered
ancestors.
● announces your place in society, as well as other exceptional
circumstances and characteristics.

In a lifetime, an African person may acquire many "praise names" - or

epithets (= descriptive substitutes for a person's name) - which embody
not only the virtues but also the vices of the person and/or the person's
ancestors. So important is such African naming that sophisticated oral
art forms called "praise poetry" have developed in every African
traditional society.

● A series of Praise names or epithets (descriptive terms that

substitute for the names of persons or things) comprise the poem's
content.
● Each line of the praise poem is comprised of one praise name or
descriptive epithet.
● No connector words or transitional phrases are used to connect
lines or explain relationships between lines
● Rhythm and sound are carefully dealt with, for a praise song is
meant to be chanted to rhythmic beat or sung to music.
● In communal performance, the lines of the praise poem would be
called by the chanter, and audience-participants would be
expected to respond as a chorus at regular, rhythmic intervals
within the chanted praise song, e.g.

African Praise Poems

I am the attention-demanding weasel.

The peacock who worked tremendously hard.

Whose parents were so proud of her accomplishments

But would not mingle with all

until a flying bird traveling throughout the world.

I am a quiet and nourishing rainfall.

V. DiLorenzo

A limerick is a five-line poem written with one couplet and one triplet or
often referred to as nonsense poetry.
Limerick
● Limericks are types of poems that are meant to be amusing,
humorous and comical in nature and tone, though the comedy can at
times be offensive & rude in nature as well.
 ● A Limerick poem will always have 5 lines to it; no more, no less, &
the lines are noticeably short; nothing too elaborate; only a funny
twist of words

● Off these 5 lines, lines # 1, 2 and 5 should always end in words that
rhyme with each other

● Consequently, lines # 3 and 4 should always end in words that

rhyme with one another. However, the ending words for lines 3 and 4
must have a different sound than the words that end lines # 1, 2 and
5.

● Usually, most writers will reinforce the rhyming rule by asking you to
follow the ‘aabb’ rule. To make it a little more engaging, simply go
with the “DA DA DI DI DA” flow i.e., ending words for lines 3 & 4
rhyme with each other, and likewise the last words for the 3 other
remaining lines should rhyme with each other as well.

● The essence of a Limerick poem is written in the last line i.e., Line #
5 contains the punch line (the most humorous or jokey) part of the
whole poem.

6.1.3 Poetic devices

SUGGESTED QUESTIONS FOR POEM ACCORDING TO HL AND FAL INTERSEN

POEMS INTERMEDIATE PHASE SENIOR PHASE

Give the title of the Poem

Who is the author of this poem? (1) (L1) What type of poem is this? Give reasons to
Structure
support your answer. (2) (L1)

Which figure of speech appears in line 15?

Underline the simile in the sentence below:
Figures of speech “They look just like a shark’s” is an example
“like a pair of purple sparks” (1) (L1) of a simile. Quote another simile from the
poem. (1) (L1)

In line 1 of the poem what emotion is What is the mood of the poem? (1) (L3)
Figure of speech
express by the poet? (1) (L3)

What type of the poem is this? (1) (L1) What type of the poem is this? Substantiate
Type of poem
your answer. (2) (L2)

What lesson have you learned from the

poem? (2) (L3) What is the theme or message of the poem?
Theme
(2) (L3)

Mood What do you think of the poet’s language What is your opinion on the language use by
 when looking at the line below? the poet, in the following line?

“Does his tables, writes his spellings,” (2) “Does his tables, writes his spellings,” (2)
(L5) (L5)

6.1.4 Literary Features

TERMS
EXPLANATIONS

 Words or phrases used in a non – literal way to create a desired

effect; associative or connotative meaning; representational
Figurative meaning  Literal texts often make concentrated use of figurative language
(e.g., simile, personification, metaphor)
 The leaves danced across the lawn. (figurative language)

 The plainest, most direct meaning that can be attributed to words

 Things / people / places / elements / characters/ persons ideas /
Literal meaning
incidents / episodes / experiences
 The leaves blew across the lawn. (literal language)

 Atmosphere or emotion in written texts; it shows the feeling or the

frame of mind of the characters; it also refers to the atmosphere
produced by visual, audio or multi – media texts
 Words that describe mood:
 fanciful, melancholy, frightening, mysterious, frustrating, romantic,
gloomy, sentimental, happy, sorrowful, joyful, suspenseful
 The mood can be many different things, e.g., a feeling of love / doom. /
fear / pride; an atmosphere of chaos. / peace
 Examples of MOODS include suspenseful, joyful, depressing, excited,
anxious, angry, sad, tense, lonely, suspicious, frightened, disgusted
Mood  The poem "Dover Beach" by Matthew Arnold offers examples of two
different moods originating from the same experience: watching the
ocean at night.
Example:
The mood of the first three lines —
The sea is calm tonight
The tide is full, the moon lies fair
Upon the straights....
is in sharp contrast to the mood of the last three lines —
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,

Theme and  The central/ main idea or ideas of a literary text; a text may contain
message several themes, and these may not be explicit or obvious
 Themes related to love, death, war, or peace
 Examples of common themes include growing up or the search for
one's identity; significant life events like birth, marriage, death;
overcoming ...
 TERMS
EXPLANATIONS

 A theme in Keats's "Ode to a Nightingale" is the difficulty of correlating

the ideal and the real.

 Words, phrases, and sentences which create images in our minds,

such as similes, metaphors, personification.
 verbal expression of a sensory detail (e.g. (sight, sound, smell,
taste, touch) – language that appeals to the seven senses
Imagery  Simile: In the morning, the dust hung like fog, and the sun was as red
as ripe new blood - John Steinbeck
 Metaphor: In battle, the soldier is a tiger.
 Personification: The house pleaded for a new coat of paint.

Figures of speech  Word, phrase or sentence that

o (1) presents a “figure” to the mind of the reader,
o (2) presents an imaginative or unusual use of words that the
reader is not to take literally, or
o (3) presents a special arrangement or use of words or word
sounds that create an unusual effect.
 Language that contains a figure of speech is called figurative
language.
 Figurative language is also sometimes called imagery because it
presents an image to the mind.
 Other figures of speech include:
Antithesis, simile, metaphor, metonymy, onomatopoeia,
personification, synecdoche, irony, oxymoron, hyperbole, contrast,
satire, wit, sarcasm, anti-climax, symbol, euphemism, litotes, paradox,
pun, understatement, synecdoche.
 The leaves danced across the lawn. (figurative language)

Anti-climax – when an expectation of some high point of importance or

excitement is not fulfilled, or the seriousness of a literary plot is suddenly
lost as a result of a comical, digressive or meaningless event.

Contrast – to consider the way in which things differ.

In the poem “The Dumka,” by B.H. Fairchild, the contrast is between life at
home and the war. The author is talking someone’s parents who are really
out of it after the war just occurred. They just sit there and stare at the
phonograph, a device for playing recorded music, with their hands in their
laps. The author compares their stares like looking at the 30’s during the
great depression.
Euphemism – a mild or vague expression substituted for a thought or
word which is felt to be too harsh or direct

In “Do Not Go Gentle into That Good Night,” Dylan Thomas uses "good
night" as a euphemism for "death." The word good night masks the word
death.
TERMS
EXPLANATIONS

Hyperbole – a deliberate exaggeration (e.g., to describe something in

such a way that it seems much bigger than it really is: ‘He gave me a
mountainous plate of food.’)

Deliberate overstatement, i.e., calling a paper cut “a gaping wound.”

"Go and Catch a Falling Star" by John Donne

Function: statements are exaggerated to create an impact

Irony – a statement or situation that has an underlying meaning

different from its literal or surface meaning. Irony is related to tone

"Water, water, everywhere,

And all the boards did shrink;
Water, water, everywhere,
Nor any drop to drink." (Situational Irony) - The Rime of the Ancient
Mariner, S. T. Coleridge

In this example it is ironic that water is everywhere but none of it can be

drunk

Metaphor – using one thing to describe another thing which has similar
qualities (e.g., ‘Education is the key to success.’)

Function of metaphor: Like a simile, a metaphor expands the sense and

clarifies the meaning of something.

Life is a broken-winged bird

That cannot fly.
Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.
From the poem Dreams by Langston Hughes

Onomatopoeia – the use of words to recreate the sounds they describe

E.g., the whoosh of the wind as it rushed through the trees

“I heard the ripple washing in the reeds / And the wild water lapping on the
crag” from Morte D'Arthur by Alfred, Lord Tennyson

Oxymoron – a combination of words with contradictory meanings, used

deliberately for effect; it is usually formed by using an adjective to qualify a
noun with an opposite meaning (e.g., an open secret)

Apparent contradiction, i.e., calling love “a sweet anguish.”

▪ John Milton's description of God in Paradise Lost as 'Dark with

excessive bright
▪ "And faith unfaithful kept him falsely true" from Idylls of the King by
 TERMS
EXPLANATIONS

Alfred, Lord Tennyson

▪ "O miserable abundance, O beggarly riches!" by the poet John
Donne from "Devotions on Emergent Occasions"
Paradox – a self – contradictory statement or one that seems in conflict
with logic; lying behind the superficial contradiction there is logic or
reason.

"The swiftest traveller is he that goes afoot."

(Henry David Thoreau, Walden, 1854)
"War is peace."
"Freedom is slavery."
"Ignorance is strength."
(George Orwell, 1984)

Personification – attributing human characteristics to non – human

things.

Giving human characteristics to a nonhuman object, i.e., “the laughing

brook,” or presenting an abstraction as a person: i.e., Justice as a
blindfolded woman holding a set of scales.

Pun – a play on words which are identical or similar in sound in order to

create humour.

E.g., ‘Seven days without water makes one week/weak.’

"Grave men, near death, who see with blinding sight"
(Dylan Thomas, "Do not go gentle into that good night")

Simile – comparing one thing directly with another, a word such as ‘like’ or
‘as’ is used to draw attention to the comparison

▪ O my love is like a red, red rose by Robert Burns

▪ Idle as a painted ship upon a painted ocean by Samuel Taylor
Coleridge
Function of simile: It expands the sense and clarifies the meaning of
something

 Determine word choice by using appropriate, descriptive and

evocative words, phrases and expressions
 Diction involves the writer’s choice and use of words
 Diction can be described as colloquial, simple, elegant, formal,
technical, figurative, emotive, pretentious, plain, decorative etc.
Word choice /  The vocabulary used in a story ought to be appropriate to its subject
diction matter.
 Diction can reveal the attitude of the narrator, and as such could be
linked to tone.
 Straightforward words and regular phrases would indicate a neutral
position, in contrast to the prejudiced narrator who would be more
likely to use emotive language to persuade the reader to a
particular point of view.
 TERMS
EXPLANATIONS

 Quality and timbre of the voice that conveys the emotional message
of a spoken text. In written text, it is achieved through words that
convey the attitude of the writer. In film, tone can be created
through music or visual effects
 The tone of a literary work may be joyful, sad, brooding, angry,
playful, and so on. The tone of Thomas Gray's "Elegy Written in a
Tone Country Churchyard" is sombre.

Words that describe tone:

amused, humorous, pessimistic, angry, informal, playful, cheerful,

ironic, pompous, horror, light, sad, clear, matter-of-fact serious, formal,
resigned, suspicious, gloomy, optimistic, witty

A device such as pause and repetition, used by a speaker to effectively

persuade or convince; some devices may be manipulative.

Repetition

▪ Because I do not hope to turn again

Because I do not hope
Because I do not hope to turn...
from 'Ash-Wednesday' by T. S. Eliot
▪ I looked upon the rotting sea,
And drew my eyes away;
Rhetorical devices
I looked upon the rotting deck,
And there the dead men lay.
from "Rime of the Ancient Mariner" by
Pause

(caesura) a pause for a beat in the rhythm of the verse (often indicated by
a line break or a mark of punctuation) e.g.

St. Agnes’ Eve – Ah, bitter chill it was!

The owl, for all his feathers, was a cold.

Emotional It is the reader’s emotions responding to something in a text.

responses
Lyric poems tend to focus more on personal emotions, attitudes, and
the author’s state of mind.

E.g., happiness, sadness, hope, luckiness, gladness, love, anger

Lyric poem:

"Ode on a Grecian Urn": (John Keats)

What men or gods are these? What maidens loth?

What mad pursuit? What struggle to escape?

 TERMS
EXPLANATIONS

What pipes and tumbrels? What wild ecstasy?

A single line of words in a poem.

Example:

● End-stopped lines: it means the line ends in punctuation, so that

there is a distinct pause at the end of the line.
● Enjambement / run-on line –means the line continues through into
the next line of poetry. It is also called a “run-on” line. No
punctuation will appear at the end of an enjambed line. You are
meant to read straight through the line when it contains no
punctuation at the end.
A series of words written, printed, or recited as one of the component’s
units of a larger piece of writing, such as a poem.
Lines
Beginning of a poem by Robert Herrick:

Gather ye rosebuds while ye may,

(first line of words - end-stopped lines)

Old Time is still a-flying:

(Second line of words - end-stopped lines)

And this same flower that smiles to-day

(Third line - enjambed line)

To-morrow will be dying.

Stanzas/ verses Lines that form a division or unit of a poem. Stanzas have four lines.

There are many diverse types of stanzas. Some of which are:

● Couplet (a two-line stanza)

● Triplet / Tercet (a three-line stanza)
● Quatrain (a four-line stanza)
● Quintet (a five-line stanza)
● Sestet (Sextet) (a six-line stanza)
● Septet (a seven-line stanza)
● Octave (an eight-line stanza)
Usually, a rhythmical unit in which lines of poetry are commonly arranged

I Love to Write Poems

(First Stanza)

I love to write

Day and night

What would my heart do

But cry, sigh and be blue

 TERMS
EXPLANATIONS

If I could not write

(Second Stanza)

Writing feels good

And I know it should

Who could have knew

That what I do

Is write, write, write

- Unknown Author

Group of words repeated at key intervals in a poem

Poem such as Dylan Thomas's "Do Not Go Gentle Into That Good
Night

Do not go gentle into that good night,

Refrain Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,

Because their words had forked no lightning, they
Do not go gentle into that good night.

A word, phrase, or clause which is repeated at the beginning of word

groups occurring one after the other, repeating multiple times within the
poem.

Give me wine, give me women and give me song. For everything there
is a season . . . a time to be born, and a time to die; a time to plant, and
Repetition a time to pluck up what is planted. –Bible, Ecclesiastes

A word or phrase is used more than once for emphasis, e.g.

See the flags; snow-white tent,

See the bear and elephant,
See the monkey jump the rope,
Listen to the Kallyope, Kallyope, Kallyope!

Sound devices Alliteration: a pattern of sound that includes the repetition of

consonant sounds. The repetition can be located at the beginning of
successive words or inside the word

The function of alliteration, like rhyme, might be to accentuate the

beauty of language in a given context, or to unite words or concepts
through a kind of repetition.
TERMS
EXPLANATIONS

“With old woes new wail my dear time’s waste” Shakespeare, Sonnet

Two or more words in close succession beginning with the same letter or
sound.

I caught this morning morning's minion, kingdom of daylight's dauphin,

dapple-dawn-drawn Falcon,
in his riding

Consonance: is similar to alliteration, but the distinction between the

two lies in the placement of the sounds. If the repeated sound is at the
start of the words, it is alliteration. If it is anywhere else, it is
consonance. In most cases, consonance refers to the end sound

like "nk" in blank and think

Repetition of consonant sounds:

You crash over the trees,

You crack the live branch:
the branch is white,
the green crushed,
each leaf is rent like split wood.

"bra" and "cr" mimic the sound of branches cracking. "sh" and "ch" imitate
the sound of wind and rain.

Assonance: is the repetition of vowel sound in words that are close

together

Repetition of vowel sounds:

Presume not on thy heart when mine is slain;

Thou gavest me thine, not to give back again.

The function of assonance is frequently the same as end rhyme or

alliteration: All serve to give a sense of continuity or fluidity to the verse.

Rhyme: words or lines of poetry that end with the same sound
including a vowel, e.g., alliteration, consonance, assonance

Some kinds of rhyme include:

Internal rhyme: rhyme that occurs inside a line. Example: The knell of
the bell saddened me.
End rhyme: rhyme in which the final syllable (or syllables) of one line
mimics the sound of the final syllable (or syllables) of another line.
Eye rhyme: form of rhyme in which the pronunciation of the last
syllable of one line is different from the pronunciation of the last syllable
of another line even though both syllables are identical in spelling
except for a preceding consonant. For example, the following end-of-
 TERMS
EXPLANATIONS

line word pairs would constitute eye rhyme: cough, rough; cow, mow;
daughter, laughter; rummaging, raging.

Rhythm: a regular and repeated pattern of sounds

The rhythm of a poem may be fast or slow, choppy or smooth.

Function: Poets use rhythm to create pleasurable sound patterns and to

reinforce meanings.

Pace: Also called rhythm or tempo, is a term used to describe the flow
of events in a text.

The Assyrian came down like a wolf on the fold

Begin, and cease, and then again begin

from Dover beach, Arnold Matthew

Onomatopoeia: the use of words to create the sounds they describe

The whoosh of the wind as it rushed through the trees

E.g., burp, varoom, oink, crackle, moo, hiss, gong, thud, splash, zip,
creak, boom, slurp, crunch, quack, twitter, honk, hoot, squeak, buzz, and
zoom.

Carrying the sense of one line of verse over to the next line without a
pause.

The function of enjambement in poetry is typically to:

● allow an idea to continue beyond the limitations of a single line, often

to reinforce certain ideas within the lines themselves.
● Enjambment can also be used to surprise a reader, by setting up one
idea in the first line and then changing that idea in some way in the
second line.
● It can also be used to maintain a rhythm that is stronger than perpetual
end-stopping.
Enjambement
By using enjambment, a poet is able to effectively pull the reader along
from one line to the next and establish a fast rhythm or pace for a poem.

In the first four lines of "My Last Duchess," by Robert Browning,

enjambement joins the second and third lines (I call / That) and the third
and fourth lines (Pandolf's hands / Worked):

That's my last Duchess painted on the wall,

Looking as if she were alive. I call
That piece a wonder, now: Frà Pandolf's hands
Worked busily a day, and there she stands.
 https://7esl.com/literary-devices/

6.1.1 HOW TO TEACH POETRY

When teaching poetry bear the following in mind literal meaning, figurative meaning , theme
and message, imagery, e.g., simile and personification, word choice, tone, emotional
responses, sound devices, e.g., lines, words, stanzas, rhyme, rhythm, punctuation,
repetition, refrain, alliteration (assonance and consonance), onomatopoeia.

1. Introduce the poem.

The senses are a wonderful way to introduce poetry writing, and to encourage learners to
add more detail to their poems. To start writing, ask learners to pick a memory, then
describe it using each of the five senses. They can write their ideas down as sentences
initially.

2. Read up on the poet and the background to the poem

Prepare a worksheet containing the poem (with adequate space for notes), notes and
questions in advance. Remember that poems often contain ideas, contexts, etc. that are
unfamiliar to the underprivileged South African learner. Few have travelled outside their
communities.

PRE- DURING POST

READING READING READING

Pre-reading

✔ Initiate a discussion about the background/setting or the theme of the poem.

✔ A short video is amazingly effective, e.g., for “An abandoned bundle” Soweto’s Jabavu
could be shown, clips on abandonment of children, maps, socio-political background,
era, etc.
✔ A relevant song or clip from a modern or well-known movie or television show can also
be effective.
✔ Tell learners that they will be taking listening notes and hand out the poem.

During reading

✔ Prepare learners for the first reading by asking them to be absolutely quiet the first
time that the poem is read.
✔ The teacher reads the poem aloud with the correct intonation, emphasis, pauses,
pronunciation, etc. A video reading could also be used.
✔ Ask learners how they felt while the poem was being read. They might also mention
what made them feel the way they did.
✔ Ask learners what message they think the poet tried to convey in the poem or what
feelings he/she tried to express.
✔ Discuss new vocabulary - This helps learners to focus on the figures of speech and
imagery later.

✔ Do a line for line analysis while learners take listening notes:

o first the literal meaning
o then figurative meaning and how this is created through poetic devices and
figures of speech
o identify punctuation and how this is used effectively
o discuss the choice of words and why they are effective
o identify rhyme and rhythm

 In all grades the teacher must write all the notes down on the board or using the data
projector.
 Instruct the learners to reread the poem after the analysis. This enables them to
reconstitute the poem.

Post reading
 ✔ Discuss the questions and what is required of them when answering the questions or
completing the worksheet.
✔ Poetry can accommodate all the learning styles, e.g. learners could be instructed to
draw certain aspects, tabulate the figures of speech, mime the poem, write their own
poem, write a dialogue when they pretend to interview the poet or a character, write a
newspaper article or review, create a video depicting the events or experience, write
and perform a short play, create a poster, rap the poem, replace words to modernize
it, create a crossword puzzle, etc.
✔ Be sure to spend time marking and discussing answers.
✔ Allow for individual interpretation, but these must always be substantiated from the

https://www.theclassroomkey.com/2017/04/how-to-teach-poetry-writing-in-4-easy-lessons.html

6.1.2 ASSESSING THE POEM

Exemplar poem analysis

Windy Day by Mary Jeffries

Stanza 1 - 4 lines = quatrain
1 The wind blew up one morning personification
2 And joined us in our play, a repetition
3 Chasing us round the playground assonance
4 Blowing our ball away. an alliteration
Stanza two
5 It whistled at the window alliteration / personification
6 And bustling quickly through b expression
7 Found our teacher’s pile of papers alliteration
8 And blew and blew and blew. b repetition
Stanza three
9 Then everybody scrambled moving fast
10 As we heard our teacher shout: c rhyme scheme
11 “Quick! Shut the doors and windows direct speech
12 And keep the wild wind out!” c alliteration

New words:

bustling - hurried and energetic activity

scrambled – moving fast

6.2 DRAMA

a. What is Drama?

 The Drama genre refers to all kinds of plays.

 Plays also tell a story that is intended to be performed for an audience, either on stage or before a
camera.
 You may see drama on television, at the movies, in videos and on stage.
 When studying a drama, we have to look at factors like movement, voice, light and dark,
interaction, stage directions, costumes, setting and not only at the plot, characters and theme.

c. Types of Drama

 Basic types of drama: tragedy, satire, one-act play, experimental drama, comedy, melodrama,
fantasy, problem drama – social issues are compared
 Classics that are still current in terms of their themes
 Contemporary works that address modern issues/problems
 Stage dramas for Home Language
 Radio drama /TV-drama/film manuscripts for First Additional Language
 One-act play (short drama) for Second Additional Language

6.2.1 HOW TO TEACH DRAMA AND PROSE TEXTS

a. Introduce learners to:

 Text features – titles, illustrations, graphs, charts, diagrams, headings, subheadings,

numbering, captions, headlines, format, e.g., newspaper columns, etc.
 Text structures – lists, sequential order, description, procedures, main point and
supporting points, narrative sequence.
 Parts of a book – title page, table of contents, chapters, glossary, etc.

b. Teaching methodologies for Drama:

✔ Provide concrete experiences: To build vocabulary and develop concepts for reading,
learners need concrete experiences with words. For example, let them use the word in a
sentence.
✔ It is important to teach a novel /short novel / short story by following three reading
stages:

PRE- DURING POST

READING READING READING

Pre reading:

Participate in the activity/information given by the teacher to familiarise yourself with the
following:
 features of the drama through skimming and scanning parts of the book, e.g., title,
cover, fonts, layout, illustrations, index, footnotes, appendix, glossary
 the information gained from skimming and scanning using for predicting, e.g., give
the title a clue of the content of the drama?
 meanings of key words and phrases in their contexts
 information on the period (context) / cultural group for which the drama has been
written
 the type and features of the drama: tragedy, satire, one-act play, experimental,
drama, comedy, melodrama, fantasy, problem drama – social issues are compared
biography of the author/writer, list of references

During reading

This involves the following after listening to the teacher’s dramatic reading of the drama
and during own attempts to read or acting out the drama:
  attaching meaning to the drama
 make notes or summarize main and supporting ideas
 identify how the drama and register reflect the purpose, audience, and context of
the text.
 understand movement, tone, interaction, staging, characters attire.
 understand how the play flows (the pace), is it essential, how characters interact,
what they are doing when they are not talking, can shift the meaning of a story
line
 apply imagination and make assumption when reading a drama.
 understand the genre by studying the following aspects:
 the plot and subplot(s) (exposition, rising action, conflict, climax, falling
action/anti-climax, denouement/resolution, foreshadowing and
flashback),
 the way the playwright presents the characters, and how they develop
through the play (characterisation); background and setting-relation to
character.
 theme and messages.
 dramatic structure: plot, sub-plot (exposition, rising action, and climax),
 use of image and symbol,
 link between dramatic techniques; for example:
dialogue/monologue/soliloquy and action,
 dramatic irony,
 ironic twist/ending,
 stage directions,
 mood and tone,
 the creation of tension, humour, tragedy, or satire and
 the timeline.
Post reading

This involves:

 responding to the drama as a whole by answering questions.

6.2.2 ASSESSMENT OF DRAMA

Title
A Drama can be read as a story, or it can be acted out on a
stage. A Drama that is acted out is called a play alliteration

The Prince
and the
Paupe r
Eighteen characters. 9F, 9M; Flexible casting; twenty-one pages in length. Approximately 30 minutes
running time. An adaptation of Mark Twain’s novel written by Peter Mitsopoulos.

Not original work

The Prince and the Pauper is an adaptation of Mark Twain’s classic novel about a poor boy and a kind
young prince. Prince Edward saves young Tom Canty from being beaten by palace guards and invites him
to the palace. As they learn about each other’s lives and discuss their uncanny resemblance, the two
boys decide to temporarily trade places. The prince, dressed in the poor boy’s clothing, finds his way to
the Canty home and experiences first-hand the difficult life as a pauper. In the palace, Tom quickly
realizes that royal life doesn’t suit him. Both boys learn valuable lessons along the way and their lives are
changed forever. A classic tale for children of all ages!

About the author

Peter Mitsopoulos was born and raised in San Diego, California and still lives there. He has had a few
one-acts produced in his local area. In 2015, he self-produced his full-length one-woman play about Joan
of Arc entitled I, Joan. He graduated from San Diego State University and served in the US Air Force.

Excerpt from the play:

CAST OF CHARACTERS

NARRATOR – Written as female, but can be male

Tom Canty – Pauper of Pudding Lane
Edward Tudor – Prince of Wales
Princess Mary – Edward’s half-sister
Lady Jane Grey – Edward’s cousin
Soldier One
Soldier Two

NOTE: The casting is quite flexible. For example, the Prince and the Pauper could both be played by girls.
So could some of the other male characters.

Scene One

(The bare stage is dark. A spot comes up, revealing the narrator at stage right. She reads to us from a
book).
Narrator: (We come to tell you a tale of old England in the year 1549. It may be history. It may be only a
legend. It may have happened; it may not have happened. (A beat) But it could have happened).

As the general lighting comes up, Tom canty enters from the stage left wings dressed in rags. He holds
out his hands to imaginary passer-by).

Tom: “Tuppence, kind sir! Please you, ma’am! Tuppence for a hungry boy”!

Narrator: (Reading) Poor Tom Canty begged for his living, and for his family’s as well. He lived in London
in the filth and trash of Pudding Lane, and if he came home with no coins in his hands, his father would
make him regret it. And today he has begged his way to the very gates of the palace.

Edward, Prince of Wales enters from the stage right wings accompanied by two soldiers, one on each
side of him. Regal of bearing and afraid of nothing, Edward stands with his hands on his hips, looking
around confidently.

Edward: Of course, my people adore me! I am their prince, am I not?

Soldier One: You are, my lord!

Soldier Two: My lord, you are!

Edward: And one day I shall be their king!

Narrator: (His Royal Highness Edward Tudor, the Prince of Wales. Son of King Henry the Eighth, and heir
to the throne of England. The prince and the pauper. Look they not alike? So, they do. And therein lies
our tale.)

The narrator exits into the wings).

Tom: Behold, it is the prince himself! I will draw as near as I may that I might see him in all his splendour!

(Tom scuttles along on all fours toward Edward but is quickly stopped by the soldiers).

Soldier One: Mind thy manners, thou young beggar!

Soldier Two: Indeed! Keep thy place!

Edward: (To the soldiers) Stay thy hands and harm him not! How darest thou treat a poor lad so! Stand
aside and let him draw near. He means me no ill.

(The soldiers step aside as Tom crawls over to Edward. Edward

reaches out and takes both of Tom’s hands, raising him to his feet).

Edward: Thou lookest tired and hungry. Thou hast been treated badly. Come with me.
Tom: Yes, sir! As you command!

(Tom, Edward, and the soldiers exit stage right)

Scene Two

(EDWARD and TOM are alone on the stage. TOM is rubbing his stomach and wiping his mouth with his
sleeve).

Edward: Was the food to your liking?

Tom: Oh, indeed, sir! And many thanks to your royal highness!

Edward: Very well. Now tell me. What is thy name, lad?

Tom: Tom Canty, sir.

Edward: Where dost thou live?

Tom: Pudding Lane, sir.

Edward: And thy parents, they treat thee ill?

Tom: My mother dost love me most fairly, as do my sisters. But my father be much displeased if I bring
too little home from my begging.

Edward: Thou must live by begging?

Tom: Aye, sir. But it shames me not, as I was born for nothing more.

Edward: No one in my father’s realm should think themselves born to beg.

Tom: But born to it I was, my lord, just as you were born to be a prince…and someday king.

Edward: Hmm. It seems there is much in the realm that I have not seen. Tell me more. Thou hast sisters?

Tom: Two, sir. Nan and Bet.

Edward: I have two sisters as well, Elizabeth and Mary. But my cousin, the Lady Jane, is the sweetest and
kindest girl I know. Now speak on. What dost thou when thou art not begging?

Tom: My friends and I swim in the river. And then we roll in the mud till it covers us from head to foot.

Edward: Oh, that strikes me as jolly good fun! I would that I could wear thy rags and revel in the glorious
mud!

Tom: And I wish I might dress as you are, in such splendid garments.
 Edward: Then let it be done!

Tom: My lord?

(Edward takes off his cloak and hands it to Tom).

Edward: For a moment, I shall be the beggar and you the prince.

Tom: As you command, my lord. But I preteen only for a moment.

Edward: A moment and no more, I warrant thee!

(Tom and Edward begin to exchange clothing).

Scene Three

(Narrator Enters with her book and reads).

Narrator: (While Tom and the Prince Exchange rags for royalty let us look elsewhere in the palace.

Lady Jane Grey enters from the wings followed by Elizabeth

and Mary. narrator exits).

Lady Jane: Hast thou not seen Edward today? Me thinks he knows not the king his father grows eager
for his company.

Mary: Perhaps he cannot find his way to his father’s presence.

Lady Jane: Why would that be?

Author: Peter Mitsopooulos

Answer all the questions on both the short stories below.

QUESTION 1
“You pay for the View” – Liesl Jobson (Solutions for ALL)
Read the extract below and answer the questions set on it.
+/- 15-17 lines.
Number every line it makes referencing easier.

1 Moyo is a very unusual African restaurant. There are so many different branches of
2 the place, but one of the most popular is at Zoo Lake in Johannesburg. There are
3 waddling dicks that you can feed, rowing boats you can hire and you can go on lovely,
4 long walks around the lake. People come from all over the world to visit the Moyo
5 restaurant as it is an extremely popular tourist destination.
6 One morning, Kate takes her two young teenage children to visit the well-known
7 restaurant.

1.1 Start your questions with a TIME-aspect in the short story. (1)
When …
1.2 Chronological movement of the story (beginning/middle or end) (2)
e.g Choose the correct answer between brackets.

1.3 Multiple choice with (A/B/C/D) always 4 possible answers. (1)

This question should look at PLACE in the short story.

Columns e.g.

1.4 Pick the correct answer from Column B to correspond with the correct
statement in Column A.
Write only the correct letter next to the corresponding number. E. g.
1.4.1 f

Column A Column B

1.4.1 People from all over the … A. Moyo…

1.4.2 …. is World famous. B Johannesburg

1.4.3 Zoo Lake is in ….. D Ducks

E World

(3)

1.5 Use the extract and ask a question from it. (2)

Name two activities you can do at Zoo Lake.

1.5.1 What other activity can you participate in? (1)

1.6 Ask a question on milieu / any literary devises in the short story.

(1)

1.7 Ask a question where learners will have to explain.

Note: No more than one sentence. (2)

1.8 A question on punctuation. (use an extract from the short story)

The focus must be on an emotion e.g. exclamation mark in the sentence.

OR any other sentence type where a hyphen or ellipse are used.

The answer must include the emotion the learner is trying to explain.

“I won’t! You’ll mess it up or tear it or something.”

Q: Explain the function of the exclamation mark in the sentence? (1)

1.9 Characters- Role models in short stories (We focus on how learners
 identify with some characters)

(1)

1.10 Items used to assist with the story (“props”) (1)

1.11 A question on conflict between different characters. (2)

1.12 Ask a question on the denouement or end of the short story.

e.g Towards the end of the story the girl is upset…

1.12.1 Why did Kate reprimand her daughter? (1)

1.12.2 What does Kate do instead of speaking to her daughter? (1)

[18]

AND

“THE SACRIFICE” – Ahmed Essop (Solution for ALL)

Read the extract below and answer the questions that follow.

1. Zahid ran out of the yard, his two friends following him. When they were in the street
2. they heard “Snow” cry out as the knife cut into its throat. The three boys put their fingers
3. to their ears and tears filmed their eyes.
4. Zahid’s father called the three boys and said that as soon as he had cut the lamb into
5. parcels, they could distribute the meat to various families, including Afzal’s and Bilal’s.
6. Quietly, the three friends slipped out of the yard. When Zahid’s father could not find them, he
distributed the meat himself, keeping some of it for the eating at home.

1.13 What is festival called for which the lamb was going to be (1)
offered? (foreshadowing)

1.14 Choose the correct answer between the brackets.

Zahid’s dad went to (1.14.1) (the city / the country) to buy the
lamb. They took the lamb to (1.14.2) (Mint Road / Mint House) to
feed on green grass. The lamb was to be sacrificed for (1.14.3)
(Eid / Aid) in two months’ time. (3)

1.15 Choose the correct answer to complete the sentence.

Write only the correct letter next to the appropriate number.
 “The meat was given to ….”

A. the school.

B. close friends.

C. people in the yard.

D. the state. (1)

1.16 The boys came to love the lamb.

1.16.1 Is this statement TRUE / FALSE? (1)

1.16.2 Give a reason for your answer in 1.16.1. (1)

1.17 Why did the boys leave the yard when the father asked them to (1)
help?

1.18 Would you have done the same thing? (1)

1.19 Describe the background of this short story? (2)

1.20 Which event is being described in this story? (2)

1.21 This story is part of their culture and religion. Discuss one such
ritual you have in your culture or religion.

(2)

1.22 Do you think that he would ever forget this event? Explain in one (1)
sentence

[17]

TOTAL QUESTION 1: 35

a. Stage directions used by actors during a play:

 https://www.theatrecrafts.com/glossary/pages/stageplan.html

b. See if you can find examples of these types of speech in the drama:

Dialogue: conversations of characters onstage

Monologue: long speech given by one character to others

Soliloquy: speech by a character alone onstage to himself or herself or to the

audience

Asides: remarks made to the audience or to one character; the other characters
onstage do not hear an aside

6.3 NOVEL

a. What is a novel?

 A long fictional story, between one hundred to five hundred pages.

 Uses the elements of storytelling: PLOT, CHARACTER, SETTING, THEME, and
POINT OF VIEW.
 It is a longer work narrative text and tells story – either realistic or imaginary.
 It is made up of a series of events that develop as the story is told.
 The novel has many characters, and many stories may be developed within one
novel.

b. Types of novels

Novels can be divided into various genres, amongst others: youth novels, horror, science
fiction, fantasy, historical, romance, etc.

https://owlcation.com/humanities/Difference-Between-A-Short-Story-Novelette-Novella-And-A-Novel

 Novel

A novel is a long work of narrative fiction, typically written in prose and published as a book.
It consists of 16 000+ words.

For contextual understanding

 The present English word for a long work of prose fiction derives from the Italian:
novella for "new", "news", or "short story of something new", itself from the Latin:
novella, a singular noun use of the neuter plural of novellus, diminutive of novus,
meaning "new". Some novelists, including Nathaniel Hawthorne, Herman Melville,
Ann Radcliffe, John Cowper Powys, preferred the term "romance" to describe
their novels.

 Novelette

A short novel, typically one that is light and romantic or sentimental in character. A novelette
consists of 7 500 to 17 500 words.

 Novella

A novella is a narrative prose fiction whose length is shorter than that of most novels, but
longer than most short stories. It consists of 10 000 to 40 000 words.

6.3.1 HOW TO TEACH THE NOVEL

When teaching novel and short story read, discuss, enjoy and appreciate it. Anticipation or
prediction of the story and the evaluation thereof is also important. It is important to teach a
novel /short novel / short story by following three reading stages:

PRE- DURING POST

READING READING READING

Pre- reading:
Participate in the activity or information given by the teacher to familiarise yourself with the
following:
● information on the period (context) or cultural group for which the genre has been
written.
● the type and features of the novel or short story: science fiction, romance, action,
adventure, historical, mystery, fantasy, thriller or espionage, humour
● the type and features of the short story: myths, legends, fairy tales, satire, humoristic,
suspense, science fiction, love story, travel stories, ghost stories
● meanings of key words and phrases in their contexts
 ● features of the novel or short story through skimming and scanning parts of the book
or story, e.g., title, cover, index, fonts, layout, illustrations, chapters, footnotes,
appendix, glossary, biography of the author or writer.

During reading:
● be aware of the differences between narrative (what happens next?) and plot (why
does that happen?).
● identify how the writer has used language to create character (description and direct
speech).
● examine how characters interact.
● explain setting (descriptive language and incidental references throughout the novel
and short story).
● attempt where necessary to unravel underlying ideas, thoughts, and ideologies that
control the direction of the novel / short story.
● understand the genre by studying the following aspects:
 plot (exposition, rising action, conflict, climax, falling action/anti-
climax, denouement/resolution, foreshadowing and flashback)
 conflict
 characters
 characterisation
 role of narrator
 messages and themes
 background, setting and narrative relate to character and theme
 mood, ironic twist/ending
Post reading
This involves:
● responding to the novel /short story as a whole by answering questions.

6.3.2 ASSESSING THE NOVEL

The book

The film

The book is in diary

Character he falls format.
Excerpts from the book
in love with
Excerpt one
As you may have gathered (by the serious lack of diary entries), my holiday hasn’t been
as exciting as I’d hoped. The Mermaid is away on a Girl Guide camp. Dad is at work and
Mom seems to be out on some errand. I’ve also decided against calling up old friends
from my primary school. (After all the emotional goodbyes and hand shaking, I still
haven’t heard a peep from any of them.)
Figurative speech
Instead, I have spent the last few days practising Oliver songs and reading Lord of the
Rings. I’m now well into the third book of the trilogy, called The Return of the King. The
Guv’s right – it is an amazing book that almost can’t be explained. It gets five stars on the
soon to be famous Milton book rating system.

It has just sunk in that on Monday night I return to school and, unbelievably I can’t wait to go
back. The desire to start rehearsing and find out what everybody has been up to has me
wishing that the weekend would just fly by. Also, three weeks of hanging out with my
loony family has started me questioning my own sanity.

Dysfunctional family

Spud is a 2005 novel by South African author, actor, playwright and

producer, John van de Ruit. A comedic sometimes sad yet straight
forward novel that captures the humour of life in boarding school,
through the diary of John 'Spud' Milton.

(Source: Wikipedia)

Implied meaning

Excerpt two

Dad took me off the Crusaders’ club rugby ground to prepare me for the coming of rugby
season. On the way (in the newly repaired station wagon) he was firing various bits of
advice at me like, “tackle low and aim high’ or ‘the bigger they are the harder they fall.’

Figurative language

When we arrived, he brought out an old rugby ball with bits and pieces of shredded leather
hanging off it. He ordered me to across the field, threw the ball up in the air, swung at it with
his left foot and collapsed. By the time I reached him he was writhing around on the ground
clasping his injured left thigh and shrieking with pain. I ran to the club house to call Mom
who arrived with Marge in Marge’s car about half an hour later. The three of us loaded Dad
into the station wagon and Mom drove us home. She spent the afternoon applying ice to his
injured leg. He moaned on for hours about the pain until he’d finished half a bottle of Johnnie
Walker and then fell asleep.

Questions and answers for a novel.

1. Who is the intended audience of this novel? L3
2. Discuss the setting of the novel and explain the influence the background has on the
characters. L4
3. In the first excerpt we meet his parents. Discuss the type of conflict Milton has at
home and how it influences decision he makes. L3
4. Explain the difference between crying and shrieking in pain. L3
5. Explain what is meant by “the bigger they are the harder they fall.” L4
6. Pick one theme from the first chapter and discuss it in detail. L5
7. Discuss the relationship between Milton and the Guv and how this relationship
changes in the end. L5
8. List the names of Milton’s friends at school. L2
9. Complete the diagram in reference to Chapter 1. L3

Plot Main characters

(Rising action)

Setting Internal conflict

(Two places)

Answers of the novel – Spud by John van de Ruit

Question Answer Mark Levels

1. Young people in South Africa 1 3

2. Milton’s house: Very depressing place with his dis- functional family:
He is very shy boy and keeps a diary to help him cope.
4 4
The boarding school in Pietermaritzburg. Here he has seven ill-
fitting friends that get into regular trouble

3. Internal conflict with his family and surrounding 1 3

 4. Crying will be a softer controlled crying while shrieking will be a loud 2 3
shout / scream of pain.

5. It is a proverb. It means that the bigger they are the further they are 2 4
from the ground thus the harder they fall

6. Answers: The absent alcoholic mother, the drunk /disorientated 3 5

father the relationship with the house worker or the relationship with
the grandma

7. The Guv is Milton’s English teacher. He supports him and take the 2 5
role of both mentor and friend. In the end Milton is guided by some
of the Guv’s mistakes and the Guv realises that he cannot give up.

8 Robert Black Vern Blackadder 2

Charlie Hooper Simon Brown

Alan Greenstein Sidney Smitherson-Scot

Henry Barker
Setting:
9 Diagram: 3
The house
Main Characters:
Examples: and the
John Milton and Mr Edly school
(The Guv)

Plot:

Attending a new private

school where you do
not feel you belong. Internal conflict
Making friends and
getting into regular His emotions about love, his
trouble. The difficulties friends and his school
of being a teenager

6.4 SHORT STORIES

a. What are short stories?

A short story is a brief work of fiction. It usually contains one major conflict and often only
one major character. The length of a short story usually shows that its narration and setting
are limited. It mostly tells of a single episode or event.

b. Types of short stories

Short stories come in all kinds of categories: action, adventure, biography, comedy, crime,
detective, drama, fable, fantasy, history, horror, mystery, romance, tragedy, thriller, etc.
6.4.1 HOW TO TEACH THE SHORT STORY

When teaching novel and short story read, discuss, enjoy and appreciate it. Anticipation or
prediction of the story and the evaluation thereof is also important. It is important to teach a
novel /short novel / short story by following the reading process:

PRE- DURING POST

READING READING READING

Pre- reading:

Participate in the activity or information given by the teacher to familiarise yourself with the
following:
● information on the period (context) or cultural group for which the genre has been
written.
● the type and features of the novel or short story: science fiction, romance, action,
adventure, historical, mystery, fantasy, thriller or espionage, humour
● the type and features of the short story: myths, legends, fairy tales, satire, humoristic,
suspense, science fiction, love story, travel stories, ghost stories
● meanings of key words and phrases in their contexts
● features of the novel or short story through skimming and scanning parts of the book
or story, e.g., title, cover, index, fonts, layout, illustrations, chapters, footnotes,
appendix, glossary, biography of the author or writer.

During reading:

● be aware of the differences between narrative (what happens next?) and plot (why does
that happen?).
● identify how the writer has used language to create character (description and direct
speech).
● examine how characters interact.
● explain setting (descriptive language and incidental references throughout the novel and
short story).
● attempt where necessary to unravel underlying ideas, thoughts, and ideologies that
control the direction of the novel / short story.
● understand the genre by studying the following aspects:
 plot (exposition, rising action, conflict, climax, falling action/anti-climax,
denouement/resolution, foreshadowing and flashback)
 conflict
 characters
 characterisation
  role of narrator
 messages and themes
 background, setting and narrative relate to character and theme
 mood, ironic twist/ending
 timeline

Post reading

This involves:
● responding to the novel as a whole by answering questions

6.4.2 ASSESSING THE SHORT STORY

Title
Getting Somewhere

Author

Characters : Setting
Lilian A. Aujo
Vincent, Chantal, Mzee

You are a boy of ten again. You are on the bus, and the trees seem to be going faster
than the bus you are seated in. You are on the Kampala–Masaka Highway. You cannot
wait to reach Kampala as it will be your first time there. The excitement darts through
your body like grasshoppers jumping from grass blade to grass blade. You keep
standing to catch a glimpse of the speeding trees, and then sitting down heavily onto
your mother’s lap as if you are falling into a chair padded with cushions.

“But Vincent, why don’t you settle down?! You will even break my bones! Now

see...” Your mother points down to the heavy lemon green sash of her gomesi. Its
tassels are trailing on the bus floor, covered in red soil.

“You see how you have dirtied my musiipi? You know gomesis are very hard to clean!”

You look at her attire covered in bright greens, blues and oranges. Mzee bought it for her
last Christmas. It is the newest of all her attires and that is why she has chosen to wear it
for the journey to the big city.

“Sorry Mama!” You sit on her, as carefully as a butterfly perching on a flower and so that
you remember to remain seated you cross your legs.

The bus stops at the roadside. A swarm of men balancing baskets of gonja race towards
it, covering the bus’s windows. Your mother buys ten fingers for two hundred shillings.
They are yellow and soft, but crusted brown in some places. As your mother hands you
one, its aroma fills your nostrils. You open your mouth to sink your teeth into it, but the
gonja disappears! You start to ask your mother about it but stop because she is not there
anymore. Yet, you are still on the bus.

You touch your chin, and it is rough with a beard. You look down at your feet and they
have grown so long. Your shorts are gone and you’re wearing trousers.

“Vinnie, Vinnie ...” It’s Chantal’s sweet voice. But she sounds so far off...You let her voice
get carried away in the loud swish of the speeding trees...And you still have to find your
mother...

You follow her through the narrow bus corridor and call out to her, but she does not stop.
You continue to follow her, until all the faces on the bus meld into a smooth blackness.
But her bright gomesi creates a shining path for you and you keep going till you reach
her and pull at it.

But when she turns, she is as still as stone and before you hear the villager mourners
wail, “Woowe, Woowe,” you know there is not one breath left in her...

“Maama, Maama...”

“Vinnie, Vinnie! Wake up! It’s just a bad dream!”

You open your eyes. Chantal is staring down at you. “You were dreaming,” she says.
Her voice soothes you. She strokes your ear and says, “Good morning, love?” She heard
you whimpering like a puppy in agony. You turn away, you don’t want her to see the
fear in your eyes. But she snuggles close to you, and you have no choice but to kiss her.
She is weak and yielding and you are no longer the scared twelve-year-old boy staring at
your mother’s lifeless body.
 The vibration of the telephone under your pillow tears you away from Chantal. Even as
you pull away from her you wonder who could be calling you at six in the morning. Early
morning calls usually convey very bad news. You wish the superstitious streak in you
could be thwarted by reason. But your fingers tremble as you grip the cell phone.
Quickly, you glance at the caller ID. It’s your father. At this time of the morning, what
could be the matter?

Source: Lillian Akampurira Aujo is from Uganda and holds a bachelor’s degree in Law from
Uganda Christian University, Mukono. Suubi.

Questions set on the short stories.

Low order questions

1. Where are the boy and mother going in the first paragraph? (L1)
2. What is his mother’s name? (L1)
3. Underline the correct answer.

They are traveling by (train / bus / plain). (L1)

4. Is the following statement True or False? Quote a sentence from the story
to support your answer. (L2)

The boy was sad when he woke up.

5. Is the following statement True or False? The first paragraph is a dream. (L2)

Middle order questions

6. Study the paragraphs carefully. Choose from the selection a title that will fit each
paragraph best. (L3)
PARAGRAPH
HEADING PER PARAGRAPH ANSWER
NUMBER

1 A. A Mother’s touch E

2 B. Searching for her… C

3 C. Mother’s beautiful clothes D

4 D. Delicious food F

5 E. Boy is on his way to the city B

6 F. Feeling lost A

7 G. Bad news G

7. Choose the correct answer from the selection provided. Circle the correct answer.
Kampala is the capital city of …

A Cambodia
B Uganda
C Dakar
D Italy (L3)
8. Explain the simile used in the first paragraph. (L3)

9. Choose the correct answer form the selection provided. Circle the correct answer.

The author’s intention was to…

A. inform.
B. entertain.
C. instruct.
D. warn. (L3)

Higher order questions

10. This short story can be divided onto two distinct sections. Discuss the
foreshadowing in the second section, in a paragraph. (L4)

11. Do you think is possible to dream about things or events that may still happen
later in life? (L5)

Answers to Getting somewhere

Questions Answers Marks Level

LOW ORDER QUESTIONS

1. Where are the boy and Kampala 1 1

mother going in the first
paragraph?

2. What is his mother`s name? Chantal 1 1

3. Underline the correct answer Bus 1 1

– They are traveling by (train,
bus, plain).

4. Is the following statement True “but she snuggles 1 1

True or False? Quote a close to you, and you
sentence from the story to have no choice but to kiss
support your answer. her”

The boy was sad when he

woke up.

5. Is the following statement True 1 2

True or False? The first
paragraph is a dream
 MIDDLE ORDER QUESTION

Study the paragraphs carefully. Choose from the selection a tittle that will fit each paragraph
best

Paragraph number Heading per paragraph Answer

1. Boy is on his way to the city E

2. Mother`s beautiful clothes C

3. Delicious food D

4. Feeling lost F

5. Searching for her B

6. A mother`s touch A

7. Bad news G

8. Choose the correct answer Uganda 1 3

from the selection provided.
Circled the correct answer.

Kampala is the capital city of …

A) Cambodia

B) Uganda

C) Dakar

D) Italy

9. Explain the smile used in the The boy was more excited he 1 3
first paragraph. felt more relief.

10. Choose the correct answer Entertain 1 3

from the selection provided.
Circled the correct answer. The
author`s intention was to…

A) inform.

B) entertain.

C) instruct.

D) warn

HIGH ORDER QUESTIONS

11. This story can be divided The first section is a dream he 3 4

onto two distinct sections. had about his mother. Some
Discuss the foreshadowing in the words in the later paragraphs
second section, in a paragraph. indicate that something was
wrong. In the last paragraph he
receives a phone call from his
 father, and he knew something
was wrong.

12 Do you think is possible to Yes: We dream about the 3 5

dream about things or events future. What we will do if have
that may still happen later in life. enough money, love, respect.

No: It is no use dreaming about

the future as it hasn’t
happened yet.

Learner’s own interpretation of

the question is allowed.

6.5 FOLKLORE

Myths, tall tales, legends, fables and fairy tales are all folktales.

a. What is folklore?
 Folklore is a broad genre (includes myth, fable, legend, story) which consists of the
material (arts and crafts), customs and the oral /verbal lore.
 Folklore focuses on the oral/verbal lore category, as it is based on knowledge,
experience and wisdom of storytelling.
 Through the verbal lore learners will learn about folk stories, beliefs, heritage, values
and other important information.
 Learners should also know that the verbal arts are extremely important and effective
means of communication, and they provide folks with wisdom.

b. Types of folklore

Folklore has the following narratives:

  Myths

They are religious and explain the universe and its inhabitants.

They tell of the creation and regulation of the world – tasks usually performed by a deity (god
or goddess) who exists in chaos, in a void or in some other world. The deity gives form to the
world and introduces life in it, then proceeds on a series of adventures and struggles in
which he or she does such things as liberating the sun, originating corn, beans or nuts.

 Legends

Legends are folk history and even when dealing with religious subject matter they differ from
myth in that they talk about what has happened in the world after the period of its creation id
over. Legends encompass a wide variety of subjects: saints; ghosts and other supernatural
creatures; adventures of real heroes and heroines; personal reminiscence and explanations
of geographical features and placenames (local legends)

 Fables

Short literary compositions in prose or verse, conveying a universal cautionary or moral

truth. The moral is usually summed up at the end of the story, which tells of conflict among
animals that are given the attributes of human beings.

 Fairy tales

A fairy tale is a folk story about real life problems, usually with imaginary characters and
magical events. Think of Cinderella and her wicked stepsisters or Snow White and the
Seven Dwarfs. Here we have a classic – Good versus evil – and magical elements when the
pumpkin changes into a carriage and the mice into footmen, her fairy godmother and her
pretty dress. We have talking cats and dogs and birds and mice to create this fairy tale.
Although this is a fairy tale there is still a strong impression left of good versus evil. Same in
‘Sleeping beauty,’ again we encounter the evil stepmother in this fairy tale.

 Tall tales

These are tales with unbelievable elements, related as if it was true and factual. Some tall
tales are exaggerations of actual events. Some elements include superhuman hero, usually
a man who is extraordinarily strong or big.

It also includes:

 A narrator who is part of the story or who witnessed the events.

 A pleasant tone.
 A folktale setting such as a small town or village.
 A problem that affects everyone.
6.5.1 HOW TO TEACH FOLKLORE

It is important to teach folklore by following the three reading stages:

DURING POST
PRE-READING
READING READING

Pre-reading:

Participate in the activity/information given by the teacher to familiarise yourself with the
following:

 features of folklore through skimming and scanning parts of the book, e.g., title, cover,
fonts, layout, illustrations, index, footnotes, appendix, glossary
 the information gained from skimming and scanning using for predicting, e.g., give the
title a clue and the content of folklore?
 meanings of key words and phrases in their contexts
  types of folklore for example: legends, myth, songs
 information on the period (context) or cultural group for which the genre has been
written

During reading:

 identify and explain plot, theme, message, characters and setting

 identify and explain writer’s intention
 explain how characters, setting and use of words support the message or theme.
 Proverbs help teach lessons by:
 explaining human behaviour,
 serving as a guide for moral conduct
 explaining social behaviour,
 serving to ensure or criticize conduct,
 giving shrewd advice on how to deal with situations

Post reading:

This involves:

 responding to the folklore as a whole by answering questions.

6.5.2 ASSESSING FOLKLORE

Title
Proper nouns Morning and Evening

1. Morning and Evening were brothers, sons of Mahu. Mahu was God of all the people, but he did not treat
Morning and Evening with equal generosity.

Background information
Main character

2. Morning was the one born first, so Mahu gave him many people to rule over and a substantial number of
precious things also. Evening, the younger one, got a calabash gourd filled with two kinds of beads — nana
and azumun — contained inside it.

3. These two kinds of beads were the only things that Mahu had not given to his older son, Morning. Morning
had riches of all sorts, but of nana and azumun he had none.

4. One day Morning fell sick, and the doctor was called to cure him. The doctor said there was only one
treatment for Morning’s illness; he needed a nana bead and an azumun bead. Then Morning would be well
again.

5. Since Morning had none of these beads, his people went out to get them. But nobody in all the land had any.
Introduction of conflict
Evening was the only one who had nana and azumun beads.
 6. “How much will you give me for these beads?” Evening asked the people his brother Morning sent.

Direct speech “We will pay one hundred precious cowrie shells for each one,” they said.
Punctuation
7. So, Evening sold them the beads and they left. When Morning was cured, Evening began to think. “If
Morning were to get sick over and over again,” Evening schemed, “I would get a great many precious cowrie
shells all for myself.”

8. Evening remembered that when Morning passed a calabash plant, the leaves curled up. So, Evening placed
wholly open calabash leaves in Morning’s path. When Morning’s feet touched them, he became ill right
away.

In this way, Evening made Morning sick as often as he wished.

9. Morning had to keep giving his brother cowrie shells and after a while Evening had all of them. He became
the richest one in the land and the people looked at Evening as their new king.

Source: traditional African story(www.freekidsbooks.com

Questions answers.

1. Choose from the selection the correct answer and circle it.

The story you have read is an example of a ….

A fairy tale.
B legend.
C myth.
D fable. (L2)

2. What do you think is the moral of the story? (L4)

3. Name the two brothers. (L1)
4. Explain two magical events that took place in the story. (L3)
5. Do you think that the message of this story is limited to a specific age group (L4)
or is it a universal truth? Explain your answer in two well-constructed sentences.
6. Write down two words from the story that add to the general mood created. (L2)
7. Why do you think did Evening make his brother sick? (L3)
8. What does this tell you about his character? (L3)
9. Do you think what happened between the brothers was the father’s fault?
Explain your answer in no more than two well-developed sentences. (L4)

10. Rewrite the last paragraph and change it into a positive event for both brothers. (L5)

Possible Answers of The Morning and Evening

Questions Possible Answers Marks Level

 LOW ORDER QUESTIONS

1. Choose from the selection the Fable 1 3

correct answer and circled it

The story you have read is an

example of ------

A) Fairy tale

B) Legend

C) Myth

D) Fable

2. What do you think is the moral To give equal to your children. 1 4

of the story?

3. Name the two brothers. Morning and Evening 2 1

MIDDLE ORDER QUESTIONS

4.Explain in your own words the It teaches the parents (Mahu) to treat 3 3
two magical events that took their children equal.
place in the story.
It also teaches Morning (the brother) to
share with his younger Brother
(Evening).

5.Do you think that the message of It is a universal truth. Some of the 2 4
this story is limited to a specific people may envy what you have and
age group or is it a universal wish it could belong to them. Some
truth?
Explain your answer in two well- they feel jealous of what you have and
constructed sentences. want to find the best way of gaining
your wealth. (Accept any suitable
answer relevant to the content of the
text)

6. Write down two words from sick, richest 2 2

paragraph 3 that add to the
general mood created in
paragraph one.

7.Why do you think did Evening He was jealous because Morning was 2 3
make his brother sick? given a lot of things that he does not
have.

He wanted his wealth

HIGH ORDER QUESTIONS

1. What does this tell you about He is jealous. 1 3

his character?

2. Do you think what happened Yes, because the father fails to share 3 4
between the brothers was the his wealth equal to his children. The
father`s fault? Explain your father made the brothers not to care
answer in a well-developed about each other and to develop
answer.
hatred towards each other.
3. Rewrite the last paragraph and Evening felt pity towards his brother 3 5
change it into positive event for and decided to give the beads to him
both brothers. to recover fully. Morning shared half of
his wealth to his brother and there was
peace between them.

https://www.rcl.ac.uk/tips-for- writing-assessments/

6.6 INTEGRATING LANGUAGE STRUCTURES AND CONVENTIONS WHEN TEACHING

LITERATURE

An unbelievable night

1 One-night Lindiwe lay in bed and read about crocodiles in her favourite
magazine, “National Animal Magazine”. Before she went to sleep she put the
magazine on the bookshelf, just outside the bathroom door. Later that night,
as she was on her way to the bathroom, she heard a hissing from the
bookshelf. She was half asleep, so she didn’t really pay attention to it. But
5 then the pile of newspapers and magazines ……. the bookshelf began to
move. The pile toppled over and suddenly there were magazines and
newspapers all over the floor, and the hissing got louder.

2 Lindiwe could not believe her eyes: a grunting, snorting crocodile was coming
out from under the bookshelf. She was frozen to the spot. She watched 10
the crocodile crawl and slowly look around the room. It seemed to have just
come out of the water. Its whole body was dripping wet, and it left a pool of
water on the floor. The crocodile made a hissing sound and swung its head
 and tail. It opened its mouth, and Lindiwe swallowed hard when she saw its
long row of teeth. The “National Animal Magazine” was lying on the floor 15
next to the crocodile. Something about it wasn’t quite right. Lindiwe stared at
it, and then she saw that the picture on the cover was different. Instead of a
big crocodile on a river bank, now there was just a river bank! She picked up
the magazine.

Source from: DBE English Workbook, book 1 (term 1&2). 2021

ASSESSMENT EXEMPLAR EXTRACT FROM A NOVEL

QUESTION MARKING GUIDE/ POSSIBLE

MARKS LEVELS
ANSWERS

1. From the passage above, identify a 1. Lindiwe / bed/ crocodile / magazine 1

noun in paragraph 1, line 1.
√ (Accept any ONE)

2. Rewrite the following sentence and 2. O√ne night L√indiwe lay in bed and 3
use the correct punctuation marks: read about crocodiles in her
favourite magazine, “National
one-night Lindiwe lay in bed and read
Animal Magazine”.√
about crocodiles in her favourite
magazine, “National Animal
Magazine.”

3. Change the following sentence into 3. She freezes to the spot.√ 1

present tense.

She was frozen to the spot.

4. Join the following sentences using 4. Lindiwe put magazine in the 1

the correct conjunction given in bookshelf and √went to sleep.
brackets (but, and):

Lindiwe put the magazine in the

bookshelf. Lindiwe went to sleep.
5. Give the antonym of the underlined 5. Appearing √ 1
word in the following sentence.

The crocodiles were disappearing

back into the magazine.

6. Rewrite following sentence in a 6. Lindiwe said that √ the crocodile 1

reported speech. Begin your made a hissing sound and swung
sentence with: Lindiwe said . . . its head and tail.

The crocodile made a hissing sound (Award one mark for that)
and swung its head and tail.

7. Use the correct preposition to 7. But then the pile of newspapers 1

complete the following sentence. and magazines on √ the bookshelf
began to move.
But then the pile of newspapers and
magazines ……. the bookshelf began
to move.

8. Use the correct degrees of 8. The crocodile is longer √than the 1

comparison in the following sentence. lizard.

The crocodile is (long) than the lizard.

Read the following passage from Reading the signs and answer the questions that follow.

Niklaas lived with his family on a farm in the mountains. From the time that he was a very small boy he
had walked in the field with his father. He knew all about the plants that grew there – which were
poisonous, and which were used for healing different illnesses. He could name them all and knew
where to find them, even the rare plants that people seldom find.

Niklaas knew the ways of the animals too – the marks in the sand where a snake passed, the tracks of
the tortoise, the tiny droppings of a small buck, down at the river and the footprints of the shy otter.

Once when he was still quite small, Niklaas went with the old shepherd to look for a lost sheep, they
went quietly through the veld, with Niklaas pointing to the signs – the footprints in the sand near the
river, some wool caught on the wag - `n – bietjie thorns, and further on fresh sheep droppings on the
stony mountain path and then the sound of a sheep bleating far away. The shepherd had been
pleased with him.

Source from: ANA remedial workbook English Workbook

QUESTION RESPONSES/
 MEMORANDUM/ MARKING
MARKS LEVELS
GUIDE

1. Match Column A to Column B 4

Column A Column B 1.1 C

Noun Type of noun 1.2 D

1.1 Niklaas A pronoun
1.3 A
1.2 Father B compound noun
1.4 B
1.3 He C proper noun

1.4 Footprints D common noun

2. Write the following sentence in present continuous Niklaas is living with 1

tense.
his family in the
Niklaas lived with his family on a farm in the
mountains.
mountains.

3. Identify subject, object and verb in the following The tortoise (subject)
sentence:
eats ( verb) 3
The tortoise eats plants.
plants (object)

4. Use the correct punctuation mark in the following Niklaas knew the animal
footprints, track of the tortoise,
the rare plants
Sentence: and snake marks 3
on the sand.
Niklaas knew the animal footprints track of the
tortoise the rare plants snake marks on the sand

c. Give the synonym of the word Scarce 1

rare

d. Use the word small in paragraph 2 and fill the Blank

spaces in the following table to show the degrees of
comparison in following table:
Small smaller Smallest 2

Small __________ __________

 https://www.skipprichard.com/the-top-10-novels-of-all-time/

SECTION 7 – ASSESSMENT AND ASSESSMENT TOOLS

7.1 HOW DO WE ASSESS?

Informal and formal assessments will be utilized to validate learners’ knowledge and
understanding.

7.1.1 EXPLANATORY NOTES TO EASE THE PROCESS OF EVALUATING VARIOUS

GENRES:

● Explanatory notes enhance the understanding of literacy concepts and promote the
appreciation of diversity.

● They are clear and are engaging for the learners. They are clearly related to the topic
and provide for interesting variety.

● The notes are well scaffold, structured and allow for enhanced comprehension and
appreciation of texts.

● The explanation of literary concepts is clear and accurate and will enable learners to
acquire and apply them in different situations e.g., characterization, plot, exposition,
rising action, conflict, climax, falling action, anti-climax, denouement, resolution, setting ,
figurative language, rhetorical devices, imagery etc.

● Questions and answers are well thought, clear and unambiguous and address all
cognitive levels.

● A variety of questions is provided; namely contextual questions for all language levels
[HL, FAL and SAL]. These questions are asked across the phases. The literary
paragraphs (+/- two) will be written in the senior phase to prepare the learners for
Literary essays in the Further Education and Training Band. (FET).

● Questions must promote critical thinking and critical language awareness.

● Questions must promote the appreciation of diversity.

https:// pandaeducation.co.uk/
blog/4-practical-tips- for-planning-work-based-
assessments/

7.1.2 ASSESSMENT
APPROACHES

Assessment approaches must be appropriate to address the targeted criteria of a particular

key feature for a specified genre. Questions and answers should be well thought, clear and
unambiguous and address all cognitive levels.

 Approaches and typical questions to consider when assessing Poetry:

 Look at the TITLE of the poem – the meaning in relation to the poem as a whole.

 Look at the POET’s name – who is the poet, when did he/she live, what famous themes
does that poet usually write about?

 Read poem and try to figure out what the general idea or THEME is.

 Themes are things that the poet feels strongly about and may be influenced by his/her
personal beliefs and experiences. It is often introduced in the opening sequence of the
work and is known as the exposition.

 Common THEMES: Love, hatred, friendship, betrayal, loss, heroism, jealousy, racism,
sexism, materialism, religion, crime, war

 Look at the STRUCTURE of the poem - how is it arranged into lines, stanzas and rhyme
scheme?

 Look at DICTION (choice of words). Try to understand the meaning of difficult words by
looking at the context in which they are used.

 Positioning of words and WORD ORDER - sometimes unusual word order is used to
emphasize an idea or theme.

 Look at figures of speech and sound devices.

 What is the MOOD of the poem? Ask yourself WHAT FEELING / EMOTION does the
poet or speaker express in the poem or what ATMOSPHERE is created.

 Read questions carefully and look at the mark allocation.

 Approaches and typical questions to consider when assessing Drama:

 Who is the writer of the drama?

 What is the TITLE of the drama? Does the TITLE mean something important in relation to
the drama?

 What is the SETTING of the drama – where and when does it take place?

 What is the THEME and MESSAGE of the drama? (What is it about?) Write it in a full
sentence

 What is the STRUCTURE of the drama? (Arrangement of Acts and Scenes)

 What is the PLOT of the drama? (Main events)

 Find the CLIMAX in the drama

 What kinds of CONFLICT happen in the drama?

 Who are the CHARACTERS in the drama? (Characteristics, roles they play, relationships
between characters)

 Your PERSONAL RESPONSE to the drama. (How do you feel?)

 Name two things you liked (or did not like) about this drama and say why these two things
appealed (or not appealed) to you.

 Approaches and typical questions to consider when assessing Novel and Short Story:

 Who is the writer or author of the novel, short novel or short story? What is his/her
background?

 What is the TITLE of the novel, short novel or short story? Does the TITLE mean something
important in relation to the genre?

 What is the SETTING of the genre – where and when does it take place?

Do you understand the figurative meaning of words?

Who is the narrator in the genre?
What do you think is the attitude of the narrator?

 What is the mood (atmosphere/feeling/emotion) of the genre? – Motivate your answer -

Do you establish mood from the written words or the setting?

 Approaches and typical questions to consider when assessing Folklore:

 Who is the writer or author? What is his/her background?

 What is the TITLE of the folklore? Does the TITLE mean something important in relation
to the genre?

 What is the SETTING of the genre – where and when does it take place?

 Do you understand the figurative meaning of words?

 Who is the narrator in the genre?

  What do you think is the attitude of the narrator?

 What is the mood (atmosphere/feeling/emotion) of the genre? – Motivate your answer

- Do you establish mood from the written words or the setting?

7.1.3 COGNITIVE LEVEL DISTRIBUTION OF QUESTIONS IN LITERATURE

QUESTION TYPE WHAT YOU NEED TO DO

Level 1: Literal questions: Questions about information that is clearly given in the text or extract from the
text

Name characters/places/things ... Write the specific names of characters, places, etc.

State the facts/reasons/ideas ... Write down the information without any discussion or
comments.

Give two reasons for/why ... Write two reasons (this means the same as “state).

Identify the character/reasons/theme ... Write down the character’s name, state the reasons.

Describe the place/character/what happens Write the main characteristics of something, for example:
when ... What does a place look/feel/smell like? Is a particular
character kind/rude/aggressive ...

What does character X do when ... Write what happened – what the character did.

Why did character X do ... Give reasons for the character’s action according to your
knowledge

Who is/did ... Write the name of the character.

To whom does XX refer ... Write the name of the relevant character/person.

Level 2: Reorganization questions: Questions that need you to bring together different pieces of
information in an organized way.

Summarize the main point/ideas ... Write the main points. Without a lot of detail.

Group the common elements ... Join the same things together.

Give an outline of ... Write the main points, without a lot of detail.

Level 3: Inference Questions: Questions that need you to interpret (make meaning of) the text using
information that may not be clearly stated. This process involves thinking about what happened in various
parts of the text; looking for clues that tell you more about character, theme or symbol; and using your own
knowledge to help you understand the text.
Explain how this idea links with the theme X ... Identify the links to the theme.

Compare the attitudes/actions of character X with Point out the similarities and differences.
character Y ...

What do the words ... suggest/ reveal about/ what State what you think the meaning is, based on your
does this situation tell you about ... understanding of the text.

How does character X react when ... Describe how Write down the character’s reaction/what the character
something affected ... State how you know that did/felt.
character X is ...

What did character X mean by the expression ... Explain why the character used those particular words.

Is the following statement true or false? Write ‘true’ or ‘false’ and give a reason for your answer.

Choose the correct answer to complete the A list of answers is given, labelled A-D. Write only the letter
following sentence (multiple-choice question). (A, B, C or D) next to the question number.

Complete the following sentence by filling in the Write the missing word next to the question number.
missing words ...

Quote a line from the extract to prove your answer. Write the relevant line of text using the same words and
punctuation you see in the extract. Put quotation marks

(“ ” inverted commas) around the quote.

Level 4: Evaluation questions: Questions that require you to make a judgment based on your knowledge
and understanding of the text and your own experience.

Discuss your view/a character’s feelings/a theme ... Consider all the information and reach a conclusion.

Do you think that ... There is no “right” or “wrong” answer to these questions, but
you must give a reason for your opinion based on information
given in the text.

Level 5: Appreciation questions: Questions that ask about your emotional response to what happens, the
characters and how it is written.

How would you feel if you were character X when ... There is no “right” or “wrong” answer to these questions, but
you must give a reason for your opinion based on information
Discuss your response to ... given in the text.

Do you feel sorry for ...

Discuss the use of the writer’s style, diction and To answer this type of question, ask yourself: Does the style
figurative language, dialogue ... help me to feel/imagine what is happening/what a character
is feeling? Why/why not? Give a reason for your answer.

The Intersen Phase focuses on Comprehension and not the in-depth analysis of the Literature genre.
Contextual questions must be set on extracts from the prescribed texts in Literature to assess and
determine the extent of the insight and depth of understanding. The level of complexity depends on the
level at which the Language is assessed (i.e., HL or FAL).
 7.1.4 QUESTION TYPES USED IN PROSE: NOVELS, SHORT STORIES AND
FOLKLORE

NOVELS SHORT STORIES/FOLKLORE

SETTING: Setting is a description of where and when the story takes place.

What aspects make up the setting? In a short story there are fewer settings compared to a
novel. The time is more limited.
(Geography, weather, time of day, social
conditions) How is the setting created?

What role does setting play in the story? (Consider geography, weather, time of day, social
conditions, etc.)
(Is it an important part of the plot or theme or is it
just a backdrop against which the action takes What role does setting play in the story?
place?)
(Is it an important part of the plot or theme or is it just a
Study the time period which is also part of the backdrop against which the action takes place?)
setting

(When was the story written?) Study the time period which is also part of the setting

Does it take place in the present, the past, or (When was the story written?)
the future?
Does it take place in the present, the past, or the
future?

How does the time period affect the language, How does the time period affect the language,
atmosphere or social circumstances of the atmosphere or social circumstances of the novel?
novel?

CHARACTERIZATION: Characterization deals with how the characters are described.

Through dialogue? In short stories there are usually fewer characters

compared to a novel. They usually focus on one central
(By the way they speak - dialect or slang for character or protagonist.
instance?)
Who is the main character?
Physical appearance?
Are the main character and other characters described
through dialogue?
Thoughts and feelings? (By the way, they speak - dialect or slang for instance?)

Interaction?

(the way they act towards other characters) Has the author described the characters by physical
appearance, thoughts and feelings, and interaction (the
Are they static characters who do not change? way they act towards others)?

Do they develop by the end of the story?

Are they static/flat characters who do not change?

What type of characters are they? Are they dynamic/round characters who DO change?

What qualities stand out? What type of characters are they?

Are they stereotypes? (What qualities stand out? Are they stereotypes?)

Are the characters believable? Are the characters believable?

PLOT AND STRUCTURE: The plot is the main sequence of events that make up the story.

What are the most notable events? In short stories the plot is usually centred around one
experience or significant moment.
How is the plot structured?
What is the most important event?
(Is it linear, chronological or does it move back and
forth?) How is the plot structured?

Are there turning points, a climax and/or an anti- (Is it linear, chronological or does it move around?)
climax?
Is the plot believable?
Is the plot believable?

NARRATOR AND POINT OF VIEW: The narrator is the person telling the story. Point of view: whose eyes the
story is being told through.

Who is the narrator or speaker in the story? Short stories tend to be told through one character’s point
of view.
Is the narrator the main character?
Who is the narrator or speaker in the story?
Does the author speak through one of the
characters? Does the author speak through the main character?

Is the story written in the first person “I” point of Is the story written in the first person “I” point of view?
view?
Is the story written in a detached third person “he/she”
Is the story written in a detached third person point of view?
“he/she” point of view?
Is there an “all-knowing” 3rd person who can reveal what
Is the story written in an “all-knowing” 3rd person all the characters are thinking and doing at all times and in
who can reveal what all the characters are thinking all places?
and doing at all times and in all places?

CONFLICT: Conflict or tension is usually the heart of the novel and is related to the main character.

How would you describe the main conflict? In a short story there is usually one main struggle.

Is it internal where the character suffers inwardly? How would you describe the main conflict?
Is it external caused by the surroundings or
environment the main character finds
himself/herself in? Is it an internal conflict within the character?

Is it an external conflict caused by the surroundings or

environment the main character finds himself/herself in?

THEME: The theme is the main idea, lesson or message in the story. It is usually an abstract, universal idea
about the human condition, society or life, to name a few.

How does the theme shine through in the story? How is the theme expressed?

Are any elements repeated that may suggest a Are any elements repeated that may suggest a theme?
theme?
Is there more than one theme?
What other themes are there?

STYLE: The author’s style has to do with the author’s vocabulary, use of imagery, tone or feeling of the story. It
has to do with his attitude towards the subject.

In some novels the tone can be ironic, humorous, In some short stories the tone can be ironic, humorous,
cold or dramatic. cold or dramatic.

Is the text full of figurative language? Is the language used full of figurative language?

Does the author use a lot of symbolism? What images are used?

(use of metaphors, similes, etc.) Does the author use a lot of symbolism?

What images are used? (use of metaphors, similes, etc.)

7.1.5 TYPES OF QUESTIONS TO BE USED IN LITERATURE

1. Multiple-choice questions.

2. TRUE or FALSE questions with a brief quote as proof.

3. Questions requiring a quote as answer

e.g.:

Which word in line 3 tells us that ...

Quote a phrase of TWO words which shows that ...

Quote a line which shows that ...

4. Paraphrase questions

e.g.: Say in your own words what ...

5. Identifying or quoting an example of a figure of speech

e.g.: Give an example of a simile from the poem.

 What figure of speech is used in line 3?

6. Questions testing comprehension of diction in context

e.g.: Find a word similar in meaning to word x (line __)

Which word in line x means...?

What do you understand by the expression xx in line __?

7. Identifying the structure

e.g., a sonnet

8. Questions which require the candidates to choose a suitable word from a given list

e.g.: In line x the person is feeling ... because of his/her ...; in line y he/she is feeling more ...

9. Mix and match questions

e.g.: Match the item in COLUMN A with a suitable item in COLUMN B. Write only the letter (A -
C) next to the question number (1 - 5), e.g., 1 C.

10. Simple explanation of metaphor and irony, led by the examiner

e.g.: In the metaphor in line three the poet compares death to ... because both are ...

Explain the irony of x's words in line x, when you compare it to what he/she does.

11. Questions requiring reference to incidents earlier or later in the studied text.

12. Questions requiring an opinion on the validity of a character's point of view or actions

e.g.: Do you think x had a good reason to do y? Give a reason for your answer.

13. Questions regarding character

e.g.: What does the way in which he/she acts at work tell us about him/her?

What is x's attitude towards other people? Give an example from the story to support your
answer.

14. Questions requiring answers in sentences, as well as phrases and words.

https://medium.com/@trainertribe/how-to-develop-your-ability-to-ask-effective-questions-40486b38f2d7
SECTION 8- RESPONDING TO LEARNER DIVERSITY IN THE
CLASSROOM

8.1 INCLUSION

Children are supposed to learn to read by the 2nd or 3rd grade, and then they are supposed
to "read to learn" for the rest of their lives. Schools need to provide interventions and support
for struggling learners. However, there are several obstacles that make reading of literary
texts more challenging.

8.1.1 Here are examples of intervention strategies to meet your learners needs:

 The teachers must set clear goals for the learners’ reading. They must constantly
evaluate whether the text, and their reading of it, is meeting the goals.

 Assist learners to look over the text before they read, noting such things as the
structure of the text and text sections that might be most relevant for example in a
poem.

 As they read, good readers frequently make predictions about what is to come.

 They read selectively, continually making decisions about their reading text - what to
read carefully, what to read quickly, what not to read, to re-read, etc.

 Teachers must assist learners to construct, revise, and question the meanings they
make as they read.

 Learners draw upon, compare, and integrate their prior knowledge with material in the
text.

 They think about the authors of the text, their style, beliefs, intentions, historical milieu,
etc.

 Teachers must monitor the learners’ understanding of the text by adjusting and
providing resources and assist with reading comprehension.

 Learners try to determine the meaning of unfamiliar words and concepts in the text.
They will be supported by teaching them various reading strategies. (Word-attack skills)

 They evaluate the text’s quality and value and react to the text in a range of ways, both
intellectually and emotionally.

 When reading narrative (story), learners attend closely to the setting and characters;
and when reading expository text assist learners to frequently construct and revise
summaries of what they have read.

 For Learners, text processing occurs not only during ‘reading’ as we have traditionally
defined it. Processing can also occur during short breaks, during reading and after
‘reading’ has stopped.

 Comprehension is an all-consuming, continuous, and complex activity, but one that, for
good readers, is both satisfying and productive.
  Negative attitudes towards reading, or school contexts in which reading is not promoted
or even valued or where a strong reading culture is not evident, neither in the home nor
in the school.

8.2 LEARNING STYLES

8.2.1 When teaching literature every lesson should cater for a combination of all
learning styles.

VISUAL

Learners learn by reading and seeing

pictures. They understand and remember
things by sight. For example, when teaching
https://www.kissclipart.com/
short stories, ensure that the text consists of
visual pictures, or the teacher may use visual
texts.

AUDITORY

Learners learn by hearing and listening, they

understand and remember things they have
heard. They store information by the way it
sounds, and they have an easier time
understanding spoken instructions. For
https://www.seekpng.com/
example, when teaching all literature genres
learners may listen from an audio.

KINAESTHETIC

Learners learn by touching and doing.

They understand and remember things
through physical movement, and they require
space. For example, when teaching drama
https://favpng.com/
learners can role play or act the process.
 8.3 MULTIPLE INTELLIGENCE

Multiple intelligences are the diverse ways learners learn and acquire information.

Types Description of the learner’s Ideas for activities in the

strengths classroom

1 Verbal-Linguistic ● Well-developed verbal skills and Word games, storytelling,

Intelligence sensitivity to the sounds, meanings speeches, debates,
and rhythms of words. journals, dialogues,
“word smart” reading aloud, poetry
● The ability to read, write, listen and writing, oral presentations,
speak. blogging.
● Skilled with words and language.

2 Mathematical-Logical ● Ability to think conceptually and Problem solving, math

Intelligence abstractly, and capacity to discern games, logic puzzles,
logical or numerical patterns. creating codes, Socratic
“number/reasoning questioning, computer
smart” ● The ability to calculate, solve logical programming, timelines.
puzzles, reason, and think
scientifically.

● Skilled with logic, reasoning, and/or

numbers.

3 Musical Intelligence ● Ability to produce and appreciate Creative movement,

rhythm, pitch and timber. dance, mime, field trips,
“music smart” imagery, manipulative,
● The ability to sing, play a musical hands-on activities, body
instrument, analyse music, and language, role playing.
compose music.

● Skilled with sound, rhythm, tone,

and music.

4 Visual-Spatial ● Capacity to think in images and Diagrams, visualization,

Intelligence pictures, to visualize accurately and maps, visual puzzles,
abstractly. mind mapping, patterns,
“picture smart” pictorial metaphors,
● The ability to orient yourself in videotaping, photography.
space.

● Skilled with images, spatial

judgement, and/or puzzles.

5 Bodily-Kinaesthetic ● Ability to control one's body Singing, humming, raps,

movements and to handle objects chants, rhythms, listening
Intelligence skilfully. to music, creating
“body smart” melodies for concepts,
● The ability to move your body in a musical games, compose
coordinated way, for example in
 Types Description of the learner’s Ideas for activities in the
strengths classroom

dance, sports or surgery. tunes, pod casting.

● Skilled at controlling bodily motion

such as sports, dance, etc.)

6 Interpersonal ● Capacity to detect and respond Mediation, peer

Intelligence appropriately to the moods, collaboration, simulations,
motivations, and desires of others. cross-age tutoring, clubs,
“people smart” community projects,
● The ability to understand and cooperative activities,
interpret verbal and nonverbal interviews, blogging.
behaviour of others.

● Skilled at communicating with

others/relating to others.

7 Intrapersonal ● Capacity to be self-aware and in Individualized projects,

Intelligence tune with inner feelings, values, journal writing, reflective
beliefs and thinking processes. time, quiet spaces,
“self-smart” independent studies, self-
● The ability to reflect on your own evaluation,
actions and to understand them. autobiographies.
● Skilled at self-knowledge, reflection,
etc.)

8 Naturalist Intelligence ● Ability to recognize and categorize Exploring outdoors,

plants, animals, and other objects in identifying flora/fauna,
“nature smart” nature. gardening, wildlife
observation, studying
● The ability to recognize and natural phenomena,
categorize objects in the natural science projects.
world.

● Skilled at understanding/relating to
the natural world.

9 Existential ● Sensitivity and capacity to tackle Here are a few ways

Intelligence deep questions about human to exercise your
existence, such as the meaning of existential intelligence in
“be smart” life, why do we die, and how did we your daily life:
get here. visit an astronomical
observatory, use a mind
● The ability to determine your own map for brainstorming
position with regards to existential sessions, give yourself
features of the human existence, time to daydream,
such as death and the meaning of meditate, keep a dream
life. journal, develop
your critical thinking skills,
study ancient and modern
philosophers, open
 Types Description of the learner’s Ideas for activities in the
strengths classroom

discussions with friends

and family about big
picture ideas.

NOTE:

Refer to Education White Paper 6: Guidelines for Inclusive Teaching and Learning 2010

https://www.additioapp.com/en/gardner-multiple-intelligences-theory/

8.4 HOW TO SUPPORT

THE GIFTED LEARNER

8.4.1 Definition:

Gifted learners are those

whose potential is distinctly
above average in one or
more of the following
domains: intellectual,
creative, social and physical.
They need services and
activities not ordinarily
provided by the school in
order to fully develop their
potential.

8.4.2 Intellectual
giftedness:
Intellectual giftedness is an intellectual ability significantly higher than average. It is a
characteristic of children, variously defined, that motivates differences in school
programming. It is thought to persist as a trait into adult life, with https://www.youtube.com/watch?v=SMjuVyJF1e
various consequences
studied in longitudinal studies of giftedness over the last century.

8.4.3 How does giftedness affect a child’s learning?

They love to learn and their love of learning, good memories, and ability to learn quickly and
easily enable them to succeed. If a gifted child has lost the motivation to learn, he or she
may not do well in school, although achievement test scores will usually remain high.

8.4.4 Approach

“Using an elevated level of skills such as questioning, critical thinking, problem-based

teaching, and creativity as well as motivating gifted students to perform open-ended
activities is really important (Kronborg & Plunkett, 2015; Zeidner & Matthews, 2017).

On the other hand, there are great differences between an ordinary language skills
curriculum and a language curriculum for gifted individuals.

A language curriculum for gifted individuals involves an advanced level of content and
materials, open-ended activities, provides opportunities for gifted students to produce,
advanced level of reading and vocabulary tasks, various writing and investigating
opportunities, and multidisciplinary work. Combining these components, a holistic structure
is presented for gifted students who are more talented at verbal tasks in terms of language
skills curriculum” (Horak & Galluzzo, 2017)

SECTION 9 - ADVOCACY

9.1 LITERATURE READING ADVOCACY:

9.1.1 Reading corners

● Every language classroom should develop a reading corner of various genres.

● Classroom reading corners should have a variety of grade appropriate reading materials
that include Non-fiction & fiction and other texts across the curriculum.

● No less than 40 titles should be displayed in the corner.

● It can also be utilised during Drop All and Read (DAR) and during flexible periods to
enhance reading skills.
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9.1.2 Drop All and Read (DAR)

 Schools must:

• Adopt a policy of Drop All and Read.

• Establish a community of reading.

 It is important to understand that this activity is meant for reading, for leisure.
 All subject teachers need to ensure that learners bring along newspapers,
magazines, readers (fiction and non-fiction) etc.
 All subject teachers must ensure that there’s enough reading resources for learners
to optimally participate in this activity.
 The following are examples of how it can be implemented:
 It can be a 10-minute activity spread over three days per week e.g., Monday,
Wednesday and Friday.
 It can also be a 6-minute activity per day. (6 minutes times 5 days is equal to 30
minutes)
 It can be a 30-minute activity on any selected day of the week.
(Schools can exercise their discretion that suits their context)
 https://www.pearson.com/jp/en/educators/pearson-english-graded-readers.html

9.2 SUGGESTED READING MANAGEMENT PLAN FOR COMMEMORATIVE DAYS

DATE/S EVENT/S POSSIBLE ACTIVITIES RESPONSIBILITY

TERM 1

District Subject
Read to lead Campaign Introduction to campaigns at
Advisors & Teachers
Awareness meetings.
(Languages)

School and District

FEBRUARY NAL’IBALI Reading Stories
officials

Schools submit their

Schools’ Management management plans with
FEBRUARY School SMT
Plans activities to District Subject
Advisors – Languages.

Recite or dramatize Poems/ School and District

MARCH World Poetry Day
Rhymes. officials

TERM 2

World Book Day Learners design a poster

School and District
APRIL about the importance of
(23 April) officials
reading.

School and District

MAY Writers’ Day Celebrate a poet or a writer.
officials

Listen to community
School and District
MAY Africa Day members read stories from
officials
Africa e.g., fables.

TERM 3

JULY Nelson Mandela Day Read to someone – Make a School and District
 difference
(18 July) Read, write or dramatize officials
dialogues and Debates.

School and District

AUGUST Book Lovers’ month Dramatization: Stories/plays
officials

Design Posters for display in Schools and District

Read to Lead Posters
September. officials

Awareness of women in
Literature. (e.g., invite a
National Women’s Day community member –an
School and District
AUGUST elderly woman-to come and
(9 August) officials
read a book to the learners or
design and display a poster
about women writers).

Read to Lead Month Dress up as your favourite

book character. Bring books
to school to read or donate.
School and District
SEPTEMBER Make your own bookmark.
officials
Create a reading corner tree
International Literacy and have a general
Day (9 September) knowledge quiz.

Reading and Authoring of Schools and District

SEPTEMBER READATHON
story books and poems. officials

TERM 4

Teachers’ Day Poster of your favourite quote

School and District
OCTOBER or favourite things about your
(5 October) officials
teacher.

Allow learners to interact with

NOVEMBER Graphic novel month their favourite graphic novel Schools
(cartoon)
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SECTION 10 – RESOURCES
Unique literary features for each genre

Characters
A character is a person, animal, being, creature, or thing in a story. A character is a
person who is responsible for the thoughts and actions within a story, poem, or other
literature. Writers use characters to tell a story. Without characters there is no story.

For conceptual understanding:

The word “agonistes” is very critical in understanding the role that characters play in a story.
Agoniste is originated from Greek “agōnistēs” where it means contestant - someone involved
in a contest or battle. An addition of pro-, deuter-, tri- and ant- prefixes exposes the roles that
characters play in a story.

● Protagonist is the first leading character;

● Antagonist is the character that opposes main character
● Deuteragonist is the second important character;
● Tritagonist is the third important character

Classification of characters
There are many ways of classifying characters. Some types of characters do overlap. This
Study Guide will focus on the two categories, namely:
● the role that they play in a story; and
● their traits (the way they are).

The role that they play

Each story has main character(s) and supporting characters (sometimes). Main characters
are characters that are assigned to play the main role in a story, unlike the minor characters
who play the supporting role. The former are featured prominently throughout the story
whereas the minor characters will be featured less. Both roles are very important in driving
the story.
For conceptual understanding the term “agonistes” is very critical in understanding the role
that characters play in a story. As explained before, the word agoniste is originated
 from Greek “agōnistēs” meaning contestant - someone involved in a contest or battle. Just
look at what has been added to the term agonist:

● Protagonist is the first leading character;

● Deuteragonist is the second important character;
● Tritagonist is the third important character; and
● Antagonist is the character that opposes main character.

Already the above paragraph leads teachers to teach about prefixes, thereby integrating literature and
Language Structures and Conventions. Teachers are encouraged to add more prefixes of Greek and
Latin origin for vocabulary development. Some of such prefixes can be drawn from Mathematics and
Natural Science and Technology to strengthen the Languages Across the Curriculum.

CHARACTERS AND THE ROLES THAT THEY PLAY

Protagonist  Explain to learners the prefix pro- in relation to the prefix ant-.
o The prefix pro- in protagonist means first.
o Protagonist is the first main leading character of a story - primary.
o Every story has this type of character.
o It appears in the story from the beginning, right through the middle and
until the end (plot).
● Sometimes the protagonist can get dropped in the middle of the story
and a new one gets introduced - This is called a false protagonist.
● The protagonist is at the centre of the story and keeps the readers
interested by showing his heroism and courage to stand by the truth
and fighting against the antagonistic character.
● The protagonist often raises from nothing or comes out as a strong
person after being a victim of a destructive event.

 Steering (the act of guiding or showing the way)

● In tragedy (type of drama) the protagonist is referred to as a tragic
hero because of the heroic role that they play.
● A good example of this type of character is Harry Potter by J. K.
Rowling, which shows the heroic characteristics of a boy who faces the
evils and threats against his life and still strongly maintains the good
virtues and saves others’ lives in difficult situations.

Note to the Teacher:

Ask the learners, in the play ‘Macbeth’, between Macbeth and Lady Macbeth,
who do you think is the protagonist and who is the deuteragonist.

● The teacher can stimulate discussion utilising content from higher grades,
particularly to cater for the gifted learners.
● Content knowledge of this concept should be applied across the grades.

 Possible questions around the protagonist:

o Who is the protagonist in this story?
o Who do you think is the protagonist (main character) of this story?
 o Who do you think the protagonist of this story is and why?
o How does the protagonist relate to the deuteragonist (second character)
/ antagonist (opposing character) / tritagonist (third character)?
o The protagonist seems to always be at loggerheads with the antagonist.
Why is that the case?
o If you were the protagonist of this story, how will you go about this
situation (Elaborate).

 The prefix deuter means second.

 The deuteragonist is the second most important main character in a story (after
the protagonist).
 Most prose consists of a protagonist and a deuteragonist (or group of
deuteragonists).
 This is the character who’s not exactly under the spotlight, but quite close to it.
 They’re often found in the company of the protagonist.
Deuteragonist
 They offer advice, plot against their rivals, and graciously lend a helping hand.
 Their presence and connection to the protagonist provide warmth to the story.
 This indicates that the story isn’t only about the hero’s journey, but about the
friends they make along the way.
o Example: Jim (from The Adventures of Huckleberry Finn), Lady
Macbeth, Samwise Gamgee, Jane Bennet are some great examples of
the deuteragonist.

 The prefix tri- means three – the same as in triangle (link with Mathematics).
 The tritagonist is the third most important main character of a story, after the
protagonist and the deuteragonist.
Tritagonist  The tritagonist can be an instigator.
 Can appear to side with the protagonist or the antagonist or both.
 Example: In The Adventures of Huckleberry Finn, the tritagonist is Tom
Sawyer.

 The prefix ant- means against.

 The antagonist is the main character of the story through whom the plot of the
story unfolds with a hooker.
 An antagonist (from Greek - antagonistes, "opponent, competitor, rival") is a
character, group of characters, an institution or a force that represents the
opposition against which the protagonist must contend.
 The antagonist may also be referred to as the archenemy of the protagonist.
o The antagonist is the main rival of the protagonist.
o They set up conflicts or obstacles for the protagonist.
 In the classic style of story where in the action consists of a hero fighting a
Antagonist villain, the two can be regarded as protagonist and antagonist, respectively.
 The antagonist may also represent a major threat or obstacle to the main
character by their very existence, without necessarily actively targeting him or
her.
 Sometimes antagonists and protagonists may overlap, depending on what their
ultimate objectives are considered to be.
 Also, some protagonists can be antagonists at the same time.
 For example, when Don Quixote’s ideals for justice get the best of his sanity,
and he sees reality in a twisted way, such as windmills portraying dangerous
giants, which causes him to attack them and ending up brutally injured, and
so, placing himself as the obstacle for his goals.

Minor  Minor characters are characters that play a supporting role in a story.
Characters /  Though their roles are minimal in a story, without them the story can be dull
 and not attain its full intention.
Tertiary  They are featured only to drive the specific effect of the story.
Characters /  For example: Think of characters who are featured in the story but say nothing
Tertagonists – but they are part and parcel of the storyline.

Additional notes for the Teacher:

o Stimulate discussion on both main and minor characters from any popular radio and television
drama series.
o The terms primary, secondary and tertiary warrant an explanation for conceptual understanding.

Traits of Characters

 Characters can be classified based on their traits.

 Traits are features or characteristics that distinguish each individual.
 Individuals have different traits.
 This Study Guide will focus on the main traits but will not exhaust all of them.

Characters and their Traits

 A round character has many complex traits and is not easy to predict.
 They are multifaceted, realistic and unique characters.
Round /  They are dynamic and change all the times.
Dynamic  They adapt with ease.
Character
Note that there are scholars who distinguishes between round and dynamic
characters.

● Their names are self-explanatory.

● They are the opposite of the ‘round character’.
● They are flat and not dynamic, hence fixed because of their stereotype.
Flat / Stock / ● They do not change and remain the same throughout the story.
Static / ● They are not easily changed by events.
● They are one-dimensional characters, with a single overarching trait and
Stereotype
otherwise limited personality or individuality.
Note that there are scholars who distinguish flat, static, stock and
stereotype characters – although they resemble the same overlapping traits.

Additional notes for the teacher:

o Whether a character is round or flat depends on their characterization. In some cases, an author
may purposely create flat characters, particularly if those characters will appear only briefly and
only for a specific purpose.
o A bully who appears in a single scene of a television show, for instance, might never get or need
more characterization than the fact that they act like a bully.
o But other times authors may create flat characters unintentionally when round characters were
 necessary, and such characters can render a narrative dull, tensionless, and unrealistic.

 A confidante character is the character that the protagonist confides in.

 A trusted friend or servant – who knows all the secrets of the protagonist.
Confidante
o Does any come to mind when thinking of local or international story /
series?

Foil  A foil is a character that shows qualities that are in contrast with the qualities
of another to highlight the traits of the other.

 A villain is that character that always exhibits malicious evil deeds.

Villain  Villains are portrayed to be hated because their wickedness.

Possible Questions

● In this story who is a round / dynamic / flat / static / stock / stereotype / confidante / foil / villain
character? – Cognitive Level 2: Reorganisation
● In this story who is a round / dynamic / flat / static / stock / stereotype / confidante / foil / villain
character? Substantiate your response.

Characterisation
Characterisation defines the “what” of a character – the type of person the character is in
a story. Here the author reveals the details of characters, including their behaviour and
personality. It is about all the details about the characters that reveal the type of
characters individuals depict in a story.

Characterization portrays what the character is like and what his/her motives are. Every
character has his or her own personality, which a creative author uses to assist in
forming the development of the plot of a story. The different attitudes, behaviours, and
even appearances of characters can greatly influence the other major elements in a
literary work, such as theme, setting, and tone.

An author can portray a character as a narcissist person – somebody with self-entitlement,

lack of empathy who needs admiration and believing he/she is the greatest.

How then do we know how characters in a story are portrayed?

 Author
 Characters
 Character Self
 Naming
 Actions

Conflict
Conflict is an essential element of a storyline. This is the main struggle or problem in the
story. This must grab the attention of the reader and keep them interested to read the story.
It might be a clash between two characters, good and evil, a person and their society, and
nature, etc. Or it could be an internal conflict, such as a child who doesn't want to grow up or
someone struggling with depression or an eating disorder.

It is not part of the stages of a plot. It is the struggle that arises between characters or
between individuals and their fate or circumstances. Conflict in literature can also arise
from opposing desires or values in a character’s own mind.
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Conflict, as defined on www.merriam-webster.com is:

(a) Competitive or opposing action of incompatibles; and

(b) Mental struggle resulting from incompatible or opposing needs, drives, wishes, or
external or internal demands.

The following synonyms and antonyms can broaden the understanding of the
concept conflict:

Synonyms: Antonyms:

dispute, quarrel, squabble, disagreement, agreement, harmony

discord, friction, strife, hostility, bad blood,
contention, clash, altercation, shouting,
tussle, fracas, feud, battle, etc.

Plot
The structure and relationship of actions and events in a work of fiction.
It is a series of actions by the artist to build upon one another with an introduction, body
and conclusion.

Plot is how events are rendered and organized and relate to one another so as to achieve
their particular effects.

The foundation of plot is conflict. Characters are initially confronted with a problem which
is normally resolved by the end of the story

The interrelatedness of the main events in a text; plot involves more than a simple sequence
of events as it suggests a pattern of relationships between events and a web of how each
story line ends.
Exposition

This is the introduction of a story, where the background information is provided. It can be of
any length. It sets up the plot and gives the important information you need before you can
understand the rest of the narrative. In general, the exposition will introduce the main
characters, setting, and background of the story and will set the mood and tone.

Rising action
The stage in a story when things in the plot start to become more complicated and
interesting. In the rising action this is where the protagonist is going through obstacles. In
these obstacles he is frustrated trying to reach his goal. This is the basic internal conflict that
we see in the stories.

Climax
The most exciting, effective, or important part of the story; this important part is not
necessarily at the end/ the turning point, the most intense moment — either mentally or in
action. In most cases, the climax is towards the end of a story/novel.

Falling action / Anticlimax

All of the action which follows the climax. The conflict is in the process of being resolved
or “unravelled”. This is the part of the story that happens after the climax. The problems
or conflicts of the story become sorted out. Anticlimax occurs when an expectation of
some high point of importance or excitement is not fulfilled, or the seriousness of a literary
plot is suddenly lost as a result of a comical, digressive or meaningless event.
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Resolution/Denouement
The conclusion, the tying together of all of the threads and the solution to the conflict that
arose in the rising action. Endings may be happy or tragic. It deals with the aftermath of
the climax, wraps up any final questions or secondary storylines, and brings the plot to its
conclusion.

Setting
Literary features cuts across all genres done in the InterSen phase. Features used in a short
story may also be found in a Drama or Myth. It is important that learners understand that
certain concepts are not limited to one genre but, that as part of language, it is integrated
across all written work.

Background, Context and Setting

 Background relates to socio-political and cultural context of texts, author and/ or

different social settings.
 Context
A text is always used and produced in a context; the context includes the broad and
immediate situation including aspects such as social, cultural and political background;
the term can also refer to that which precedes or follows a word or text and is essential to
its meaning.

 Setting:
The total environment for the action of a fictional work. Setting includes time period (such
as the late 1990's) and the place (Soweto), the historical milieu (such as during the Post-
Apartheid Era), the social, political and perhaps even spiritual realities.

The setting is usually established primarily through description, though narration is also
used, i.e., the area where the events took place is described.
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Role of the Narrator

● A narrator is someone who relates the events of a story.
● In a literary work, a narrator or speaker who presents the work to the reader, by
explaining values, beliefs and experiences.
● Point-of-view - The author's point-of-view concentrates on the vantage point of the
speaker, or "teller", of the story, like he/she witnessed it first hand or for the first time
and writes about it.
● The events can be narrated by either the author, one of the characters in the story, or by
someone who seem to watch or look at events as they unfold, and this is explained as
follows:
o 1st person: the speaker is a character in the story or poem and tells it from
his/her perspective (uses "I")
o 3rd person limited: the speaker is not part of the story, but tells about the
other characters but limits information about what one character sees and
feels.
o 3rd person omniscient: the speaker is not part of the story, but is able to
"know" and describe what all characters are thinking

Messages and Themes

 A central idea or statement that unifies and controls an entire literary work.
 A theme is the author's way of communicating and sharing ideas, perceptions, and
feelings with readers, and it may be directly stated in the book, or it may only be
implied.
 A theme can take the form of a brief and meaningful insight or a comprehensive vision
of life; e.g. “Love covers a multitude of wrongs” (message)
 It may be a single idea such as “deceit" "or "jealousy"
 It may be a lesson learnt from a story.

Mood
Atmosphere or emotion in written texts shows the feeling or the frame of mind of the
characters; it also refers to the atmosphere produced by visual, audio or multi-media texts.
● When the mood is associated with setting it will be termed atmosphere
● Words that describe mood: fanciful, melancholy, frightening, mysterious, frustrating,
romantic, gloomy, sentimental, happy, sorrowful, joyful, suspenseful, etc.
● The mood can be many different things, e.g., a feeling of love / doom / fear / pride; an
atmosphere of chaos / peace
● Examples of MOODS include suspenseful, joyful, depressing, excited, anxious, angry,
sad, tense, lonely, suspicious, frightened, disgusted.

Tone
● Quality and timbre of the voice that conveys the emotional message of a spoken text.
● In written text, it is achieved through words that convey the attitude of the writer.
● In film, tone can be created through music or visual effects
● The tone of a literary work may be joyful, sad, brooding, angry, playful, etc.

Diction
● Determine word choice by using appropriate, descriptive and evocative words, phrases
and expressions
● Diction involves the writer’s choice and use of words
● Diction can be described as colloquial, simple, elegant, formal, technical, figurative,
emotive, pretentious, plain, decorative etc.
● The vocabulary used in a story ought to be appropriate to its subject matter.
● Diction can reveal the attitude of the narrator, and as such could be linked to tone.
● Straightforward words and regular phrases would indicate a neutral position, in contrast
to the prejudiced narrator who would be more likely to use emotive language to persuade
the reader to a particular point of view.

Imagery (Visualization)

o Words, phrases, and sentences which create images in our minds, such as
similes, metaphors, personification; verbal expression of a sensory detail (e.g.
(sight, sound, smell, taste, touch) – language that appeals to the seven senses:
o Simile:
‘In the morning the dust hung like fog, and the sun was as red as ripe new blood.’
John Steinbeck
o Metaphor:
‘In battle, the soldier is a tiger.’
o Personification:
‘The house pleaded for a new coat of paint.’
Style
Style in literature is the literary element that describes the ways that the author uses
words — the author's word choice, sentence structure, figurative language, and
sentence arrangement all work together to establish mood, images, and meaning in the
text. Writers vary their techniques based upon their audience, motives and writing
genre.
Descriptive Language:
o This type of language evokes feelings rather than directly stating facts.
o Descriptive language techniques include metaphors, similes, personification, and
onomatopoeia.
o In descriptive writing, only precise language is used. There is no place for general
adjectives in it. So, use specific adjectives and nouns to give life to the picture that
you are trying to paint in the reader’s mind.
o Descriptive writing is used in poetry, drama and prose.

Persuasive Language
Persuasive language techniques are used by authors to convince readers of their point of view, and
to sway them to their point of view. Persuasive writing is basically a form of non-fiction writing that
encourages:
● Careful word choice
● Development of logical arguments
● Cohesive summary
It can be a wonderful way to express the thoughts and views about a subject. It provides
learners an opportunity to research about their interest. Persuasive writing can be used in
poetry, drama and prose.

10.1 POETRY

Question 1
ANSWER ALL THE QUESTIONS ON BOTH POEMS.
Read the poem and answer the questions set on it.
The Wind

1 The wind stood up and gave a shout;

2 He whistled on his fingers, and

3 Kicked the withered leaves about,

4 And thumped the branches with his hand,

5 And said he’d kill, and kill and kill;

6 And so he will! And so he will.
James Stephens (Enjoying more poetry)
1.1 Question on title/ theme/character in the poem.

e.g. What is the theme of this poem?

OR

The title of the poem is given human characteristics throughout.

What is this device called? (1)

OR

To what is the title referring to in the poem?

1.2 Question about the subtitle (if there is one)

e.g. Who is it dedicated to?

OR What is the function of the subtitle? (1)

1.3 Question on choice.

Choose the correct answer between brackets.
Formulate this question correctly.

e.g. Choose the correct answer between brackets. Write down only the
correct number and letter. E.g. 2.3. wind

This poem is a very good example of (a metaphor / a simile) (1)

1.4 Question on emphasis.

Which action is being emphasized in the last stanza?

OR Why is the emphasis on killing in the last stanza? (1)

1.5 Question on the meaning of some difficult words/concepts.

e.g How can the wind stand up and shout? (line 1) (1)

1.6 Question on onomatopoeia / repetition (if any)

In which stanza is repetition used in this poem? (1)

Quote an extract from this poem to indicate repetition and explain the
function of this.

1.7 Question on rhyme or rhythm.

Write down two words that rhyme with each other in the poem? (1)

What is the effect of the rhyme in the last stanza?

 1.8 Multiple choice.

Choose the correct word to complete the following sentence.

Write only the letter (A-D) and the question number e.g. 2.8 D.

“And thumped the branches with his hand” is an example of…

A metaphor

B personification

C simile

D irony (1)

1.9 Comparison in the poem.

Give two examples of angry actions in this poem and explain the (2)
relevance of each.

1.10 Question on happenings / time in the poem.

e.g. Explain the time of day/week/year this poem is taking place.

Quote from the poem to support your answer. (2)

1.11 Question on the meaning of different words or phrases.

e.g. Which word in the poem indicate that the wind was very vocal?

OR

Discuss the impact of the quote “And said he’d kill, and kill and kill” (1)

Question 2
Read the following poem and answer all the questions set on it.

PIGEONS By Richard Kell

1 They paddle with staccato feet

2 in powder-pools of sunlight,
3 small blue busybodies
4 strutting like fat gentlemen
5 with hands clasped
6 under their swallowtail coats;
7 and, as they stump about,
 8 their heads like tiny hammers
9 tap at imaginary nails
10 in non-existent walls.
11 Elusive ghosts of sunshine
12 slither down the green gloss
13 of their necks an instant, and are gone.

14 Summer hangs drugged from sky to earth

15 in limpid fathoms of silence:
16 only warm dark dimples of sound
17 slide like slow bubbles
18 from the contented throats.

19 Raise a casual hand -

20 with one quick gust
21 they fountain into air.

2.1 Question on the title of the poem.

What does the title refer to? (1)

2.2 Question on word choice giving meaning to them poem.

Identify two words in stanza one that reference the way the pigeons look.

(1)

OR

Is the tone of the poem positive or negative? (1)

2.3 Poetic devises (not asked already)

Choose the correct answer between brackets. Write down the question
number and answer only.

“small blue busybodies” is a good example of….

(alliteration/ assonance). (1)

2.4 Question on emotion / feeling.

“Summer hangs drugged from sky to earth

in limpid fathoms of silence…”

Explain the feeling described in the above quote. (1)

2.5 Column A and B type question.

Choose the correct figure of speech from column B that best describe the
quote in column A.

Column A Column B

2.22.1 A. parenthesis
They paddle with staccato feet in
powder-pools of sunlight…

2.22.2 B. Personification
…their heads like tiny hammers tap
at imaginary nails…

2.22.3 C. metaphor
…under their swallowtail coats; and,
as they stump about…

D simile

(3)

2.6 Question on words that speak directly to the reader.

In line 14 the poet says that summer is drugged. What is meant

by this?

2.6.1 Is this quote meant literary or figuratively? (1)

2.6.2 (1)

Which other word in the stanza links to “drugged”?

2.6.3 “from the contented throats…” (line 18)

Why are they content? (2)

TOTAL QUESTION 2:25

QUESTION 3
Read the poem carefully and answer the questions that follow:

Our new teacher by David Bateson

This new teacher has such scary teeth

they look just like the shark’s.
His eyes gleam in the sunlight
like a pair of purple sparks.
His voice is just as booming 5

as the roar from some big gun;

He can imitate a thunderstorm
for a gruesome bit of fun.
And now Billy who was silly
almost every other day 10

hides his comic book away.

Every lesson lasts a lifetime ...
with our noses to each page,
We imagine bars on windows
and the classroom seems a cage 15

So, please come back, Miss Fothergill:

though you won’t believe it’s true,
We all loved you as our teacher;
we were oh, so fond of you!

https://www.teacherspayteachers.com/Product/Meet-Your-New-Teacher-SMARTboard-Lesson-292116

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 Poetry: Grade: ________________ Term: _____________

Title The ants The black Farm gates The road African Cicada
at the badge of not taken beggar
Olympics Africa

Theme Going for

gold

Poet Gift
Mudzingwa

Title / meaning Going back

home

Figures of speech With

hands like
claws

Stanza number 4 stanzas

Free verse/traditional traditional

Rhyme/rhythm Flows/grows

Green/scene

Punctuation/enjambment Lines:7,
14, 19

Language:

● Easy/difficult Easy Moderate

● Modern/old Modern Modern

● Figurative or figurative figurative

● literal

Tone/Emotion:

● Emotion expressed happy melancholy

● Tone

● Mood

● atmosphere

Meaning: surviving

● The main idea

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 10.2 DRAMA

POSSIBLE QUESTIONS

Possible questions on drama.

Lower order questions

1. Write down the name of the drama. (L1)

2. Who is the main character in this drama? (L1)
3. Who is the author (writer) of this drama? (L1)
4. Where does the play happen? (setting) (L2)
5. List all the supporting characters in the play. (L2)

Middle order questions

6. What is the role of the narrator in a drama/play? (L3)

7. Is this a happy or sad drama? Explain your answer in full sentences. (L3)

Higher order questions

8. What is the theme of this drama? (What is it all about?) (L4)

9. In a short paragraph comment on the themes portrayed in the drama. (L5)

Possible questions for the Senior Phase on drama.

Lower order questions

1. List the names of the antagonist and protagonist in the drama. (L1)
2. Give the drama a new title. (L2)
3. What is the function of the narrator in a drama? (L2)
4. True of False . . . (L2)
5. Where does the drama take place? (setting) (L2)
6. Identify one theme from the drama. (L2)
7. Identify the conflict in the drama. (L2)

Middle order questions

8. Discuss the relationship between the name of the play and the theme
addressed in the play/drama. (L3)
9. List the main characters and describe their characteristics. (L3)
10. List the supporting characters and discuss their role in relationship
to the main character. (L3)
11. Discuss the themes of the play / drama. (L3)
12. Describe the setting / background of the play / drama and the

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 relationship it has on the main characters or story. (L3)

13. Choose the correct answer from the selection given.

This type of drama is called a ….

A Modern comedy
B tragedy
C comedy
D fairy tale (L3)

Higher order questions

14. Explain the different types of conflict found in the play. Select one and
analysed how the conflict drives the story / theme. (L4)
15. Discuss the climax of the play / drama. (L5)

Possible questions and answers on the drama: Example 1

Question Possible answers Mark Level

4. Write down the title of the The Prince and The Pauper 1 1
drama.

5. Who is the main character in Prince Edward 1 1

this drama?

6. Who is the author of this Mitsopoulos 1 1

drama?

7. Where does the play The story happens in England in the year 2 1
happen? 1549.

8. List all the supporting Tom Canty 3 2

characters in the play. Edward Tudor
Princes Marry
Lady Jane Grey
Soldier one
Soldier two

The middle order questions

9. What is the role of the To give direction of the story, to fill in the 2 3
narrator in a drama? gaps that were left unattended.

10. Is this a happy or sad drama? It was a happy drama because the 2 3
Explain your answer in full Edward the prince and Tom the beggar
sentences end up exchanging clothes /
responsibilities, prince takes off his cloak
and hands it to Tom and Edward be a
beggar for a moment and Tom be a
prince.

Higher order question

8. What is the theme of this is all about the thinking of the rich people 2 4
drama ( what is it all about) and the thinking of the poor people.
People are never satisfied with their
surroundings.

9.In a short paragraph comment Unhappy with who you are. 3 5

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 on the themes portrayed in the
drama Experiences you would never have
Respect for other people / classes

Possible questions and answers on Drama: Example 2

Questions Possible answers Mark Level

Low order question

1. List the names of the Antagonist - Tom 2 1

antagonist and
protagonist in the drama. Protagonist - Edward

2. Give this drama a new The rich and the poor 1 2

title.

3. What is the function of To show us the setting and the moral of 2 2

the narrator in a drama? the story even to outline the themes and
aims of the story.

4. True or False question. False (in San Diego, California) 2 2

Peter Matsopoulos was
born and raised in
Gauteng, Tembisa and
still lives there

5. Where does the drama In England in the year 1549 2 2

take place? (setting)

6. Identify one theme from Not to undermine other people. 2 2

the drama.

7. Identify the conflict in Instead of begging coins he begged his 2 3

drama way to the gates of the palace.

Middle order questions

8. Discuss the relationship The prince and the pauper and wealth, 2 3
between the name of the poverty and morality there is clear no
play and the theme disconnect between the extreme rich and
addressed in the extreme poor. The life styles are more
the play / drama. different eg. Urban and rural, township
and suburbs as well as poor and rich.

9. List the main characters Tom Canty – Pauper of Pudding Lane 2 3

and describe their and the beggar
characteristics Edward Tudor – Prince of Wales

10. List the supporting Tom Canty – Pauper of Pudding Lane 3 3

characters and discuss Edward Tudor – Prince of Wales
their role in relationship to Princess Mary – Edward’s half-sister
the main character. Lady Jane Grey – Edward’s cousin
Soldier One
Soldier Two

11. Discuss the themes of the There is a clear disconnect between the 2 3
play / drama. extremely people`s lofty positions in fine
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 estates far away from the dirt noise and
misery.

12. Describe the setting / As it happens in England one can assume 2 3

background of the play / that Edward the prince was rich.
drama and the
relationship it has on
main characters or story.

13. Choose the correct (c) Comedy 1 3

answer from the selection
given.
This type of drama is
called a…
(a) modern comedy.
(b) tragedy.
(c) comedy.
(d) fairy tale.

High order question

14. Explain the different types Tom Canty was begging for money and 1 4
of conflict found in the food for himself and his family.
play. Select one and Instead of begging for coins he was
analyse how the conflict begging to get to the gate of the palace.
drives the story / theme

15. Discuss the Climax of the Is when the Prince and Tom start to 1 5
drama / play exchange clothes.

10.3 NOVEL

NOVEL SHORT STORY FOLKLORE

A long prose narrative that must Fictional story that can be read in Folktales are like urban legends, that
be read in many sittings. one sitting. are passed from person to person. Like
short stories, they can be read in one
sitting.

Novels have time to explore the Short stories are shorter than
full three-act structure. novels. ... Technically a short story
is anywhere between 1,000 to Folktales are usually spoken.
20,000 words.
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 If your story is less than 1,000
words, it would be considered flash
Novels have room to explore the fiction. Folk tales and short stories share many
lives of several major characters. commonalities, both in format and style.
If your short story is longer than However, their subject matter
20,000 words, it would be differentiates the two mediums.
considered a novella.
The length is normally
somewhere between one
hundred and five hundred pages. While short stories tend to explore an
In short stories, you often only have individual experience, folk tales are
It uses the elements of
space to write a segment of the almost always set in the past, and either
storytelling: plot, character,
three-act structure, usually a explain or uphold a continuing
setting, theme, and point of view.
segment that leads up to a major, communal tradition.
transformative event for the main
character.

Short stories are more limited than Most traditional folktales are very old.
novels- it usually has only 1 or 2 They are stories, which were passed
major characters and one important down to new generations by storytellers.
setting. Later they were written down. Each tale
may have many versions. Folktales are
You cannot write a subplot into your told all over the world. Often folktales
short story. They are too brief to teach lessons. Fables and fairy tales are
focus on the life of more than one types of folktales.
major character.

This narrative usually makes up

about 10 to 20 book pages and Elements found in Folktales
follows the elements of plot-
introduction/exposition,
complications/rising action, climax, * May use the phrase, “Once upon a
falling action, resolution. time"

* May use the number three in the

story ... number of characters, events,
wishes, etc.

* Has good and bad characters.

* Uses repetition of phrases or

responses, ex: “Little pig, little pig, let
me in,” from The Three Little Pigs.

* Involves common people and/or

animals.

* Main characters have a problem to

solve.

*Has a happy ending.

*Problem is solved.

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 https://katherineluck.medium.com/how-long-should-a-novel-be-8c8a3ae250ac

ANALYSIS OF A NOVEL ANALYSIS OF A SHORT STORY

Your literary analysis of a novel will often be in the Your literary analysis of a short story will often be in
form of an essay or book report where you will be the form of an essay where you may be asked to:
asked to:
✔ Give your opinions of the short story at the
✔ Give your opinions of the novel at the end.
end.
✔ Choose the elements that made the
✔ To conclude, choose the elements that greatest impression on you.
made the greatest impression on you.
✔ Point out which character/characters you
✔ Point out which characters you liked best liked best or least and always support your
or least and always support your arguments.
arguments.
✔ Message, theme
Try to view the novel as a whole and try to give a
balanced analysis.

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 ttps://styleblueprint.com/memphis/everyday/novel-the-next-chapter-for-our-hometown-independent-
bookstore/

10.4 SHORT STORIES

(Character, Setting, Plot, Conflict and Theme)

Written by Dorothy Dye

Mama Tau was coming home! She had been away for a long time
studying, and her family missed her. Everyone was very excited.
levels But Thapelo, the youngest of all her children, was the most
excited.

On the day of Mama Tau’s arrival, the family spent the morning
preparing. The sun was shining outside. Thapelo kicked his ball
around on the grass. He wanted to show his mother how much
better his soccer was since the last time she had seen him. “Catch this one, Bless,”
Direct he shouted to the dog. But Bless just looked at the ball and went inside.
speech

Thapelo followed the dog and went to find his older sister, Refilwe. Refilwe was a DJ.
She was so cool that she wore her sunglasses even inside the house. Refilwe was in
her room getting music to play for when Mama walked through the front door. “I’m
not going to play any of that rap she complains about,” Refilwe said. “Today we will
only hear jazz.

Just how Mama likes it.” She took off her sunglasses and winked at Thapelo. “Maybe
you can dance with Mama.”

Then Refilwe put on her headphones and started nodding her head to the music.

“Can I help you?” asked Thapelo.

“What?” said Refilwe, taking off her headphones. “What did you say?”

“Can I help you?” Thapelo shouted.

“No need to shout,” Refilwe said. “I can hear you perfectly.” Then she shook her
head.

“This is all on the computer, Thapelo. So, you can’t help. You’re too small.

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Thapelo went to find his brother, Saul. He was in the kitchen, baking one of his very

special cakes. Whenever there was a special occasion, Saul made a cake. For
Thapelo’s last birthday, he had made a chocolate cake with Smarties on top. Saul
was wearing a striped apron and was stirring the cake mixture in a big bowl.

“This is a lemon cake,” he told Thapelo. “Mama’s favourite.”

“Can I help you?” asked Thapelo. “No,” he said. “Last time you dropped an egg.
Sorry, Thapelo. You’re too small.”

He went to find his other sister, Mampotoko, who was putting up decorations in the

lounge. There were paper chains and balloons. “Can I help you?” he asked.

“Here, see if you can blow these up,” she said, handing Thapelo some balloons. He

chose a red one and started blowing. He tried and he tried but he couldn’t get
enough air into it.

“Oh no,” he said sadly. “I’m too small.”

So Thapelo went to find Ntate. He was sitting at the table, wrapping up a bead
necklace for Mama. “This necklace has her favourite colours,” he said. “Purple and
green. Isn’t it beautiful?”

Thapelo saw the wrapping paper with stars on it.

“Can I help you wrap the necklace?” asked Thapelo.

“No, sorry, Thapelo, you’re too small,” his father said.

Thapelo felt sad. He looked at their dog, Bless, sitting next to Ntate. “Come, Bless,”
he called. But Bless just sat there. “Even Bless thinks I’m too small,” Thapelo
thought.

Thapelo went outside and sat on the front step. “I wish I could grow as tall as a
giant,” he thought. “Then they’d all be scared of me, and nobody would say, ‘You’re
too small.’”

Just then he heard a loud shout from inside the house. “Bless! Bless, come back!”

Bless ran past Thapelo and around the corner of the house. And after Bless ran Ntate.
Then Saul. Then Refilwe. And then Mampotoko. “That dog has stolen Mama’s
present!”

Ntate shouted as he passed Thapelo. Thapelo joined them and ran after Bless too.

Bless jumped through a hole in the fence, into the yard next door. “Come back,
Bless!” they called. And after a while Bless did come back ... but without the present!

“Oh no, he’s left it next door!” Ntate groaned. “And the Sitholes are away till
tomorrow!
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 So, it’s stuck on the other side of the fence till they come back!”

“I could climb through the hole and fetch it,” suggested Thapelo.

“No,” they all said together. “You’re too ...” They stopped. They looked at Thapelo.

“Will you fit?” asked Refilwe.

“Are you small enough?” asked Saul. Thapelo

crouched down and squeezed himself through the
hole. He just fitted through. There, on the grass in
the Sithole’s yard, was the wrapped present, with
just a little bit of the wrapping paper torn. He picked
up the present and squeezed back to the other side
of the fence.

“Oh, Thapelo,” said Ntate. “You are a star!”

“Three cheers for Thapelo!” Saul said, and they all hugged him.

Later that afternoon there was a knock on the door. It was Mama! Thapelo rushed
into her arms.

“How you’ve grown, my boy,” she said. “Look at how tall you are now.”

“But I’m still too small, Mama,” he said.

“No!” everyone shouted.

“No, you’re not!” said Ntate, “You’re just the right size!”

Source: nalibali.org/story-library/multilingual-stories/you’re-too-small

Possible questions after you read the story.

Lower order questions

1. Provide this story with a heading. Explain the reason for choosing this
heading. (L2)
2. What type of a gift did the father buy the mother?
(L1)
3. Why were all the children so busy? (L2)
4. Give the name of the dog in the story.
(L1)
5. Do you think the family loved their mother? From the extract quote one
sentence
to support your answer.
(L2)

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 Middle order questions

6. Choose the correct answer from the selection given.

Refilwe was a DJ. She was so cool… DJ is a form of abbreviation, select the correct
form.

A truncation
B initialism
C gerund
D abbreviation (L3)

7. Is the word ‘cool’ in the sentence used figuratively of literally? (L3)

8. Thapelo kicked his ball around on the grass.

Identify the following parts of speech from the above sentence.
A. Object
B. Subject
C. Verb
D. Adverb (L3)

9. Explain the setting of this story? (L3)

10. What happened in the house that created panic? (L3)

Higher order questions

11. Is this a happy or sad story? Why do you think so? (L4)
12. How was the situation with the present resolved? (L4)
13. 13.Write a short paragraph about the best gift you had ever received. (L5)

Possible Answers

Lower order question

Questions Possible answers Marks Level

1. Provide this story with a heading. Thapelo the small boy 1 2

Explain the reason for choosing this
heading.

2. What type of a gift did the father buy Bead necklace 1 1

the mother?

3. Why were all the children so busy? They were preparing to 1 2

welcome their mother

4. Give the name of the dog in the story Bless 1 1

5. Do you think the family loved their She had been away for a long 1 2
mother? From the extract quote one time studying, and her family
sentence to support your answer. missed her. Everyone was very
excited.

Middle order question

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6. Choose the correct answer from the D - abbreviation 1 3
selection given Refilwe was a DJ.
She was so cool… DJ is a form of
abbreviation, select the correct form.
A. truncation
B. initialism
C. gerund
D. abbreviation
7. Is the word ‘cool’ in the sentence
used figuratively of literally? Figuratively 1 3

8. Thapelo kicked his ball around on 4 3

the grass.
Identify the following parts of speech
from the above sentence.

A. object A. ball is our object

B. subject B. Thapelo is our subject

C. verb C. kicked is our verb

D. adverb D. around is our adverb

9. Explain the setting of this story? It happened at home in the 2 3

house and it was afternoon.

10. What happened in the house that Bless stole Mama`s present. 1 3
created panic?

High order question

11. Is this a happy or sad story? Why do Is a happy story because even 1 4
you think so? Thapelo who was told that he is
too small finally contributed.

12. How was the situation with the Thapelo the small boy managed 2 4
present resolved? to crouch down and squeeze
himself through the hole to take
the wrapped present.

13. Write a short paragraph about the Learners can indicate literal gifts 2 5
best gift you had ever received. such as toys, play stations,
phones or more other gifts such
as holidays, seeing their friends
or family

10.5 FOLKLORE

Analysis of Folktales
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 Title

The lazy Chameleon’s trick

Main character
Author: Pirai Mazungunye Setting

Long ago, in the peaceful village of Mudavula, there lived a very lazy Chameleon. At that time, all the animals
farmed the land to feed themselves and their families. All except Chameleon. Because of his laziness, he did not
want to work like everyone else. Instead, he thought up a crooked plan so that he could borrow from others and live
well.

One Monday morning, Chameleon went to Hare to borrow maize meal. Before he arrived at Hare’s house, he
changed his skin colour from brown to green.

“Please lend me some maize meal,” Chameleon asked.

“And when will you pay me back?” Hare asked.

“At the end of the month!” Chameleon promised.

Hare filled the empty bucket that Chameleon had brought. Chameleon took the maize meal home, smiling as he
went. He was thinking about his crooked plan to trick the other animals. He made up a little song to help him
remember his plan.

‘I will change my colours

Direct speech
But no one will ever know.

I was green when Hare saw me,

With Lizard I’ll be yellow.

Frog will see a black chameleon

With Tortoise, brown I’ll be.

I will change and change my colours.

They will never know it’s me!’

On Tuesday, Chameleon woke up hungry. “I can’t eat porridge every day. I need rice!” Chameleon thought. “I will
change my skin colour to yellow and go to Lizard. If I can trick everyone, I will not pay anyone anything!”

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Chameleon went with his empty bucket to Lizard, who kindly filled it with rice. Chameleon promised to pay Lizard
back at the end of the month.

On Wednesday, after cooking some rice, Chameleon looked unhappily at his plate. “No! No! Plain rice is not nice. I
need meat!” Chameleon thought for a while. “Frog will give me meat!” he decided.

Chameleon changed his skin colour to black and ran to Frog’s house with his empty bucket. Frog filled his bucket
with meat. Again, Chameleon promised to pay Frog back at the end of the month.

“I am missing fruit. I need it!” Chameleon thought on Thursday. “Who has fruit?” Chameleon thought, scratching
his head. “Tortoise! Yes, Tortoise!”

Chameleon changed his skin colour to brown and went to Tortoise with his empty bucket. He asked Tortoise for
fruit, and Tortoise filled his bucket with bananas, oranges and apples.

“Thank you, thank you, Mr Tortoise. I will pay you back at the end of the month,” he promised.

repetition

All the time Chameleon kept singing his song so that he would remember his colour tricks.

‘I will change my colours

But no one will ever know.

I was green when Hare saw me,

With Lizard I’ll be yellow.

Frog will see a black chameleon

With Tortoise, brown I’ll be.

I will change and change my colours.

They will never know it’s me!’

When the end of the month came, the animals waited for Chameleon to come and pay them back what he had
borrowed. But Chameleon did not come.

Conflict

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First, Hare went to Chameleon’s house. “Those of here! Those of here!” Hare called loudly at the gate.

Chameleon peeped through the window. When he saw Hare, he remembered his song. “Aah, Mr Hare, I was green
when I borrowed your maize meal,” Chameleon said to himself. Quickly, he changed his skin colour to yellow and
went to the gate to meet Hare.

“I am looking for a green chameleon,” Hare said surprised.

“A green chameleon? I live here alone. I moved in not long ago,” Chameleon lied to Hare.

Hare left and Chameleon went back into his house. “I am the clever one,” Chameleon boasted aloud, jumping onto
the couch.

In the days that followed, Lizard, Frog and Tortoise also came looking for the Chameleon who had borrowed rice,
meat and fruit from them. Chameleon tricked each one by changing his skin colour so that they would not recognise
him.

Flat characters

Another month passed by. Then Hare, Lizard, Frog and Tortoise met by a big marula tree to gather its delicious
golden fruit. Looking at his basket of marulas, Tortoise said, “A green chameleon has moved in at the brown
chameleon’s house. That brown chameleon owes me a bucket of fruit.”

“No,” said Hare. “A yellow chameleon stays at that house. I am looking for the green chameleon who owes me a
bucket of maize meal.”

“No,” Lizard said. “A black chameleon stays at that house. I am looking for the yellow chameleon who owes me a
bucket of rice.”

“No,” Frog said. “A brown chameleon stays at that house. I am looking for the black chameleon who owes me a
bucket of meat.”

Then Lizard said, “Could it be that one chameleon has tricked us all by changing his skin colour? Let’s all go to the
house at the same time.”

So Hare, Lizard, Frog and Tortoise marched to Chameleon’s house and shouted for him to come out.

Climax

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 Chameleon peeped through the window at the angry animals. He felt ashamed that his laziness had brought him so
much trouble, so he went out and begged Hare, Lizard, Frog and Tortoise to forgive him.

Hare, Lizard, Frog and Tortoise agreed to forgive Chameleon. “But never again will you get anything from any one
of us,” they said.

And from that day on, the lazy chameleon had to work for his food just like everyone else. Ending

Massage: Laziness might lead to

dishonesty

Source: taken from Nalibali addition 182

Possible questions:

Answer the following questions form the story you just read.

1. Give the story a new heading. (L1)

2. Explain the setting of the story. (L1)
3. Discuss how the red highlighted words in paragraph one contributes to the
tone of the story? (L3)
4. Complete the following table by matching the correct colour of Chameleon to
the character he visited. (L2)

Draw lines to connect the correct colour in column A with the character visited in
column B.

COLUMN A COLUMN B

Colour of the Chameleon Character visited

green Tortoise

yellow Frog

brown Lizard

black Hare

Page | 128
 5. In your own words and in paragraph form, discuss the moral of this story. (L4)
6. Describe the climax of the story in your own words. (L3)
7. Read the phrase said by the chameleon:

“Could it be that one chameleon has tricked us all by changing his skin colour?”

8. How will you feel if someone trick you the same way? Explain your answer. (L4)
9. What happened at the end of the story? Do you think forgiveness is important
decision to make peace? Explain your answer. (L5)
10. Laziness might lead to dishonest. What do you think the life of the Chameleon
could end if the other animals didn’t forgive him? (L4)
11. What will you do if you were a chameleon when other people are chasing
after you? (L5)
12. Write a suitable ending of the story if the chameleon was never forgiven by
other animals. (L5)

Possible answers of Chameleon

Question Possible answers Marks Level

1. Give the story a new heading. Laziness might lead to dishonest 1 2

2. Explain the setting of the story. It happens long ago at Mudavula 2 2

village during sowing season

3. Discuss how the bolded It shows how peaceful they lived 2 3

highlighted words in paragraph one in the community. It also shows
contributes to the tone of the story? how they loved each other.

4. Complete the following table by 4 2

matching the correct colour of
Chameleon to the character he visited. Colour of the Character
chameleon visited
Draw lines to connect the correct colour
in column A with the character visited in Green Tortoise
column B. Yellow Frog

Brown Lizard
Colour of the Character
Black Hare
chameleon visited

Green Tortoise

Yellow Frog

Brown Lizard

Black Hare
Page | 129
 2 4

5. In your own words and in paragraph The moral of the story is that it is
form, discuss the moral of this story. not good to live a lie and trick
others and it is important to have
a heart of forgiveness when
others do you wrong.

6. Describe the climax of the story in Animals realised that the 2 3

your own words. chameleon tricked them and
started to search for him.

7. Read the phrase said by the I will be angry and feel 2 4

chameleon: undermined by his tricks. I will not
let it go like that I will either pay
“Could it be that one chameleon has revenge.
tricked us all by changing his skin
colour?

How will you feel if someone tricks you

the same way?

Explain your answer.

8.What happened at the end of the Chameleon was forgiven. 2 5

story?
Yes, forgiveness is important, but
Do you think forgiveness is important they should have taught him a
decision to make peace? Explain your lesson by punishing him.
answer.

9. Laziness might lead to dishonesty. He might be chased out of the 2 4

What do you think the life of the village or die of hunger. (Any
Chameleon would be like if the other suitable response)
animals didn’t forgive him?

10. What will you do if you were a I will do exactly what the 3 5
chameleon when other people are chameleon did to ask for
chasing after you? forgiveness. I will regret about the
wrong thing I’ve done and start to
live an honest life and treat others
with respect. (Any suitable
answer)

11. Write a suitable ending of the story When other animals realised that 2 5
if the chameleon was never forgiven by the chameleon tricked them, they
other animals. took all chameleon’s belonging to
pay them back and decided to
chase the chase the chameleon
Page | 130
 from their territory. (Accept any
suitable answer relevant to the
content of the text)

The difference between Prose Texts?

The following aspects will enhance the learners’ understanding of the text:

Literal and figurative language

Literal language is direct and uses the real definition and meanings of words and phrases.

Figurative language refers to words or expressions that have non-literal meanings. The
meaning of any figurative word, phrase or language is dependent on the context in which
they are used. Any language contains figure of speech – English, Afrikaans, Tshivenda,
Xitsonga, Sesotho, IsiXhosa, etc.

dioms An idiom is a group of words established by usage as having a meaning not

deducible from those of the individual words. It is a figurative language wherein
words are used in an unusual or imaginative manner. It is a commonly used
expression whose meaning does not relate to the literal meaning of its words.

IDIOMS MEANING

The lights are on, but nobody’s To describe a person who is not
home. smart.

Something that you think will never

When pigs fly.
happen.

To kick the bucket. To die.

Very calm, especially when it is

As cool as a cucumber.
surprising.

A piece of cake. Something very easy to do.

To tell some to stop and carefully

Hold your horses. consider their decision or opinion
about something.

A lot of unnecessary anger and

Storm in a teacup
worry about an unimportant matter

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 www.eslforums.com

A proverb is a short, concise statement of a general truth, one that condenses

common experience into memorable form. A proverb is most often a phrase or saying
that gives advice in an obscure way. The purpose of a proverb is to present wisdom
in a short, memorable format.

PROVERBS MEANINGS

Smart people usually have the

Great minds think alike.
same ideas.

You have to act fast to get what you

If you snooze, you lose.
Proverbs want.

If you don’t work hard, you’ll never

No pain, no gain.
achieve your goal.

Money is the root of all evil. Money is the cause of all problem

Do not interfere with other people’s

Mind your own business.
lives and affairs.

When you do something in

Don’t count your chickens before
preparation for another thing that
they hatch.
may not even happen.

www.eslforums.com

A riddle is a statement or question or phrase having a double or veiled meaning, put

forth as a puzzle to be solved. A riddle is a mystifying, misleading, or puzzling
question posed as a problem to be solved or guessed: conundrum, enigma. Riddles
are questions or statements that are intended to assess cleverness while guessing or
Riddles figuring out the answers and are often presented as puzzles or games. Riddles are
often used as activities to measure one's sharpness in finding clues and skill in
dealing with figurative questions.

https://www.worksheetsplanet.com/riddles-for-kids/

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Figures of speech

 A figure of speech, sometimes referred to as rhetorical figure is a usage of

words, phrases or language in a figurative manner rather than literal.
 It is a word or a phrase that possesses a separate meaning from its literal definition.
 It is an intentional deviation from ordinary language, chosen to produce
a rhetorical effect.
 Figures of speech convey meanings in unexpected or unusual ways in order to
produce a stylistic effect.
 Words that are ordinarily known to mean something are used to mean something
else.
 Figures of speech are mainly associated with literature, in particular poetry.
 We use figure of speech in our daily conversations and writings. At the soccer
stadium fan will scream ‘He is a cow’ when the striker misses a sure scoring
opportunity. They are used during Listening and Speaking (Oral), Reading and
Viewing (Literature and Reading Comprehension), Writing and Presenting
(transactional and essays).
 Learners as they are doing an oral activity, for example debate, speech, etc. they
should be able to pull through a relevant figure of speech. Usage of figure of
speeches on essays, transactional texts, story and poem writing demonstrates the
highest level of language mastery.

This guide will only focus on the commonly used figure of speech.

FIGURE OF
EXPLANATION
SPEECH

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 The occurrence of the same letter or sound at the beginning of adjacent
Alliteration
or closely connected words. E.G. ‘The alliteration of ‘sweet birds sang’"

Assonance Vowel sounds are repeated within phrases or sentences that are close
to each other in the text.

Consonance Repetition of identical or similar consonants in neighbouring words

whose vowel sounds are different.

Figure of speech where two words having the same meaning are
repeated so as to make the text more emphatic. Saying the same thing
Tautology twice.

e.g. That filthy place was really dirty.

A pun is a figure of speech that plays with words that have multiple
meanings, or that plays with words that sound similar but mean different
Pun things.

e.g. Jessie looked up from her breakfast and said, "A boiled egg every
morning is hard to beat."

The use of words that imitate the sounds associated with the objects or
Onomatopoeia actions they refer to. Words that imitate a real sound

e.g. The clap of thunder went bang and scared my poor dog.

A metaphor is a figure of speech that makes a comparison between two

unrelated things by stating that one thing is another thing, even though
this isn't literally true. An implied comparison between two dissimilar
Metaphor things that have something in common.

For example, if someone says "it's raining cats and dogs," this obviously
doesn't literally mean what it says—it's a metaphor that makes a
comparison between the weight of "cats and dogs" and heavy rain.

A figure of speech that compares things that are not similar. It uses
comparison. A stated comparison (usually formed with "like" or "as")
between two fundamentally dissimilar things that have certain qualities
in common. A simile, like a metaphor, makes a comparison between
two unrelated things. However, instead of stating that one
Simile thing is another thing (as in metaphor), a simile states that one thing
is like another thing.

e.g. Roberto was white as a sheet after he walked out of the horror
movie.

e.g. They fought like cats and dogs.

Oxymoron A figure of speech in which two incongruous or contradictory terms or

ideas appear side by side in the same sentence. Using two terms
together, that normally contradict each other. An oxymoron pairs
contradictory words in order to express new or complex meanings.

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 e.g. "He popped the jumbo shrimp in his mouth."

e.g. Painful pride, sweet death

A statement that appears to contradict itself. Use of apparently

contradictory ideas to point out some underlying truth.
Paradox
e.g. "This is the beginning of the end," said Eeyore, always the
pessimist.

A figure of speech that personifies a non-human object as human. An

inanimate object or abstraction is endowed with human qualities or
Personificatio abilities.
n
e.g. That kitchen knife will take a bite out of your hand if you don't
handle it safely.

A figure of speech that addresses a non-existent person or an object as

though it’s a living being.
Apostrophe
e.g. "Oh, you stupid car, you never work when I need you to," Mpho
sighed.

The substitution of an inoffensive term for one considered offensively

explicit. Substitution of a less offensive or more agreeable term for
Euphemism another.

e.g. "We're teaching our toddler how to go potty," Bob said.

An extravagant statement; the use of exaggerated terms for the

Hyperbole purpose of emphasis or heightened effect.

e.g. I have a ton of things to do when I get home.

The use of words to convey the opposite of their literal meaning. Use of
word in a way that conveys a meaning opposite to its usual meaning.
Also, a statement or situation where the meaning is contradicted by the
Irony appearance or presentation of the idea.

e.g. "Oh, I love spending big bucks," said my dad, a notorious penny
pincher.

The deliberate omission of one or more words from a sentence because

their meaning is already implied.

Ellipsis In the example, "Should I call you, or you me?" the second clause uses
ellipsis. While its implication is "or should you call me," the context of
the sentence allows for the omission of "should" and "call." Ellipsis is a
scheme because it involves an uncommon usage of language.

What Is a Pun?

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 A pun is a figure of speech that plays with words that have multiple meanings, or that
plays with words that sound similar but mean different things.
 For example: “Make like a tree and leave.” Puns are often used in writing to create
humour.
 Another word for a pun is “paronomasia,” which derives from the Greek word
“paronomasia,” which means to make a change in a name.
 Puns can add humour to writing, and, in some cases, are used as Easter eggs—an
unexpected, hidden joke—to entertain perceptive readers.

Five Different Types of Puns

Puns can be classified in different ways, depending on the intentional effect of the phrase.
Puns can put similar-sounding words together, pair terms with similar meanings, or play on a
word with multiple definitions. Here are five different types of puns:

1. Homophonic pun. A homophonic

pun uses paired homonyms: words
that sound the same but have
different meanings. For example:
“Why is it so wet in England?
Because many kings and queens
have reigned there.” This pun
interchanges the words “rained” and
“reigned.”

http://www.exceedthestandard.com/
puns.html

Compound pun. A compound pun contains

more than one pun in the same sentence. For
example: “Never scam in the jungle; cheetahs
are always spotted.”

https://lforloktor.
wordpress.com/2
015/02/07/puns-puns-

2. Homographic pun. A homographic

pun, also referred to as a
Page | 136
 heteronymic pun, plays on words that are spelled the same way but have a double
meaning. Because these puns rely on spelling, they are visual and must be read to be
understood. Here is an example of a homographic pun that transposes the word “flies”:
“Time flies like an arrow; fruit flies likes bananas.

https://www.toppr.com/ask/content/story/amp/pun-34059/

3. Visual pun. A visual pun, or a

graphological pun, does not use phonetic
writing. Visual puns can be achieved
through imagery, graphics, or logos. An
example of a visual pun would be an
image of a fork in the middle of a street,
a take on the common “fork in the road”
metaphor.

https:
//www.coolpun.com/topic/good+visual

4. Recursive pun. A recursive pun is a two-part pun.

One needs to recognize or understand the first
part of the pun in order for the second part to
make sense. For example, the pun “May the
Fourth be with you” requires an understanding of
the Star Wars movies and the phrase “May the
force be with you,” as well as the knowledge that
May 4 is Star Wars Day.

https://ramialghamdi.wordpress.com/2013/04/15/pun/

ASSESSMENT RESOURCES

EXEMPLAR INFORMAL ASSESSMENT ACTIVITY #1:

Integrating Language Structures and Conventions when teaching Literature

An unbelievable night
Page | 137
 1 One night Lindiwe lay in bed and read about crocodiles in her favourite
magazine, “National Animal Magazine”. Before she went to sleep she put the
magazine on the bookshelf, just outside the bathroom door. Later that night,
as she was on her way to the bathroom, she heard a hissing from the
bookshelf. She was half asleep so she didn’t really pay attention to it. But 5
then the pile of newspapers and magazines ……. the bookshelf began to
move. The pile toppled over and suddenly there were magazines and
newspapers all over the floor, and the hissing got louder.

2 Lindiwe could not believe her eyes: a grunting, snorting crocodile was coming
out from under the bookshelf. She was frozen to the spot. She watched 10
the crocodile crawl and slowly look around the room. It seemed to have just
come out of the water. Its whole body was dripping wet and it left a pool of
water on the floor. The crocodile made a hissing sound and swung its head
and tail. It opened its mouth, and Lindiwe swallowed hard when she saw its
long row of teeth. The “National Animal Magazine” was lying on the floor 15
next to the crocodile. Something about it wasn’t quite right. Lindiwe stared at
it, and then she saw that the picture on the cover was different. Instead of a
big crocodile on a river bank, now there was just a river bank! She picked up
the magazine.

Source from: DBE English Workbook, book 1 (term 1&2). 2021

Suggested Questions and Marking Guideline for Activity #1:

ASSESSING AN EXEMPLAR EXTRACT FROM A NOVEL

Cognitive
Question Marking guide/ Possible answers Marks
Levels

From the passage above, identify a noun in Lindiwe / bed/ crocodile / magazine
1
paragraph 1, line 1. √ (Accept any ONE)

Rewrite the following sentence and use the O√ne night L√indiwe lay in bed and read
correct punctuation marks: about crocodiles in her favourite magazine,
“National Animal Magazine”.√
one night Lindiwe lay in bed and read 3
about crocodiles in her favourite
magazine, “National Animal Magazine”.

Change the following sentence into present She freezes to the spot.√
tense.
She was frozen to the spot. 1

Page | 138
Join the following sentences using the Lindiwe put magazine in the bookshelf and
correct conjunction given in brackets (but, √went to sleep.
and): 1
Lindiwe put the magazine in the
bookshelf. Lindiwe went to sleep.

Give the antonym of the underlined word in Appearing √

the following sentence.

1
The crocodile and the amingos were
disappearing back into the magazine.

Rewrite following sentence in a reported Lindiwe said that √ the crocodile made a
speech. Begin your sentence with: Lindiwe hissing sound and swung its head and tail.
said . . . (Award one mark for that)
1

The crocodile made a hissing sound and

swung its head and tail.

Use the correct preposition to complete the But then the pile of newspapers and
following sentence. magazines on √ the bookshelf began to
But then the pile of newspapers and move. 1
magazines ……. the bookshelf began to
move.

Use the correct degrees of comparison in the The crocodile is longer √than the lizard.
following sentence. 1
The crocodile is (long) than the lizard.

EXEMPLAR INFORMAL ASSESSMENT ACTIVITY #2

Read the following passage from Reading the signs and answer the questions that follow:

Niklaas lived with his family on a farm in the mountains. From the time that he was a very small boy he had
walked in the field with his father. He knew all about the plants that grew there – which were poisonous and
which were used for healing different illnesses. He could name them all and knew where to find them, even the
rare plants that people seldom find.

Niklaas knew the ways of the animals too – the marks in the sand where a snake passed, the tracks of the
tortoise, the tiny droppings of a small buck, down at the river and the footprints of the shy otter.

Once when he was still quite small, Niklaas went with the old shepherd to look for a lost sheep, they went quietly
through the veld, with Niklaas pointing to the signs – the footprints in the sand near the river, some wool caught
on the wag - `n – bietjie thorns, and further on fresh sheep droppings on the stony mountain path and then the
sound of a sheep bleating far away. The shepherd had been pleased with him.

Page | 139
 Source from: ANA remedial workbook English Workbook

Suggested Questions and Marking Guideline for Activity #2:

ASSESSING AN EXEMPLAR EXTRACT FROM A SHORT STORY

Responses/
Question Memorandum/ Marking Cognitive
guide Marks
Levels

1. Match Column A to Column B (4)

Noun Type of noun 1.1 C

1.1 Niklaas A pronoun 1.2 D

1.3 A 4
1.2 Father B compound noun
1.4 B
1.3 He C proper noun

1.4 Footprints D common noun

2. Write the following sentence in present continuous 2. Niklaas is living

tense: with his family in the
1
Niklaas lived with his family on a farm in the mountains.
mountains.

3. Identify subject, object and verb in the following

3. The tortoise (subject)
sentence:
The tortoise eats plants. Eats ( verb)
3
plants (object)

4. Use the correct punctuation mark in the following 2. Niklaas knew the animal
Sentence: footprints, track of the
tortoise,
Niklaas knew the animal footprints track of the the rare plants
and snake marks on the
tortoise the rare plants snake marks on the sand sand. 3

3. Give the synonym of the word 5. Scarce

1
rare

4. Use the word small in paragraph 2 and fill the

Blank spaces in the following table to show the 6.
degrees of comparison in following table:
2
Small smaller Smallest
Small __________ __________

Page | 140
READING RESOURCES

Reading cards

Reading cards / logs are also called reading journals, reading diaries or reading registers.
Reading becomes more fun when you have a handy record of books. Being a great tool for
readers, it helps you in maintaining a dated log or reading diary or journal. A reading journal
can be designed in any way, making it fun and colourful if you want to give it an appealing
look. Also, it does not have a standard format but does have some standard content which
should be included. In addition to having a standard format, you can also add in your
comments, reactions, details about the plot, theme of the story and motifs to remember the
book by.

Whether you like horror, mystery, romance, apocalyptic, crime novels or a mixture of all of
them, a reading journal can add your comprehension of books you read and which belong to
all sort of genres. If you are a reading fanatic or a bookworm, you would agree that revisiting
the ideas and thoughts about what happened in each book you read is simply amazing.
Also, it makes you recall all the characters you loved and were passionate about. In fact, it
encourages you to read more novels by the same author.

Reading cards needs to be signed by parents, guardians or any family member responsible
for the learners’ upbringing.

Homework – number of prescribed reading pages per grade

For extended reading there should be a reading card that prescribes the number of pages
that learners should read per day per grade (Homework to inculcate the culture of reading).

● Grade 4 = 7 pages

● Grade 5 = 10 pages

● Grade 6 = 12 pages

● Grade 7-9 = 15 pages

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 https://templatelab.com/reading-log/

SECTION 11 - REFERENCES

 home.miracosta.edu/pmartin/download/ps/impromptuf09.pdf
 http://www.school.jotter.com/showpage.php?id=29231
 https://busyteacher.org
 https://wwwmindtools.com
 How to assess group discussion: https://www.quora.com
 https://www.ldatschool.ca/checklists-achievement-charts/
 A short guide to oral assessment - By Gordon Joughin
 Relevant Curriculum and Assessment Policy Statement documents
 Language in Education Policy
 Guidelines for responding to learner diversity in the classroom
 DBE GET CAPS Amendments IP & SP (THE ABRIDGED CAPS SECTION 4
 AMENDMENTS);
 CAPS Guidelines for responding to learner-diversity in the classroom Grade R-12;
 National Policy pertaining to the Programme and Promotion requirements of the National
Curriculum Statement Grades R-12;
 National Protocol for Assessment Grades R-1-12;
 DBE Reading Strategy and Reading Norms (Draft – February 2018; Draft 2 March 2019)
 Practical Tips for Teaching Multigrade Classes – UNESCO
https://unesdoc.unesco.org/ark:/48223/pf0000220101
 https://www.middleweb.com/24899/12-ways-to-get-learners-speaking-listening/
 DBE Reading Strategy and Reading Norms (Draft – February 2018; Draft 2 March 2019)
 Early Grade Reading Assessment (EGRA), A Guide for Teachers – EFAL
 Early Grade Reading Assessment Toolkit, Vol. 2 2016
 PrimTEd Teaching Reading Study Guide 4, Reading Fluency
 Reading Champion Manual 2020
 http://www.rrf.org.uk/pdf/Burtreadingtestonweb.pdf
 Professional Development Service for Teachers: (Reading booklet)
 https://engdic.org/inspirational-moral-stories-for-adults/
 https://blog.allaboutlearningpress.com/6-great-reasons-to-read-aloud/
 https://www.arhs.vip/blog/wp-content/uploads/2020/06/Unprepared-Speech-Instructions-and-
Rubric.pdf

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