So you can make sense of the poems – but how do you structure your essay?

This clean & simple new guide from accolade press will walk you through how to plan and structure essay responses to unseen poems akin to those you'll encounter in your Unseen Poetry exams. By working through eight mock papers, these detailed essay plans will show you how to go about building a theme based answer – while the accompanying notes will illustrate not only how to masterfully structure your response, but also how to ensure all AQA's Assessment Objectives are being satisfied.

About the author: Hugh Foley has taught English Literature at the University of Oxford, University of Liverpool and Queen Mary University of London.

About the editor: About the editor: R.P. Davis has a First Class degree in English Literature from UCL, and a Masters in Literature from Cambridge University. A long-time fan of Foley's modern poetic verse (and his ability to play with both rhythm and atmosphere, while also imparting a message), this guide was one he especially relished editing!

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Alternatively, you can download a digital PDF version (compatible with most devices) via this link.

Sample From The Text

Editor’s Foreword

In the unseen poetry portion of your GCSE English Literature exam, you will be presented with two questions plus two poems that share a common subject. The first question (worth 24 marks) will be exclusively about the first of the two poems, and will ask you to discuss how a particular aspect of the poem is presented. The second question (worth 8 marks) will ask you to compare the first and second poem, and to discuss how the poets present their common subject in a different or not so different way.

Naturally enough, the first question – the one worth 24 marks – will be your top priority. Of course, there are many methods one might use to tackle a question of this kind. However, there is one particular technique which, due to its sophistication, most readily allows students to unlock the highest marks: namely, the thematic method.

To be clear, this study guide is not intended to explain everything you need to know about poetry: there are many great guides out there that attempt to do just that. No, this guide, by sifting through a series of mock exam questions, will demonstrate how to organise a response thematically and thus write a stellar essay: a skill we believe no other study guide adequately covers! I have encountered students who have structured their essays all sorts of ways: some by writing about the poem line by line, others by identifying various language techniques and giving each its own paragraph. The method I’m advocating, on the other hand, involves picking out three to four themes that will allow you to holistically answer the first question: these three to four themes will become the three to four content paragraphs of your essay, cushioned between a brief introduction and conclusion. Ideally, the themes will follow from one to the next to create a flowing argument. Within each of these thematic paragraphs, you can then ensure you are jumping through the mark scheme’s hoops.

So to break things down further, each thematic paragraph will include various point-scoring components. In each paragraph, you will quote from the poem, offer analyses of these quotations, then discuss how the specific language techniques you have identified illustrate the theme you’re discussing. Don’t worry if this all feels daunting. Throughout this guide, Hugh (the talented author!) will be illustrating in great detail – by means of examples – how to build an essay of this kind.

(For the shorter second question – the 8 marker – Hugh will also be showing you how to pick one interesting point of comparison, and to explain how this thematic difference or similarity is achieved by the poets’ language).

In your exam, both poems are likely to be about some general subject or topic: the weather, grief, music, beaches, prophecy, etc. But the poems’ themes, the things you are trying to describe in your answer, are going to be closer to the different things the poem says about the weather, grief, music, beaches, etc. The poem will normally offer you a sort of argument or story: the unfolding of more than one idea about what the weather, grief, music, beaches etc. mean to the poet, or the speaker, or to us all. So beaches might first make us happy to escape from work or school, and then make us feel sad as we realise we have to return to our everyday life, but also leave us refreshed. If these are the three ideas we get about beaches from the poem, these could be our themes, and each paragraph is then going to explain why you think that this theme is what the poem has to say about beaches, and how the language helps to make the point.

The beauty of the thematic approach is that, once you have your themes, you suddenly have a direction and a trajectory, and this makes essay writing a whole lot easier. However, it must also be noted that extracting themes in the first place is something students often find tricky. I have come across many candidates who understand the techniques a poem might use inside and out; but when they are presented with a question under exam conditions, and the pressure kicks in, they find it tough to break their response down into themes. The fact of the matter is: the process is a creative one and the best themes require a bit of imagination.

In this guide, Hugh will take eight exam-style unseen poetry papers – each containing two questions and two poems – and will put together a plan for each and every question: a plan that illustrates in detail how to satisfy the mark scheme’s criteria. Please do keep in mind that, when operating under timed conditions, your plans will necessarily be less detailed than those that appear in this volume.

* * *

Before I hand you over to Hugh, I believe it to be worthwhile to run through the two Assessment Objectives the exam board want you to cover in your response to this section of the exam – if only to demonstrate how effective the thematic response can be. I would argue that the first Assessment Objective (AO1) – the one that wants candidates to ‘read, understand and respond to texts’ and which is worth 12 of the total 24 marks up for grabs in the first question – will be wholly satisfied by selecting strong themes, then fleshing them out with quotations. Indeed, when it comes to identifying the top scoring candidates for AO1, the mark scheme explicitly tells examiners to look for a ‘critical, exploratory… conceptualised’ response, supported by ‘judicious references’ – the word ‘concept’ is a synonym of theme, and ‘judicious references’ simply refers to quotations that appropriately support the theme you’ve chosen.

The second Assessment Objective (AO2) – which is also responsible for 12 marks in the first question – asks students to ‘analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.’ As noted, you will already be quoting from the poem as you back up your themes, and it is a natural progression to then analyse the language techniques used. In fact, this is far more effective than simply observing language techniques (personification here, alliteration there), because by discussing how the language techniques relate to and shape the theme, you will also be demonstrating how the writer ‘create[s] meanings and effects.’ Now, in my experience, language analysis is the most important element of AO2 – perhaps 8 of the 12 marks will go towards language analysis. You will also notice, however, that AO2 asks students to comment on ‘form and structure.’ Again, the thematic approach has your back – because though simply jamming in a point on form or structure will feel jarring, when you bring these points up while discussing a theme, as a means to further a thematic argument, you will again organically be discussing the way it ‘create[s] meanings and effects.’

* * *

My (and Hugh’s) hope is that this book, by demonstrating how to tease out themes from a poem, will help you feel more confident in doing so yourself. I believe it is also worth mentioning that the themes Hugh has picked out are by no means definitive. Asked the very same question, someone else may pick out different themes, and write an answer that is just as good (if not better!). Obviously the exam is not likely to be fun – my memory of them is pretty much the exact opposite. But still, this is one of the very few chances you will get at GCSE level to actually be creative. And to my mind at least, that was always more enjoyable – if enjoyable is the right word – than simply demonstrating that I had memorised loads of facts.

Essay Plan: Christina Rossetti’s ‘In an Artist’s Studio’

In an Artist’s Studio

Christina Rossetti

One face looks out from all his canvases,

One selfsame figure sits or walks or leans:

We found her hidden just behind those screens,

That mirror gave back all her loveliness.

A queen in opal* or in ruby dress,

A nameless girl in freshest summer-greens,

A saint, an angel — every canvas means

The same one meaning, neither more or less.

He feeds upon her face by day and night,

And she with true kind eyes looks back on him,

Fair as the moon and joyful as the light:

Not wan* with waiting, not with sorrow dim;

Not as she is, but was when hope shone bright;

Not as she is, but as she fills his dream.

*opal – a jewel that shines in multiple colours

*wan – thin or weak

Q1. In ‘In an Artist’s Studio,’ how does the poet present the artist’s work?

[24 marks]

Before we dive in…

In this first plan, I will go into a little more detail about how we look for the material to turn into our answer. We have a subject, ‘art’, but we need to find some themes. Remember: we have two assessment objectives, AO1 (our understanding of what the poem is saying), and AO2 (our ability to see how language, form and structure create meaning).

In order to meet these two objectives, each paragraph will have to make our thematic point. That is to say, tell us something about what the poem means. We will then support this point with quotations. We have to analyse quotations in one of two ways. The first is to explain how it means what we say it means, and the second is to show us how the language or structure helps to strengthen that meaning, or even to create it. These two analyses are not always totally separable, but I will try to highlight how my answer manages to do both.

Think of the way language creates meaning in a poem like this: when I talk, it is not just the words I am saying that create my meaning. It is also my tone of voice, or even how loud I am saying it. In a poem on the page, a writer has to find other ways to create these effects. She is not in the room with you. She may try to create patterns using written language that do something similar. A repeated sound can make a written sentence more like a shout, or it can make it more like a whisper, or like sarcasm. A particular metaphor can bring in a different mood. If I say you are beautiful like a polished stone, I’m not just bringing the beauty into the meaning, but other aspects of the stone—perhaps its hardness or coldness. Beautiful like a stone is different from beautiful like a rainbow. Try, when you read, to think about what kind of tone the writer is creating.

So, let’s look at this poem, and think about some questions that we might ask ourselves to get started on our plan. Are there moments where it is harder or easier to understand? Are there recurring images? How do these change what we think the poem is saying? What words are repeated? Do we recognize the pattern or form of the poem?

I’ll answer that last question briefly, because it may help us with our plan. This poem is a Petrarchan sonnet, so you might recognize that pattern from Elizabeth Barrett Browning’s ‘Sonnet 29’, if you did Love and Relationships. ‘Ozymandias’, by Percy Shelley, from Power and Conflict is also a sonnet, but the pattern of rhymes is slightly different.

A sonnet, you might remember, is a 14-line rhyming poem, normally in iambic pentameter.1 However, these features are not important by themselves. If the poem is in iambic pentameter that only matters if you can tell me that the iambic pentameter is doing something to make the poem meaningful. Why has Rossetti told us what she wants to tell us in a sonnet? The same question holds true of all AO2 language features. Why has the poet used them? To get the top marks, you have to connect the features (plausibly) to a purpose. This is why we are looking for themes. We want our themes to be supported by the language features. We do not want to make a list of techniques.

The key question then is how do any patterns we notice change our understanding of the themes? In the answer below, I will try to show you how we might plan to answer that question.

* * *

Introduction

In our introduction, we want to begin with a small summary of what we think is happening in the poem and the themes that we are going to cover. It is not strictly necessary to mirror back the exam question, but it almost always helps to focus your answer. Notice, in our little introduction we have met AO1, and have found a particularly ‘judicious’ quotation at the end — something that encapsulates our interpretation of the poem. We will need to do a bit more in order to meet AO2, but the introduction should already show the examiner that we mean business.

“In the poem ‘In an Artist’s Studio’, Christina Rossetti presents the artist’s work as fixated on a single woman. Her image recurs throughout his paintings in different guises, but Rossetti makes this fixation disturbing. As we proceed through the poem, we come to realise that the woman in the paintings is transformed into an object, ‘not as she is, but as she fills his dream’. What is disturbing about this is that, even though his art has the power to compensate for disappointment, it also has the power to erase the real suffering of the woman the artist depicts. There is a selfishness in the artist’s work that makes the woman in it hard to see.”

Theme/Paragraph One: The poem suggests that, by depicting the woman’s face time after time, the artist is paradoxically imitating (and re-imitating) something that is inimitable and singular. This hints at a sinister side to the artist’s efforts to bring his ‘dream’ to canvas.

• The poem begins with the word ‘One’, making the singularity of the artist’s fantastic vision the starting point of the poem. Rossetti draws our attention forcefully to the woman’s face and its uniqueness, but it is a uniqueness that the painter constantly reiterates in each new painting. The repetition is then emphasized by the repetition of ‘One’ at the beginning of the second line. It is as if there is something impossible about this repetition, as the unique thing paradoxically happens twice; it is as if the singleness of the woman is itself a kind of fantasy. [AO1 for making an interpretative point, and for quoting judiciously, AO2 for close analysis of language.]

• The fantastical repetition is echoed by the poem’s form. ‘In an Artist’s Studio’ is a Petrarchan sonnet, so the same two rhyme sounds, ‘ess’ and ‘eans/eens’, repeat for the first eight lines of the poem. This repetition creates the same effect the poem describes, of the same face reappearing, slightly changed in different places. [AO2, but notice that the point is not simply that the poem has repeated sounds, but that these support the meaning of the poem.]

• We begin to get the sense that, behind the various guises, the sameness of the face is not simply consistency. It is something more unsettling. The poet wants us to feel penned in by the image. Though the artist’s model ‘sits or walks or leans’, these varying poses do not change the fact that the woman is imprisoned in the paintings. [AO1 here is met by my interpretative point that there is something unsettling about the depiction of the woman, AO2 for pointing out that this is achieved by the play of difference and repetition.]

Theme/Paragraph Two: As the poem proceeds, Rossetti emphasises how the artist’s fantasy, as it takes form in his work, conceals reality, and threatens to efface the woman’s identity.

• First, the figure is ‘hidden behind screens’, and then we see her in a variety of costumes. A Queen, a saint, and crucially, a ‘nameless girl’. This namelessness suggests that even though the paintings are all of the same woman, she loses her selfhood in these paintings, and becomes merely a model for the fantasy that the painter has. [Even though this is an interpretative point and therefore scores against AO1, we are talking about language by considering the possible meanings of nameless.]

• When the poet writes, ‘A saint, an angel — every canvas means / The same one meaning, neither more or less’, the sameness of the meaning cancels out the difference between saint and angel. The line is split by a dash into two equal segments, which mark a caesura (a kind of pause) so that the different costumes are all balanced against the true ‘meaning’ of the painting. Every canvas, ‘means/ the same one meaning’.2 Rossetti here enjambs the line, so that the meaning of the woman’s face seems important, but that meaning is snatched away by the next line, creating suspense, and a sense that the “meaning” is hidden, in the same way that the woman herself is hidden by the painting.3 [In this section I have really gone for the AO2 points, but note that I am not just pointing out that there is a caesura, or that there is enjambment. I am saying that these features create an effect that mirrors the theme.]

Theme/Paragraph Three: Ultimately, the meaning of the paintings is nothing to do with the woman, but is entirely the dream of the artist. It is his fantasy she represents.

• Rossetti tells us that the painter ‘feeds upon her face by day and night’, implying that there is something almost vampiric about the artist’s need for the woman he paints. The difference of night and day is cancelled out, like the other differences in the poem, so that both situations are the same to him. From this, we can infer that the sameness is a result of his need. [AO1 here for interpreting the artist’s need for the woman. Note that Rossetti implies and we infer. The writer always implies, and the reader always infers.]

• The poem shows us that the artist wants the woman to be ‘true’ and ‘kind’, unlike the disappointments that we assume have arisen from his relationship with the real woman. However, Rossetti also shows us that the real woman whom the artist has drawn has experienced ‘sorrow’, so the painter himself may have caused the disappointments. [AO1, this is another interpretative point.]

• The repetition of ‘not as she is’, in the final two lines, works in the same way as the repetition of ‘one’ at the beginning of the poem, but now we see the transformation of the face into the ‘dream’ of the artist. It is not simply that the artist is disappointed with the real woman; there is something sinister about this, about his need to replace the real world with a dream one. [Here we pick up points for AO2, by talking about how Rossetti uses the pattern.]

Conclusion

For my conclusion, I want to end with a slight twist. I’m going to summarise my point, but I want to widen the scope of my argument to make it more impactful. I’m therefore going to talk about gender in the poem, which has been bubbling under the surface of my answer.

“In an Artist’s Studio’ shows not only the way that an artist’s fantasy might impose itself upon life, but the way that that fantasy might also reflect the power imbalance between men and women. The artist does not see the woman as she is, but as he dreams her, much as men have often seen women throughout history. Rossetti, by showing the dangerous nature of that fantasy, offers a way for the woman in the painting to speak back to the artist who has tried to dream her out of existence.”

[Remember there are no AO3 marks for context, nor AO4 marks for grammar and spelling, but that doesn’t mean you don’t want to talk about society or to spell words correctly. By pointing to a wider issue, I have a way of showing that I have thought quite hard about what the poem is doing. I am also still interpreting the poem in an ‘exploratory’ fashion, which is key to the top band of AO1.]

Footnotes

1 Iambic Pentameter is a when every line has ten syllables where a stress falls on every second syllable. Think BecauseBecause Because Because Because. Stress is complicated, but think about how you talk when you speak. Certain syllables are emphasised.

Most of the time, when you say London, for example, the stress falls on the first syllable – whereas, when you say pursue, the stress will fall on the second. You might stress some syllables more than others for emphasis, but most words have a natural place where the stress falls. Words with one syllable will have a stress if you say them by themselves. But if you say any two syllables together you will naturally stress one more than the other. ‘The truth’, for example, will be pronounced by most people with the stress on truth. If a word has more than two syllables, it could have one or two (or more) stresses. Competition, for example.

Traditional metred poetry makes a music from organising words so that the stress falls in set patterns. Aside from iambic pentameter (5 stresses) the most common metre is iambic tetramer (4 stresses). If you want to learn how to do this, practice thinking about where the stress falls in a range of words. Say, Building. Giraffe. Cellar? Convert? Reading? Sympathy? Turban? Combinatorial? Cinema?

2 Caesura. A pause in a line. Normally this is done by punctuation. Here is an example from Percy Shelley’s ‘Ode to the West Wind’:

Yellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou,

Who chariotest to their dark wintry bed

As you read each line, you can see that the punctuation makes you pause between ‘Yellow’, and ‘black’, and ‘pale’, and ‘hectic red’. The flow is interrupted, just as it is between ‘pestilence stricken multitudes’ and ‘O thou’. On the other hand, the last line has no pauses in it, and so flows continuously. You can, if you like, think of the line break and the caesura working like two different kind of drums, say the bass and the kick. Together they create the rhythms.

3 Enjamb. To enjamb something is to make the sense run over the line break:

I was happy

yesterday

See how the line break changes how we experience that happiness? Or take this example, from John Milton’s Paradise Lost  

from morn

To noon he fell, from noon to dewy eve,

The fall is mirrored by the fall from line to line. Enjambment is a way to pause the meaning of a poem, to suspend it. Take John Keats’s Endymion:

A thing of beauty is a joy for ever:

Its loveliness increases; it will never

Pass into nothingness; but still will keep

A bower quiet for us, and a sleep

Full of sweet dreams, and health, and quiet breathing.

Each line after the first breaks in the middle of its meaning, so that idea of passing into nothingness is temporarily broken up, stopped or frozen by the poem. The line break creates a temporary space for hope that something might last.

Comparative Mini Essay

Dante Gabriel Rossetti’s ‘The Portrait’

The Portrait

Dante Gabriel Rossetti

O Lord of all compassionate control,

O Love! let this my lady's picture glow

Under my hand to praise her name, and show

Even of her inner self the perfect whole:

That he who seeks her beauty's furthest goal,

Beyond the light that the sweet glances throw

And refluent* wave of the sweet smile, may know

The very sky and sea-line of her soul.

Lo! it is done. Above the long lithe* throat

The mouth's mould* testifies of voice and kiss

The shadowed eyes remember and foresee.

Her face is made her shrine. Let all men note

That in all years (O Love, thy gift is this!)

They that would look on her must come to me.

*refluent -flowing (often flowing back as the tide does when it ebbs)

*lithe – thin and graceful

*mould – shape

Q2. In both ‘In an Artist’s Studio’ and ‘The Portrait’, the poems’ speakers describe attitudes towards the artist’s work. What are the similarities and differences between the way the poems present these attitudes?

[8 marks]

Before we dive in…

The key thing to note here is the phrase ‘the way the poems present these attitudes’. It is not so much the attitude that matters as what the poets do to present it. This puts us in AO2 territory.

The second poem is by the brother of the author of the first poem, Dante Gabriel Rossetti. Dante Gabriel is often thought to be ‘the artist’ in Christina’s poem, so let’s see how he talks differently about this portrait of a woman. In a way, this pairing really does show us the same idea presented differently. Both poems are also Petrarchan sonnets, (14 lines, of which the first six rhyme abbaabba) so we’ll have to work hard to show the differences between the two poems.

This answer is only worth eight marks, so we want to point to keep the answer shorter. Mine is longer than you will be able to manage in the time, but it gives a sense of how to go about it. I think it is best to organise it around one key difference, and then make two or three points beneath that heading. Think of it like a larger version of one of the paragraphs in the previous answer. I will explain how and where we are hitting the marks. I will structure the essay with two paragraphs and an introduction and mini-conclusion, but this is a shorter piece so don’t worry as much about the number of paragraphs beyond the introduction and conclusion. If you have time for two, great! One paragraph will also work.

* * *

Mini Introduction

As you can see, this introduction really just sets the tone. I discuss the difference between the two poems’ attitudes towards the art. Now in what remains we need to say how this is achieved by language, structure and form. We need to say how these attitudes are presented.

“Both poets present the work of the artist as possessing a power over the person it depicts. In ‘In an Artist’s studio’ the power of the work of art distorts the person, while in ‘The Portrait’, the work of art reveals the truth about the subject that only the artist has previously seen. In both poems, it is the artist’s perspective that comes to matter by the end of the poem, but in ‘In an Artist’s Studio’, this is portrayed from a distance, while in ‘The Portrait, we are made to identify with the artist’s perspective.”

Mini Paragraph One

Here, I have made use of subject terminology (‘sonnet’, ‘rhetorical’, ‘repetition’, ‘line’), and I have attached these to my claim about the difference of the two, in a way that meets the ‘exploratory’ and ‘judicious’ standards for the top band of AO2.

• Even though both poems are formally very similar, being sonnets, and even opening with the same rhetorical gesture of repeating the first word of the first line, they achieve different effects through similar techniques. The ‘O’ which Dante Gabriel begins his poem with is an address to Love, so that the repetition is an amplification of the passion that the speaker claims to possess. He is not dispassionately observing someone else’s passion, but emphasising his own.

• While in Christina’s poem, the woman depicted is ‘hidden behind screens’, Dante Gabriel uses the image of shining a light from his hand to make the picture ‘glow’, rhyming this word with ‘show’, to demonstrate that art reveals the truth. This ability to reveal or emphasise the truth is ‘love’s gift’. In Christina’s poem, the woman is displayed in multiple costumes, but in Dante Gabriel’s poem, it is natural imagery that unifies the different appearances. He speaks of ‘the very sky and sealine of her soul’. He is making her into a landscape, and the sibilance here makes the line seem unified, repeating the S sound, the way different waves repeat the same shape. Landscapes are a single person’s point of view, so in a way, what the speaker is saying is that his own view of the woman shows her as she really is, and brings her together into a single truth.

Mini Paragraph Two

Even though I am interpreting the poems’ meanings, I have extended the discussion of language, structure and form, which is the key to AO2.

• [here we pivot to our most important comparison.] This unity is similar to Christina’s view of the ‘one face’, but he means it as a positive. His own passion uncovers the beauty of nature. Dante Gabriel Rossetti’s glow of passion is a stark contrast, then, to the ‘dim’ kind of light that we see in Christina Rossetti’s poem, where the ‘dream’ makes everything the same. Indeed, even though ‘dream’ and ‘dim’ do not rhyme properly, she makes them rhyme at the end of her poem, to echo the distorting power of that dream. Unlike Dante Gabriel, who is intent on displaying the beauty of his painting to ‘men’, Christina wants us to see the falseness of the unity she displays, emphasising the contrasts between night and light in her poem.

Mini Conclusion

Again, here I have ended by pointing out the differences in attitude, and summarised the approach to presenting that attitude, in order to ensure that the examiner thinks I have met AO2.

“For Christina Rossetti, men’s passion expressed in art becomes oppressive, so she tries to emphasise passion’s contradictions. Using the same pattern that Dante Gabriel Rossetti uses to bring different ideas together in the perspective of the artist, Christina Rossetti pries them apart.”

Alternatively, you can download a digital PDF version (compatible with most devices) via this link.

Reviewers' Thoughts & Feelings

This guide makes this area of English so much easier. It teaches you how to structure essays and how to answer all types of questions. I loved the way that there were practice poems with model answers as well. This was amazingly helpful!

My daughter is using this for GCSE and says it's very helpful and informative. It has helped her write grade 9 essays (and so has the other guides by this author). She says she would highly recommend.

This poetry guide follows others by the publisher in the suggestion of following a themed approach to tackle exam questions. Poetry can often be daunting to a student but the clear explanation of this method and how to holistically answer questions shows how marks can be picked up. The thematic method offers a clear focus and direction for essay writing. The guide takes exam-style questions and provides a plan and this format will prove invaluable for any student feeling overwhelmed and unsure how to structure their answers.

Many students find the unseen poetry section of the AQA GCSE Literature examination incredibly challenging. This guide is amazing and steers the students through a range of themed poetry on paintings to perseverance to hone the skills required for this examination. The beautifully crafted examples of model answers are truly invaluable and really enable the students to fully comprehend the demands of this paper. This really is an A* comprehensive and professional guide for teachers and students alike. Highly recommend.

As a teacher this book is invaluable! My students often struggle with unseen poetry and this really explains how to structure and organise an essay on poetry. These books have been particularly useful for my top set classes and really helps stretch and challenge the students. The sample paragraphs and essays incorporated throughout have proven to be great models to allow students to craft their own responses. Highly recommended!

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