DAY 1 – Summer Holiday Group 2 Year 6 Poetry Homework

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

What is the theme of the poem?

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

What kind of poem is ‘Mother to Son’?

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

Which of the following is a literary device that is NOT used in the poem?

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

What literary device is used in lines 4 to 6? 

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

What literary device is used in lines 10 to 12? 

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

What imagery is used in lines 1 to 7? 

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

According to the poem, what has life been for the mother?

Mother to Son by Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up, 5

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s, 10

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps 15

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair. 20

What do lines 8 to 13 mean?

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

Which of the following is NOT a theme explored in the poem?

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

What type of stanza is used throughout the poem?

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

What rhyme scheme is observed in the poem?

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

What poetic device is used in line 15?

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

According to stanza 1, what does man have to do to have a happy life?

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

What figurative language is used in line 3? 

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

What is the speaker trying to communicate in stanza 3?

The Character of a Happy Life by Sir Henry Wotton

How happy is he born and taught

That serveth not another’s will;

Whose armour is his honest thought,

And simple truth his utmost skill!

Whose passions not his masters are; 5

Whose soul is still prepared for death,

Untied unto the world by care

Of public fame or private breath;

Who envies none that chance doth raise,

Nor vice; who never understood 10

How deepest wounds are given by praise;

Nor rules of state, but rules of good;

Who hath his life from rumours freed;

Whose conscience is his strong retreat;

Whose state can neither flatterers feed, 15

Nor ruin make oppressors great;

Who God doth late and early pray

More of His grace than gifts to lend;

And entertains the harmless day

With a religious book or friend; 20

—This man is freed from servile bands

Of hope to rise or fear to fall:

Lord of himself, though not of lands,

And having nothing, yet hath all.

What is the speaker trying to describe in the first stanza?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What is the purpose of the poem?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What is the theme of the poem?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What is the tone of the poem?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What idea is the speaker describing in stanza 1?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What rhyme scheme is observed in the poem?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What literary device is used in the last two lines of stanzas: 1, 2, 3 and 5?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What literary device is used in lines 1, 3 and 5?

The House by the Side of the Road by Sam Walter Foss

There are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellowless firmament;

There are pioneer souls that blaze the paths 5

Where highways never ran-

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by-

The men who are good and the men who are bad, 10

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban-

Let me live in a house by the side of the road

And be a friend to man. 15

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears, 20

Both parts of an infinite plan-

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height; 25

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road 30

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by-

They are good, they are bad, they are weak, they are strong,

Wise, foolish – so am I. 35

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.

What literary device is used in line 34? 

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

Which is NOT a literary device used in the poem?

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

What literary device is used in lines 9, 10 and 11?

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

What is the explicit meaning of line 10?

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

What literary device is used in lines 15 to 16?

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

In line 20, what does the word “stalling” mean?

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

What literary device is used in lines 20, 21, 26 and 27?

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

What type of imagery is used in line 26?

The Race To Get To Sleep by Brian Patten

They’re on their marks, they’re set,

Their off!

Matthew is kicking off his shoes!

Penny’s struggling out of her jumper!

He’s ripping off his trousers! 5

She’s got one sock off! Now the other’s off!

But Matthew’s still wining! No, he’s not!

It’s Penny! Penny’s is in the lead!

She’s down her knickers!

She’s racing out of the room! 10

She’s racing upstairs!

Matthew is right behind her!

There’s a fight on the landing!

There’s a scramble at the bathroom’s door!

It’s Penny! It’s Matthew! It’s… 15

Splash! They’re both in the bath!

But there’s a hitch!

Matthew’s got soap in his eyes!

Penny’s got soap on her nose!

They’re stalling! But no, they’re both fine! 20

They’re both out of the bath! They’re neck and neck!

It’s Matthew! It’s Penny! It’s Matthew!

Now’s is Penny again! She’s ahead!

She’s first on with her pyjamas!

Now Matthew is catching up! There’s nothing in it! 25

They’re climbing into their beds!

They’re both absolutely quiet!

It’s the hardest race in the whole world!

What is the speaker of the poem feeling?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What do the volcanoes signify in the poem?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What is the tone of the poem?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What is the theme of the poem?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What type of poem is used in this piece?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What type of stanza is used throughout the poem?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What rhyme scheme is utilised in the poem?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What literary device is used in lines 2 and 3 of the first stanza?

I have never seen “Volcanoes” by Emily Dickinson

I have never seen “Volcanoes”—

But, when Travellers tell

How those old – phlegmatic mountains

Usually so still –

Bear within – appalling Ordnance, 5

Fire, and smoke, and gun,

Taking Villages for breakfast,

And appalling Men –

If the stillness is Volcanic

In the human face 10

When upon a pain Titanic

Features keep their place –

If at length the smouldering anguish

Will not overcome –

And the palpitating Vineyard 15

In the dust, be thrown?

If some loving Antiquary,

On Resumption Morn,

Will not cry with joy “Pompeii”!

To the Hills return! 20

What literary device is used in lines 2 and 3 of the third stanza?