DAY 3 – Summer Holiday Group 1 Year 5 Reading Homework

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

Answer the following questions by choosing the letter of the best answer.

What does lines 1 to 8 talk about?

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

In the entire second stanza, the speaker contrasts the piano lesson with what?

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

After reading the third stanza, how can you describe the mother of the speaker?

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

The poem may be interpreted as a commentary on a contemporary issue. Which of the following best fits the issue the poem is trying to address?

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

How do you interpret the speaker’s emotions evoked throughout the entire poem?

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

What is the key takeaway of the poem?

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

There are various third-person points of view. Which of these did the poet employ in this poem?

Read the poem below then answer the questions that follow. 

An Afternoon Nap by Arthur Yap

the ambitious mother across the road

is at it again. proclaiming her goodness

she beats the boy. shouting out his wrongs, with raps

she begins with his mediocre report-book grades.

she strikes chords for the afternoon piano lesson, 5

her voice stridently imitates 2nd. lang. tuition,

all the while circling the cowering boy

in a manner apt for the most strenuous P.E. ploy.

swift are all her contorted movements,

ape for every need; no soft gradient 10

of a consonant-vowel figure, she lumbers

& shrieks, a hit for every 2 notes missed.

his tears are dear. each Monday,

Wednesday, Friday, miss low & madam lim

appear & take away $90 from the kitty 15

leaving him an adagio, clause analysis, little

pocket-money

the embittered boy across the road

is at it again. proclaming his bewilderment

he yells at her. shouting out her wrongs, with tears 20

he begins with her expensive taste for education.

What poetic form is utilised in the poem?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

Answer the following questions by choosing the letter of the best answer.

Considering how cold the winter day was, why was the old woman on the street?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

Line six mentioned, “throng”. How is this word used in the poem?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

Line 8 cites, “Nor heeded the glance of her anxious eyes”. What is the speaker trying to mean when she said this?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

What makes the boy who assisted the elderly woman the best of all the boys?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

What sense of pride did the boy feel as he assisted the elderly woman cross the street?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

What does lines 29 to 32 tell the reader?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

How did the old woman feel after the little boy helped her?

Somebody’s Mother by Mary Dow Brine

The woman was old and ragged and gray

And bent with the chill of the Winter’s day.

The street was wet with a recent snow

And the woman’s feet were aged and slow.

She stood at the crossing and waited long, 5

Alone, uncared for, amid the throng

Of human beings who passed her by

Nor heeded the glance of her anxious eyes.

Down the street, with laughter and shout,

Glad in the freedom of “school let out,” 10

Came the boys like a flock of sheep,

Hailing the snow piled white and deep.

Past the woman so old and gray

Hastened the children on their way.

Nor offered a helping hand to her – 15

So meek, so timid, afraid to stir

Lest the carriage wheels or the horses’ feet

Should crowd her down in the slippery street.

At last came one of the merry troop,

The gayest laddie of all the group; 20

He paused beside her and whispered low,

“I’ll help you cross, if you wish to go.”

Her aged hand on his strong young arm

She placed, and so, without hurt or harm,

He guided the trembling feet along, 25

Proud that his own were firm and strong.

Then back again to his friends he went,

His young heart happy and well content.

“She’s somebody’s mother, boys, you know,

For all she’s aged and poor and slow, 30

“And I hope some fellow will lend a hand

To help my mother, you understand,

“If ever she’s poor and old and gray,

When her own dear boy is far away.”

And “somebody’s mother” bowed low her head 35

In her home that night, and the prayer she said

Was “God be kind to the noble boy,

Who is somebody’s son, and pride and joy!”

The following are values you can take from the poem EXCEPT

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

Answer the following questions by choosing the letter of the best answer.

What is the rhyme scheme employed in the poem?

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

What is the poem all about?

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

Which part of speech does the word “foundations” in line 2 belong to?

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

In the third stanza, what does the word “sword” symbolise?

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

What is line 5 trying to tell readers?

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

Line 18 used the phrase “A people” to refer to what?

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

According to the speaker, who can make a nation strong?

A Nation’s Strength by William Ralph Emerson

What makes a nation’s pillars high

And its foundations strong?

What makes it mighty to defy

The foes that round it throng?

It is not gold. Its kingdoms grand 5

Go down in battle shock;

Its shafts are laid on sinking sand,

Not on abiding rock.

Is it the sword? Ask the red dust

Of empires passed away; 10

The blood has turned their stones to rust,

Their glory to decay.

And is it pride? Ah, that bright crown

Has seemed to nations sweet;

But God has struck its luster down 15

In ashes at his feet.

Not gold but only men can make

A people great and strong;

Men who for truth and honor’s sake

Stand fast and suffer long. 20

Brave men who work while others sleep,

Who dare while others fly…

They build a nation’s pillars deep

And lift them to the sky.

All six stanzas of the poem analysed the things that people usually think make countries great. Which of the following is NOT one of these?

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

Answer the following questions by choosing the letter of the best answer.

What figurative language is utilised in line 18?

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

How do you interpret the speaker’s conduct throughout the entire poem?

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

According to the speaker, nobody can truly prepare themselves for what?

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

In the poem, “weather” is used to symbolise –

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

In lines 28 to 31, the speaker used the term “deep” multiple times. Why do you think he did this?

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

Which best describes what lines 46 to 48 are attempting to convey to the reader?

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

What is the overall message of the poem?

Oddjob, a Bull Terrier by Derek Walcott

You prepare for one sorrow,

but another comes.

It is not like the weather,

you cannot brace yourself,

the unreadiness is all. 5

Your companion, the woman,

the friend next to you,

the child at your side,

and the dog,

we tremble for them, 10

we look seaward and muse

it will rain.

We shall get ready for rain;

you do not connect

the sunlight altering 15

the darkening oleanders

in the sea-garden,

the gold going out of the palms.

You do not connect this,

the fleck of the drizzle 20

on your flesh,

with the dog’s whimper,

the thunder doesn’t frighten,

the readiness is all;

what follows at your feet 25

is trying to tell you

the silence is all:

it is deeper than the readiness,

it is sea-deep,

earth-deep, 30

love-deep.

The silence

is stronger than thunder,

we are stricken dumb and deep

as the animals who never utter love 35

as we do, except

it becomes unutterable

and must be said,

in a whimper,

in tears, 40

in the drizzle that comes to our eyes

not uttering the loved thing’s name,

the silence of the dead,

the silence of the deepest buried love is

the one silence, 45

and whether we bear it for beast,

for child, for woman, or friend,

it is the one love, it is the same,

and it is blest

deepest by loss 50

it is blest, it is blest.

The following are themes used in the poem EXCEPT

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

Answer the following questions by choosing the letter of the best answer.

Which point of view does the poet use in this poem?

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

In the first stanza, the speaker compared driving in the dark to mining in the dark. What do both have in common?

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

Line 19 mentioned, “load”. How is this word used in the poem?

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

In lines 19 to 22, a tractor with a load of logs that smell like a forest reminds the speaker of what those logs could have been if they hadn’t been cut. The following are examples of what could’ve been EXCEPT

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

How do you interpret the speaker’s demeanour in the third stanza?

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

What type of imagery is used in line 17?

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

Lines 26 and 27 introduce more imagery into the poem. Why do you think the poet did this?

Journey by Gillian Clarke

As far as I am concerned

We are driving into oblivion.

On either side there is nothing,

And beyond your driving

Shaft of light it is black. 5

You are a miner digging

For a future, a mineral

Relationship in the dark.

I can hear the darkness drip

From the other world where people 10

Might be sleeping, might be alive.

Certainly there are white

Gates with churns waiting

For morning, their cream standing.

Once we saw an old table 15

Standing square on the grass verge.

Our lamps swept it clean, shook

The crumbs into the hedge and left it.

A tractor too, beside a load

Of logs, bringing from a deeper 20

Dark a damp whiff of the fungoid

Sterility of the conifers.

Complacently I sit, swathed

In sleepiness. A door shuts

At the end of a dark corridor. 25

Ahead not a cat’s eye winks

To deceive us with its green

Invitation. As you hurl us

Into the black contracting

Chasm, I submit like a blind 30

And folded baby, being born.

Simply based on the title, it may be assumed that the poem is about more than a simple road trip. What else does it offer to its readers?