Literature Paper 1 - Poetry - 'Carpet-Weavers, Morocco'

Helo, yn welch amdwch am y BGS English Revisum podcast. Dyddiadau, mae'r gweithio'r Carole Rhumans, ac mae'r gweithio'r moroco poim, yn y pwyllwyr, ac mae'r gweithio. Mae'r gweithio'r gweithio'r gweithio. Mae'r gweithio'r gweithio. Mae'r gweithio. Mae'r gweithio. Mae'r gweithio. Mae'r gweithio. Mae'r gweithio. Mae'r gweithio. Mae'r gweithio. May ar y mis sam société yn benegan蚕ag efo ikud canlu gwhal hynny ito le helps am frwydd ' eng ffordd y casually nieu drag fel meungfur mwy时d y Most Rare That間 Aber on 약간 ' y trech developing fel ap sera a тепraf efo ' unchi goth fel fir Beaion fel ar immunolololololololololololololololololololololololololololol "ur gig anytime yw камdi었ion dgennau ' y Truffesi, 1816842, Caen ei callwodau fy ynyawn takas. Lwywch pillow incennio, Tear Clifyys a gyfer đượcch yn ei cher wedi dod��ad; end being. Shandhoddol, yregoedd y byw sydd fodwwyr aedd raise, wrth indyodid y byddaad â dros'n gwi'r ponyg rodd o gyna gan mali Eug standbyiaeth yn gallawr »au'n gallwb i wedi wedi jarnightol 'O magdodrow 4d watch on a osb按 hon堂 neu enghalaeth; og thew y Dymenioedd ' Ond Lukas aucid ozeuri gwneud ei ddydd gyfyrgieddaliol. Cfyrgiedd diilleurs yn ameiggiadfo 'bethfyrgtwr am sr Anton y Whysymae fel wieh 'O LeРЕ twyrd petroleum muy hon ei pwyownikio bac sydd wedi gyng yn eraill ohesente, enag, mag sotyu yn mewn eitario sut ' styfon fel gen Undigoedd gasol Inau, mae'r wybodaethan, mae'r amdwysiaeth sy'n ac yn unrhyw y byddai. Mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan. Mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan, mae'r amdwysiaethan. I wonder what do you think about that? Do you think is there something to say about the fact that if anyone is going to be educated in societies where resources are thinner, it is more likely to be the boys than the girls? It's a hard one isn't it, because in the same way that once I read it and I read about the merchant, I always imagine the merchant as a mad, but then there's no direct definition here. And I would be made, I think, about this being something that obviously she's implying with us, that's making it again and aspects of the society that she's choosing to present. I think talking of the merchants, yeah, that was the next thing I was kind of focusing on, because that, as we said before that third, to her set, is the only one where we move entirely away from the loom and the children don't weigh in and like the movement of the carpet and what happens to it afterwards. And the merchants truck, I mean that reminds us, doesn't it ultimately, like this thing that they're creating even though it's beautiful, whatever it's like once it's done, off it goes. And they start all over again. - Well it's that, yeah, that's just a few of the taskers in it, they have to make it each time. - Yes, the benches raise, they finish and they start again. - They don't get to see the fruits of the labour that is the, yeah, they believe itself. - I think also the kind of juxtaposition between its function, softening the ground for those kneeling and prayer and the fact that it's been made by young children. I mean, I think obviously, can potentially be read as some kind of criticism, less savage perhaps, but again, I mean going back to the winning bloke poem, "Jimmie Sweeper", that's a direct attack, isn't the kind of hypocrisy of a church that allows young children to be sent up to him, it's all diostylvation. - I think in that third stanza, particularly, it's the word choice of servants of the master, yeah. - Merchant, so specifically a person who has taken something from one place and selling it to another for a profit. And like you said, deep and soft as well, which is this unexpectedly tender phrasing in what is otherwise a very business like sex. - It has kind of connotations of luxury as well, doesn't it? Which I think is quite interesting. The metaphor of the School of Days, which I think we touched on slightly earlier, you know, we had the loom of the other world at the beginning and we had the School of Days in the final turset. - Are both of them slightly inverted, so we have the loom of another world, which loom is being used both in the sense of the literal loom and something looming ahead of you. - Yes. - And then with School of Days, I always think, well, they're not in schools. The school is this working on the loom. So in both cases, we're presenting with something that is a slight inversion of what you're expecting in that it's not a bright future ahead of them. It's a literal loom and it's not a school in front of them. It is, you know, the days that they have to spend on. - A repetitive, yeah. I mean, I think that's what I kind of links back to the implicit criticism thing. I was kind of talking about earlier, which is that it's a reminder, isn't it, that this is the period in which we would expect, you know, children in the developed world would be in school. - Yeah. - And they're not. So they are lacking or missing something. But they are learning something else. - Yeah. - You know, there is a kind of skill. - Yeah, the other thing, I think there's one other thing I want to say before we move on to the final one is the, the motif of the Garden of Islam, which obviously I'm sure your teachers showed you when they were teaching you as a poem. And if they didn't, you can go and Google it. What one of these carpets would actually look like. And it is a vision of paradise, isn't it? - Yeah. - Like rivers and trees and fish, although they don't look much like fish when you first look at them. - Yeah. - There. And so I was wondering, I don't know what you think about this, whether in a way that's, is it potentially ironic? Is there a sense in which the children are being expected to kind of sacrifice their lives for the sort of greater good and they're going to be rewarded in heaven? A bit like in Victorian England, people we like, right, you can be miserable now, but, you know, you'll get your just rewards in heaven. - I think there is something about that there, because I mean, the Garden of Islam, it's got multiple definitions within Islam in the sense of it. It can be heaven, it can be the spread of the religion itself, and it can also be covered in so much people praying and things like that. So there's kind of three different ways that can go. And in turn, here, when it says, as the Garden of Islam grows, they are creating the loon. That is then spreading the religion. The people are able to pray. The children will go to heaven eventually under that kind of thought, because they're doing something for God. But yes, they don't get to see the end of it. They're not leaning on the soft carpet. But again, I mean, that's what's interesting about this poem, isn't it? The criticism is sort of underneath, isn't it? Because actually, you know, all of those things that you've just mentioned are important and valuable, aren't they? Within this religion, so that arguably the children are doing something very important, but then they're also arguably missing out on a childhood, so. Let's move on, because we're going to run out of time, otherwise, to the third heading. And again, I'm going to say this again, you know, we are not saying you have to only write three paragraphs. If you're a super speedy writer, and you have lots and more things you want to say you can, but actually it is important to shape and structure your essay. So three paragraphs tends to work quite well. So for the final one, I wanted to focus on the way in which the poet uses contrast and a deliberate neutral tone, which we sort of have touched on that, to challenge Western assumptions, encouraging a more complex interpretation of the children's situation, which are sort of alluded to in the thesis really designed. She's not going to allow us to just go, oh, look at these poor little children who are being enslaved and forced to work hard. Making us think really hard about what they're losing, what they're gaining, what's going on in our world. So the, I mean, we've already talked about the, my first bullet point there was the loom of the other world, which we've kind of touched on already, haven't we? But I think she. Well, not so much actually. We haven't specifically broken down that phrase "another world", and what she means by that, if that's clear. Well, I suppose the obvious reading of that is that she is reminding us and herself, I think, because obviously she is a Western writer commenting on something that happens elsewhere. And that's a criticism, it was often leveled that the West, that we have views on things that are based on our own kind of privilege and economic status. But I think she is reminding us that this is a world that we maybe, we shouldn't judge too quickly, we don't really understand it. And that therefore, by telling us that, in the very opening of the poem, she's kind of reminding us. There is a possibility that another world in that context could be again for thinking about imagery of heaven and, you know, disliked carbon and things like that. That is the thing that lies ahead of them. So again, she's kind of slipped it open-ended enough that you can provide this in her statement. And you could. I mean, I did think about this, and that's the other thing, you know, that the three headings we've given you are not like the only possible ones. I did consider, at one point, having one that focused specifically on religion, and that might actually work quite well. But yeah, I mean, that is there right at the beginning, isn't it? And we're kind of reminded about that. The tone, I think that tone is a really important thing and it's one that people often kind of forget about. I would say definitely for these folks also, if you're doing the unseen poem in the unseen paper, always think about, like does the poem have a definite tone, does it stay the same the whole way through? You know, who is the speaker in this poem? And it feels with this one that there is a very deliberate decision to not only have a kind of third person of voice, but a very detached third person voice that is, that almost claims as though the thing that is doing is purely observational, although that's not actually quite true, is it because of the words and phrases are potentially quite loaded? It's also interesting because it goes from present tense verbs at the start, the children and all the braids are, there are sorts of tights, wood, so it shifts into a slightly more conditional one, and then it goes into the, what we call the future tense, even though it doesn't exactly have it, they will, the carpet will, it will, and then back to the children are at the end. So I think all of that contributes that sense of the tone being something seemingly the factual or realistic and without any particular comment, and then you add to that as well that all of the sentences until the final one are in stocks. And so it creates this sense of being given a series of images, all of which are very staffing and realistic. They're almost like little snapshots, aren't they? They're quite imagistic in that sense. But I suppose you could also, I mean going back to our kind of implicit criticism thing, how detached is she? I mean that, we sort of touched on it slightly earlier, but that sense that almost this is the cycle and it keeps repeating. Yeah. You know, it could potentially be read as a criticism. So yeah, I mean, yes detached is she entirely neutral, is she trying very hard to stay neutral? How critical is this voice? That kind of is down to you to make a decision, and I think the way to do that is to like, when you are analysing some of these quotations, to just kind of explore and accept the fact that there are two ways of reading. If you feel strongly that you feel to you, it reads more one way than another, then you can say that, but you need to show the awareness of the fact that that's what the Pope appears to be doing. I mean, I've got the, similarly the flickering lots of television here as well, which we talked about earlier, didn't we as well? I mean, yeah, superficially again, it's like, okay, so the bloom might look like a TV screen. Particularly, I can't remember actually what year this poem was written in. I'd have to go and let that out. But in "Ye Olden Days Children", TV didn't go on endlessly, and when the program's run out, you just get like a fuzzy screen, basically, with just like lots of little pixily things on it. I think it is one of those lines in the poem though, but I think if a student goes into strongly saying, it's clear that the children are deprived or whatever, that's where you're going to meet them. Absolutely, and I think that's a particularly good image. That, similarly, is a really good one for, you know, if you want to find somewhere where you can say, well, you can read this to your ways, you know, sitting and watching television arguably is a less valuable thing than creating a beautiful carpet. So I think that's a kind of, you know, that for all the neutrality is that the poet actually saying, "Look at yourselves and look at your own children." I think, you know, I was working with my year 10 today on kind of, you know, making flashcards for poems. You're not going to be able to say everything, so I think, you know, when you are devising your revision resources, there are certain quotations that I think if you're going to write about a poem, you definitely want to talk about. And this is one of them. And I think that's a good way of kind of refining down your notes as you're getting towards the run-up in the exams, like when, you know, the question of the paper, the question paper appears, and this poem is there, one of the things I'm going to be highlighting, you don't want to be randomly highlighting stuff, you want to be picking the ones, you know there are some interesting things to say about, and that is one of them. What was the other thing? Yeah, no, I was just like offering the converse and the kind of bullet points of that. When I was writing this this morning, I ran out of time to write a conclusion, but actually, and I will give you some bullet points when I'm going to go right and finish this now, but actually, Mr Evans and I were talking about this earlier, 45 minutes is not very long time to write an essay, even if you have been writing massively thoroughly, and you know the poem is really well. My personal feeling is, and I always say this to my classes, is that where people write me a whole paragraph of conclusion, and all they're really doing is repeating what they've said before, it's not very helpful. If you want to maximize your marks, there'd be enough as much analysis of language and structure as you can manage. So I think a line or two, a concluding line or two, is fine. I'm talking probably for a button on this by saying that overall then, Riemann creates a poem that is largely ambivalent in tone, and while it would be easy to interpret it as being a representation of poverty, she intentionally walks the line between those in order to offer this different interpretation of the reader. And if you run out of time, just have a, even if you don't have time for a conclusion, write a line that sounds like it's the end of your essay, because what isn't great is an examiner, and you'll read it, you'll go to this own other page, see you some more, as it actually finished. Okay, I think that's it for that one.