ENGLISH HL 1 June 2024

GRADE 12 LITERATURE: LITERARY ESSAY & POETRY REVISION

TALK TO THE PEACH TREE

Structure and style -Colloquial diction - conversational tone to the poem
The poet addresses the reader directly engages them with the pronouns “us” in “Let’s”
Form/Structure: Free verse – no recognisable poetic form. Indents in the fourth and fifth
stanzas - commentary on the overall situation.
Poetic Devices: Absurdities of the speaker’s suggestion -personification throughout the
poem. This emphasizes how useless/futile the suggestions are.
Tone: Lines 1-3 Light-hearted /humour Lines 4-6 Harsh /Unforgiving
Themes: Oppression, Apartheid, Peace, Equality
Decent conversation needs to happen between white and black people for things to change
1. Explain the underlying meaning of the actions/instructions in lines 1-6. (2)
(Although the literal actions are quite absurd, the underlying message is serious:
what do you know about us? During Apartheid there was little or no opportunity to
understand or communicate with people from other races. One group of people was
always superior and had a ‘voice’, whilst the other had to remain silent.)

2. Why would swallows be a good source of information about ‘other countries? (2)
(Swallows migrate for the summer. They would be able to ‘talk’ about the other
countries.)

3. Discuss what the speaker is saying in stanza 4. (3)

(He states that ‘words have lost their meaning’ – this means that talking has
become useless. ‘Misused notations’ refers to communication tools which have
become so warped that their original intentions have become lost. Words have
literally lost their meaning. Language has been twisted and used to convey lies,
propaganda and cannot be trusted.)

4. Discuss the connotations of the word “whining” (line 10). (2)

(‘Whining’ has negative connotations of high-pitched complaining. This would be
unpleasant.)

5. Why does the speaker describe the heat as “paralysing” and “merciless” (stanza 6)?
(paralysing – implies that the oppression (the heat) renders a person unable to do
anything. ‘merciless’ implies exactly that – no empathy/mercy/compassion for the
oppressed people.)

6. Although similar in style to stanzas 1-3, how do lines 11-14 differ in tone and intent from
lines 1-6? (3)
(Stanzas 1-3 were light-hearted and humorous in their absurdity. Lines 11-14 is
anything but humorous. The heat is ‘merciless’ which alludes to the oppression faced
by Black people during Apartheid. The tone is harsh and unforgiving. The words
 ‘rubbish heap’ and ‘stench’ implies the attitude towards black people. The tone is
serious and the intention is the describe the reality of the situation for black people
under white oppression.)

7. Discuss why the speaker chooses to “talk to the peach tree”. Consider the other ‘things or
concepts he talks about in the poem. (3)
(The peach tree is rooted in a permanent place in the garden, unlike the other
items/things he proposed with which to have a conversation. The tree will tell him
how it feels to be rooted and fruitful in a place you can call your own. The
connotation of rooted is permanence and fruitful implies productive and successful.)

8. Identify and comment on the tone in the last stanza. (3)

(The tone could be one of relief – for so long there has been no communication. Now
the speaker looks forward to a conversation between the two parties. This
conversation, albeit with the devil himself, is long overdue and
needs to happen to facilitate change. The speaker implores the reader to have the
needed conversation.)

9. Who is the ‘devil’ in the last stanza? (1)

(Oppressors / Apartheid System)

10. How is the register of the poem appropriate and effective in delivering its message? (2)

(The colloquial register is lighter and less demanding than formal register. It gives
the poem a tone much like a casual conversation. The poet addresses the reader
directly and engages them with the pronouns “us” in “Let’s”. Sepamla’s style of
criticism is subtle and accessible to all readers. The message is clearly that decent
conversations need to happen between white and black people and that all should
be treated fairly and equally. People must see all things from BOTH perspectives.)

PRAYER TO THE MASKS

Form/Structure:
The poem is structured with no breaks for stanzas. The line lengths are varied. Short
sentences emphasize the speaker’s intent. The speaker, at first, addresses the masks and
then expands the message of the poem. The (rhetorical) questions are answered by the speaker
at the end of the poem.
Poetic Devices:
The direct speech used in the poem allows the reader to “eavesdrop” on the ‘conversation the
speaker is having with the masks. The speaker uses the 1st person pronoun “you” to engage
the reader. Despite answering the rhetorical questions at the end of the poem, these questions
also engage the reader and evokes their responses. The simile of sacrificed lives being
compared to the poor man giving up his “last garment” is effective. The poet uses hyperbole in
stating that the “world that has died of machines and cannons”.
Tone -Pleading/Desperate/Respectful/Commanding
Themes: Relation to Ancestors, French Imperialism vs Post Colonialism
1. Briefly explain the connotations of the words “Prayer” and “masks” as used in the title. (3)
(Prayers – appeal to a higher power / ancestors – positive connotation. ‘masks’ – traditional
masks as worn in African culture / to hide real emotions / hide true intentions. The title
implies a ‘thank you’ to those who have been wearing the masks and to the masks
themselves for being able to hide true feelings.)

2.Why does the speaker greet the masks “in silence”? (2)
(Words are unnecessary in this instance – a slight gesture will suffice.)

3. Why does the speaker use the first person “I”? (2)
(It adds a personal, intimate and sincere element to the poem. It is subjective.)

4. How could an ancestor be “lion headed” (line 4)? (2)

(This could refer to a traditional African mask in the shape of a lion’s dead. It could also be
symbolic of strength, boldness and bravery. The Senegalese national anthem is also
entitled “The Red Lion”.)

5. Discuss the choice in diction in metaphor “altar of white paper” (line 8). (3)
(white paper could refer to bureaucracy – it takes an immense amount of paperwork to
create laws / set up political alliances etc. The ‘altar’ suggests that something is being
worshipped/praised.)

6. Identify the tone in “In the name of your image, listen to me!” (1)
(A pleading, desperate tone. Or a respectful command filled with authority.)

7. What does the speaker mean when he states that Europe and Africa are “connected
through the navel”?
(This image reminds the reader of the connection of Africa to Europe, much like a baby is
connected to its mother via the umbilical cord – nourishment, blood flow etc. The
colonial powers in Europe were referred to as the ‘mother country’. However, this
connection is a negative one – Europe colonised many countries in Africa. There was mass
exploitation of people, resources and land. Greed and corruption by the colonisers left
Africa damaged. The severing of the connection is necessary but difficult. Colonisers
would not want to sever this connection – then they lose their wealth/resources/land/labour
force etc.)

8. Identify the figure of speech and explain the effectiveness thereof in the phrase “rebirth of
the world” (line 14). (3)
(Personification – now that the colonisers have left / have no more power over the
country, it has the chance to be reborn, to start afresh. It can now create its own government /
future.)

9. How has the world “died of machines and cannons”? (2)

(Our over-reliance on technology and machinery has caused the spiritual soul to wither
and die. The world has lost its ability to feel deeply and give expression to joy.)

10.Is there any optimism in this poem? Quote in support of your answer. (2)
(“world that has died” – shows that the old reality is gone/dead. There is a semblance of
hope (“torn hope”) despite the damage, destruction and violence.)
 11.Discuss the effectiveness of the last two lines of the poem as a conclusion. (3)
(These lines are emphatic and strongly connected to the earth. The people are involved in a
traditional dance and they appear strong and resilient. This dance symbolises their new-found
freedom and how they will regain their identity and take pride in their culture. They will share this
culture and pride with the rest of the world.)

LITERARY ESSAY
HOW TO WRITE A LITERARY ESSAY
T A K O – introduction
P E E L / T E X A S – body (each paragraph)
L A T E – Conclusion
Your essay will look something like this:

TAKO
PEEL
PEEL
PEEL
LATE
INTRODUCTION:
Rewrite the essay topic in your own words. State whether you agree or disagree if it is a
controversial statement. Briefly mention the points you will give in support of your stance
on the topic.
e.g. In the novel, “Life of Pi” Yann Martel…
* You must mention the name of your set work- please use the correct jargon.
It is not a book, or a story, but a novel.
* If it is a drama, like Hamlet or Othello, you write:
In the play/drama “Hamlet” by the playwright take note of the spelling) William
Shakespeare… USE THE FOLLOWING ACRONYM:
 T - Title (must be underlined! /Inverted commas)
 A - Author /Playwright
 K - Key Words – what did they ask in the question?
  O - Outline the main points you will provide in your essay WITHOUT ANY
DISCUSSION.
BODY – made up of 2-5 paragraphs.
▪ HAVE ONE PARAGRAPH FOR EACH MAJOR POINT.
▪ DO NOT REWRITE THE STORY/RETELL THE STORY.

USE THE FOLLOWING ACRONYM : TEXAS / PEEL/ SQD

 T: Topic sentence (Your main idea)
 E: Explanation and elaboration (Add more information to your central idea)
 X: eXample(s) and evidence (Back up what you are saying with examples) Quote to
support
 A: Analysis (This shows that….) – tell the reader what IS
LEARNT/COMMUNICATED /what the argument means
 S: Summary (Therefore….) Sum up the main argument.

OR

 S – Statement
 Q- Quotation/ Example
 D - Discussion
ONE IDEA – ONE PARAGRAPH
TEXAS / PEEL/ SQD = one paragraph
The number of paragraphs will depend on the number of main points you are discussing.
EACH PARAGRAPH IS compiled via the TEXAS/PEEL/SQD METHOD.

CONCLUSION:
 Never introduce new facts in your conclusion.
 Briefly restate your main argument. Never put a rhetorical question in your conclusion or
something like E.G.: you can decide if Hamlet is a procrastinator.

USE THE FOLLOWING ACRONYM

 L = Link to the question / key words in introduction

 A = What is the Author’s/Playwright’s purpose

  T = Topic / Theme

 E = End well- FINAL STATEMENT

GENERAL RULES:
 ALWAYS write a title.
 At all costs avoid personal pronouns like I/we
 Write in the present tense.
 When you mention the name of a play or a novel, put it in inverted commas/underline.
Othello, the character, not the drama “Othello”.
 Novel vs drama:
 In plays you speak about the audience.
o In novels you speak about the reader.
o Drama – dramatic irony. Novel – irony.
o Play – Playwright. Novel – Author (Pi – differentiate between Author Yann
Martel and Fictional Author)
 The language must be formal. You are not allowed to use any abbreviations, contractions,
or colloquialism.
 SLANG is a definite NO except when you quote directly.
 Do not write in the first person (not I think…) - use the passive voice except in the second
last paragraph IF they want your meaning about it.
 Your tone/attitude must be appropriate- do not sound arrogant and do not attack
ideologies, religion or any sensitive matters like gender orientation.
 Do not retell the story/drama.
 Do not generalise.
 Every argument must be supported with evidence.
 Do not make any assumptions about any character if you do not have any definite proof.
Do not refer to what you think.
 You may make use of rhetorical questions in the body paragraph but not in your final
conclusion.
 If needed, place your points/facts in chronological order.
 Avoid repetition/unnecessary examples.
 Make sure that your paragraphs are coherent and well organized. TEXAS
 Look at the structure of the discursive essay again and use it for your literature essay.
 Use conjunctions AND clever linking words like “Also, furthermore, in addition, moreover” if
you want to add a point that you made in a previous sentence.
 Use words like “Contrary, however, conversely, in opposition, on the other hand” in the
place of the word “BUT” to start a sentence.

In Life of Pi, both the human and animal characters commit deeds of heroism and
gruesomeness to survive. Nov 2019
Critically discuss the extent to which you agree with the above statement.

Heroic Gruesome
Pi – Determination- untenable position Hyena – mercilessly attacks -Zebra
Courage – against nature. Ale to overcome Orange Juice
hunger/thirst/threat of death – Theme Survival
Pi - resourcefulness – despite age – creative Pi – eats R.P – Faeces – assert domination
problem solving – solar still. Taming of R.P
Pi – loss of family – take control of the situation - 2nd Story – Cook – kills Sailor – Bait –
incredible emotional strength Cannibalism
Kills Pi’ mother
Pi – Aversion to meat
1st Story – Animal Story – Dauntless- taming Cook – Beheads Pi’s mother -tried –
Tiger protect Pi

Orangutang – fearlessly defends End – Well-adjusted – Canada

R.P- Indirect Heroism - saves – Pi – Hyena -Blind Human Story – Pi – kills cook- self-defense
Frenchman- Provded motivation – Pi’s vigilance/ & revenge -mother
companionship Crates Alter ego – natural – predators but
gruesome -humans
Maintains Hope and Faith – Theme – Religion Butchering of animals- Pi -kill/ butcher
fish/turtles/birds/sea creatures
In Yann Martel's novel "Life of Pi," the intertwined survival stories of humans and animals indeed
present a complex tapestry of heroism and gruesomeness. The journey of Pi Patel, stranded on a
lifeboat with a Bengal tiger, serves as a profound exploration of the primal instincts and moral
dilemmas faced in extreme circumstances. Both humans and animals exhibit acts of bravery and
brutality, highlighting the multifaceted nature of survival.

Pi's survival story is marked by significant acts of heroism. Despite being thrust into an
unimaginably dire situation, he exhibits resilience, ingenuity, and an unyielding will to live. Pi's
resourcefulness in devising ways to procure food and water, his perseverance in establishing a
territory on the lifeboat, and his tenacity in training Richard Parker are all testaments to his heroic
spirit. His efforts to coexist with the tiger not only ensure his survival but also showcase his
remarkable adaptability and courage.

However, Pi's journey is not devoid of gruesome acts. The necessity of survival pushes him to
the limits of his humanity. The act of killing a fish, which he initially finds repugnant, becomes a
stark example of the lengths to which he must go to stay alive. Pi's narrative also includes a more
disturbing episode of cannibalism, illustrating the horrifying choices one might face in the struggle
for survival. These acts, while grim, underscore the harsh realities of life and death in extreme
conditions.

The animals in "Life of Pi" similarly display both heroic and gruesome behaviors. Richard Parker,
the tiger, embodies the raw survival instinct. His presence on the lifeboat is both a constant threat
and a source of companionship for Pi. While Richard Parker's actions are driven purely by
instinct, they can be seen as both brutal and necessary for his survival. His killing of the hyena,
which had previously murdered the zebra and orangutan, serves as an example of the natural
law governing their microcosm – survival of the fittest.

Yet, the tiger's relationship with Pi evolves into a delicate balance of mutual dependence. Richard
Parker's restraint, influenced by Pi's dominance and training, could be viewed as a form of
heroism within the animal kingdom. The tiger's presence keeps Pi alert and focused, indirectly
aiding his survival. This interdependence blurs the lines between human and animal behavior,
illustrating that the drive to survive transcends species.

In conclusion, "Life of Pi" masterfully portrays the duality of heroism and gruesomeness inherent
in the survival instinct, regardless of species. Both Pi and Richard Parker exhibit behaviors that
reflect the extremes of their circumstances, demonstrating that the will to live can manifest in both
noble and horrifying ways. Martel's narrative challenges readers to reconsider their perceptions of
heroism and morality in the context of survival, ultimately suggesting that the instinct to survive
can lead to actions beyond conventional moral boundaries.