Model Answers (AQA GCSE English Literature): Model Answers

Power and Conflict

1. Compare how poets present the idea of power and control in Ozymandias and in one other poem from the 'Power and Conflict' anthology.

Aiming for a Grade 9: 26-30 marks

Both Percy Shelley and Robert Browning explore arrogance and control, focusing on tyrants who care more about power than human life. Shelley, writing near the time of the French Revolution when people stood up against a king, suggests that power doesn't last forever and that nature will eventually humble anyone. Browning, on the other hand, writes about the Duke of Ferrara, a cruel ruler who desperately holds onto control, with hints that his wife died under mysterious circumstances.

Shelley describes a statue in a distant land, with a "shattered visage" that is "half-sunk." The "visage" might represent the king's identity, his beliefs, and his power, which is now broken and buried in the "lone and level sands." This suggests that his tyranny has been wiped out by time and faded into history. The fact that the speaker hears about the statue from a "traveller" adds to the idea that Ozymandias' power has completely disappeared. In contrast, Browning shows us a tyrant who still has control. The first line of the poem is "That's my last Duchess painted on the wall," and the possessive pronoun "my" makes it clear that the Duke sees his wife as a possession, existing only to serve him. This sense of ownership is emphasised when the Duke mentions that he's the only one who can "draw" the "curtain" over the painting, suggesting that he takes a kind of dark pleasure in being able to control who sees her now that she's gone.

Both poets also show how these tyrants boast about their power. Shelley shows Ozymandias boasting with the inscription "King of Kings," which suggests that he saw himself as almost god-like and believed his power would last forever. There's irony here because all that's left of his power is a "colossal wreck." The phrase "colossal wreck" mocks Ozymandias, highlighting how his arrogant claim is now just part of the ruins of his statue. Browning also shows the Duke's arrogance through his boasting, like when he mentions the "gift of a nine-hundred-years-old name." The word "gift" makes it seem like the Duchess should have been grateful for everything the Duke gave her as if she should worship him because she was beneath him.

Both poets use strict structures to emphasise the need for control that these characters have. Shelley uses a sonnet, a very controlled form, which is ironic because Ozymandias' power has crumbled. Sonnets are usually about love, and there's a sense that Ozymandias was in love with himself and his power, but now everyone has forgotten him and his arrogance. Browning uses rhyming couplets throughout My Last Duchess, which symbolises the Duke's control and authority. This is slightly sinister because it suggests that, in life, the Duchess might not have wanted to be with him, and now, even in death, she has no choice. Although the couplets show his control, Browning uses more enjambment as the Duke's dramatic monologue goes on, which shows how he gets carried away by his anger. It also might suggest that he's losing his power and is desperately trying to hold onto it. Both poets seem to be saying that control and tyranny don't last and will eventually be lost.

2. Compare how poets present the impact of war on individuals in War Photographer and one other poem from the 'Power and Conflict' anthology.

Aiming for a Grade 7: 21-25 marks

War Photographer explores the ways war negatively impacts people and how the true horrors cannot be fully understood by the general public. It highlights the innocence of its victims, the pain it causes, and the emotional and physical scars it leaves behind.

Duffy begins by showing the pain caused by war. The "spools of suffering" the photographer deals with are the photos he has taken while on the job. These images reveal the true effects of war and the immense hurt it causes. The word "suffering" suggests deep pain and anguish, both for the photographer and the victims of war.

Death is also a key theme, as Duffy describes how "ghosts" appear and "twist" before the photographer. The use of the noun "ghosts" implies that these horrors continue to haunt him, constantly reminding him of what he has witnessed. Religion is also significant in War Photographer. Religion often symbolises peace and comfort, and the imagery of a "church" suggests that the photographer should find solace, but instead, he encounters pain. The image of the church could also reflect how his work has become a ritual, something sacred and important.

Another poem that addresses the impact of war is Remains by Simon Armitage. Armitage discusses the effects of war on soldiers after they return home, focusing on the flashbacks and pain they endure. Armitage uses an informal tone, almost as if a friend is sharing his experiences. He employs graphic descriptions like "ripped" and informal language such as "bloody life in my bloody hands" to create a personal connection.

Both War Photographer and Remains explore how innocence influences judgement and morality. Duffy presents innocence through the image of "running children," illustrating that war does not discriminate—it harms everyone. The word "children" evokes a sense of innocence, emphasising that they are undeserving victims of war. Armitage, on the other hand, shows how innocence clouds the soldier's judgement, as seen in the repeated phrase "probably armed, possibly not," which conveys the uncertainty that haunts the soldier.

Both poets also use flashbacks to demonstrate that the effects of war linger. Duffy and Armitage both suggest that the most troubling memories resurface when the characters are "home again," when they have the time to reflect and question whether their actions were justified. Additionally, both poets use graphic imagery of blood to show that war leaves a lasting impact. Duffy describes the "blood stained" into the floor as a constant reminder of what has occurred, while Armitage references the "blood shadow" that the soldier passes by. The idea that the blood remains suggests that the effects of war are permanent and continue to affect those who have experienced it.

Love and Relationships

3. Compare how poets present ideas about the power of love in 'Sonnet 29' and in one other poem from 'Love and Relationships'.

Aiming for a Grade 9: 26-30 marks

Sonnet 29 by Elizabeth Barrett Browning and Walking Away by Cecil Day-Lewis both explore the power of love, but in very different ways. Sonnet 29 focuses on romantic love and its overwhelming nature, while Walking Away examines the more painful, yet necessary, aspect of parental love.

In Sonnet 29, Browning shows how love can dominate the speaker's thoughts to the point where it distorts reality. The poem starts with "I think of thee!" which immediately shows the speaker's intense feelings. The direct address to her husband makes the poem feel personal and passionate. Browning uses the metaphor of "wild vines" wrapping around a tree to describe how her thoughts about her husband cover up who he really is. This suggests that her love is so strong that it almost blinds her to reality. The idea that her thoughts "put out broad leaves" which "hide the wood" shows how her idealised view of her husband takes over her mind, leaving little room for the actual person he is.

However, as the poem progresses, there is a shift in the speaker's attitude. The volta, or turning point, in the poem, comes when the speaker realises that her thoughts are not enough and that she needs the real presence of her husband. She demands, "Renew thy presence," and uses the metaphor of the tree again, this time asking her husband to "Rustle thy boughs" and "set thy trunk all bare." This suggests that she wants to strip away the imaginary vines of her thoughts and see him as he really is. The use of forceful verbs like "burst" and "shattered" emphasises the intensity of her desire to reconnect with reality, showing the power of love to ground her.

In contrast, Walking Away presents love as a more painful experience, focusing on a father's love for his son. The poem starts with the father reflecting on a memory from "eighteen years ago," which shows how deeply this moment has stayed with him. The use of the simile "like a satellite / Wrenched from its orbit" highlights the father's sense of loss as his son grows up and moves away from him. The word "wrenched" suggests that this separation is difficult and unnatural, yet inevitable. This painful experience is further emphasised by the image of the son "eddying away / Like a winged seed loosened from its parent stem." The comparison of the son to a "winged seed" implies that this separation is a natural part of life, but still hard for the father to accept.

The final lines of the poem reveal the father's acceptance of this pain as a necessary part of love. The phrase "And love is proved in the letting go" suggests that true love sometimes means allowing someone the freedom to grow and find their own path, even if it hurts. The use of the word "proved" shows that the father believes this act of letting go is a test or confirmation of his love.

Overall, both poems explore the power of love using vivid imagery and thoughtful reflexion, but they approach it from different angles. Sonnet 29 highlights the way love can overwhelm and transform our thoughts while Walking Away shows that love can also mean accepting painful realities and allowing others to grow.

Worlds and Lives

4. Compare how poets present the idea of struggle in England in 1819 and one other poem from the 'Worlds and Lives' anthology.

Aiming for a Grade 9: 26-30 marks

Both England in 1819 by Percy Bysshe Shelley and A Century Later by Imtiaz Dharker present struggle, but they do so in different ways. Shelley focuses on the political and social decay in England, portraying the struggle of the people against corrupt and oppressive rulers. Dharker, on the other hand, highlights the personal struggle of girls fighting for education in a world that tries to silence them.

In England in 1819, Shelley describes the struggle as a result of oppressive leadership. He uses powerful imagery to depict the rulers as "leech-like," clinging to a "fainting country" and draining it of life. The people are "starved and stabbed in the untilled field," showing how their struggle is both physical and spiritual. The use of harsh, almost violent language reflects the desperation and hopelessness of the people under a government that is blind and uncaring.

In contrast, A Century Later focuses on the internal and external struggles faced by girls who seek education. Dharker repeats "And the same fear" to show that the fear of being "killed for learning" has persisted over time. The struggle here is quieter but just as powerful. The girls' determination is shown in their ability to "write her name in perfect letters," despite knowing the risks. The metaphor of the "paper flower" symbolises both the fragility and the beauty of their struggle—something delicate that can be easily destroyed, yet is a powerful act of resistance.

Both poems use strong imagery and metaphors to convey their themes, but while Shelley's struggle is against an external, decaying system, Dharker focuses on an internal, personal fight for dignity and the right to learn. Both poets highlight the resilience of those who struggle, whether against a corrupt government or societal oppression.