A RENAISSANCE DREAM

Year 8

Unit 8.4

DTT

A Renaissance Dream

A Renaissance Dream is a 10 week English Unit based around A Midsummer Night’s Dream by William Shakespeare

Rationale

Students will study the works of one of the greatest writers in the English language, William Shakespeare. A Midsummer Night’s Dream introduces students to his language, literary language features, his ideas on love and the Elizabethan Theatre.

Aims and Objectives

1. Exploration of character development2. Excerpt reading from related written and film texts3. Analytical essay writing skills (topic analysis, planning, writing introductions)4. Participate in group and class discussions5. Practice skills in writing, memorizing and developing confidence in the presentation of a viewpoint

Enduring understanding

Shakespeare explains paradoxes of life through the power and beauty of language.

Guiding questions

1. Who was William Shakespeare? When did he live and what did he write?2. Why are we still studying Shakespeare 400 years after his plays and poems

were written?3. How has language evolved over time?4. The relationship of fathers to daughters: power considerations; dreams,

illusion and reality5. In what ways can different interpretations of A Midsummer Night’s Dream

help shape our understanding?6. What are language features?

Outcomes

1. Uses a range of text types to write about challenging issues and ideas2. Discusses and justifies interpretations of themes and issues explored in

texts3. Explains how specific features of language use affect readers' interpretation

of texts4. Uses a variety of strategies to research an issue5. Identifies and controls linguistic structures and features in order to add

variety to their responses

VELS Level 5

Reading

Read and view imaginative texts that explore ideas and information related to challenging themes and issues.

Identify the themes and issues explored in these texts, and provide supporting evidence to justify interpretations.

Produce personal responses, for example, interpretive pieces and character profiles

Infer meanings and messages in texts, Analyse how social values or attitudes are conveyed Compare the presentation of information and ideas in different texts,

Writing

Write extended narratives or scripts with attention to characterisation, consistency of viewpoint and development of a resolution.

Write arguments that state and justify a personal viewpoint; reports incorporating challenging themes and issues; personal reflections on, or evaluations of, texts presenting challenging themes and issues.

Improve the accuracy and readability of writing, developing confidence in the identification and use of grammatical conventions and features of language and in their use of figurative language.

Edit writing for clarity, coherence and consistency of style, and proofread and correct spelling, punctuation and grammatical errors.

Speaking and listening

Express creative and analytical responses to texts, themes and issues. Identify main issues in a topic and provide supporting detail and evidence for

opinions. Critically evaluate the spoken language of others and select, prepare and

present spoken texts for specific audiences and purposes. Show an awareness of the influence of audience on the construction and

presentation of spoken texts, and of how situational and socio-cultural factors affect audience responses.

Link to Wesley Middle Years Curriculum Model

Desired Results / Outcomes: These relate to the 5 Key Areas of the Wesley Middle Years Model.

Students will know … Students will be able to…Intellectual Growth

How to grapple a different form of text (Shakespearean language)

How to appreciate a different form of literature in a play format

Read and analyse Shakespearean language/text

Read and write sonnets Grapple with questions that seek to

comprehend, empathise, create and explore ideas of the Renaissance

Complete an assignment analysing the characters

Personal Growth

How to understand different relationships between people of different backgrounds

Distinguish between social class Find commonalities in human nature,

despite different backgroundsGlobal Citizenship

How to appreciate Shakespeare in a European setting

Explore the European culture during the Renaissance

Social Growth

How to understand different relationships and interactions through certain forms of communication

Distinguish between social class Find commonalities in human nature

and how people interact with one another

Action Techniques for reading and comprehending Shakespearean language

Translate Shakespearean language Analyse soliloquies and play structured

literature

Approach

The approach is student-centred flexible to the needs of each group and the individuals within each group. Students assume the role of expert peer; teacher and learner to further construct understandings through collaborative discussions. ICT is utilised to further develop understandings and to support the design process of essays. There are links to further studies in DRAMA and this further enhances learning opportunities.

Learning Plan - Key Content

1. What is the Renaissance? How did the invention of the printing press enhance the experience of the writer? What is humanism and how did it influence writers form this era?

2. Read Insight edition of A Midsummer Night’s Dream 3. Characterisations – Who is who? What do we think of each of the main

characters?

4. Film A Midsummer Night’s Dream (1999) starring Michelle Pfeiffer, Calista Flockhart and Rupert Everett

5. Themes – Shakespearean comedies, nature of love, parental expectations, the drama of putting on a play, dreams, creating an imaginary world, arranged marriages, revenge

6. DVD Wesley 2005 musical A Midsummer Night’s Dream – show excerpts7. The language of Shakespeare – how has it changed, evolved?8. Elizabethan and Globe Theatre9. Passage annotation and language analysis10. Group drama presentation

Assessment Tasks

Assessment FOR Learning - inferences about student progress to inform teaching (formative)

Assessment AS Learning - students reflect on and monitor their progress to inform their future (formative)

Assessment OF Learning - teachers use evidence to make judgments on student achievement (summative)

Students will undertake a variety of Assessment tasks throughout the course of this Unit.

Minor tasks include: Workbook entries - plot overview, characterisations, theme analysis and

discussion, language of Shakespeare Response/s to class discussion Completion of comprehension, analytical, empathy questions

Major tasks include:

o Passage Annotation & Language Analysiso Writing folio re A Midsummer Night’s Dream o Group Oral Presentation/Performance

Reflection and Evaluation

At the completion of the unit students are asked to write about the unit. What were you curious about? What new understandings did you encounter? Were you strategic in your approach? How did you plan your responses? What do you learn about working with others? What did you learn about the way that you prefer to learn?

Key Resources Barnes & Coleman (ED), A Mid Summer Night’s Dream, Insight

Shakespeare Series.

Links to other Learning Areas

The ARTS – Media – film analysisThe ARTS – Drama – elements of a playTECHNOLOGY – ICT – development of writing

ASSESSMENT TASKSTASK ONE

Passage Annotation & Language Analysis

Instructions

Shakespeare always uses language features. Many of these features are discussed in your text, A Mid Summer Night’s Dream. (Have a look at the Contents section, entitled, Shakespeare’s themes and techniques, on page V.)

This task asks you to identify as many language features as you can, when reading the following two passages:

Act 1, Scene 2, lines 226 – 251 Act 2, Scene 1, lines 146 – 187

Identify language features by using Comment Boxes (a software feature of your laptop.) Comment boxes are created by using these keys: ctrl + alt + m.

Identify the following language features.

1. Context - What comes before and after the passage.

2. Metaphor - Comparing something without using the words “like” or “as”.

3. Simile - Expression of resemblance of one thing to another – for example, the moon is ‘like’ a silver disc.

4. Rhyme - A word that has an identical sound with another word.

5. Blank verse - Has a regular rhythm, but does not rhyme

6. Iambic pentameter - The lines are 10 syllables long. The syllables are divided into pairs. In each pair, one syllable is stressed, the other syllable remains unstressed. Don’t worry! Your teacher will help you.

7. Personification - Animals or objects are given human characteristics.

8. Repetition - repeated words

9. Dramatic Irony- The audience knows something that a character on stage doesn’t

10. Puns- A play on words. Often a word has a double meaning. For example, ‘lie’ can mean to lie down on a bed, or to lie to someone.

11. Oxymoron- When you place two contradictory words next to each other.

12. Imagery (Language of the senses)

Visual imagery: Sight: the most frequent type. Aural or auditory imagery: Sound Olfactory imagery: Smell Gustatory imagery: Taste Tactile imagery: Touch

Organic imagery: Human sensations – hunger, for example

13. Adjectives - Describing words

14. Tone - The writer's attitude or feeling toward the subject

15. What words, phrases or lines are significant? Why? - A hint: how does the passage help Shakespeare and the characters explore his ideas (themes) about love, marriage and obedience to a father or a husband.)

16. Stage directions - Impact on the audience?

TASK ONE

Passage One

Act 1, Scene 1 (Part 2) Lines 226 – 251

How happy some o'er other some can be!

Through Athens I am thought as fair as she.

But what of that? Demetrius thinks not so;

He will not know what all but he do know:

And as he errs, doting on Hermia's eyes,

So I, admiring of his qualities:

Things base and vile, folding no quantity,

Love can transpose to form and dignity:

Love looks not with the eyes, but with the mind;

And therefore is wing'd Cupid painted blind:

Nor hath Love's mind of any judgement taste;

Wings and no eyes figure unheedy haste:

And therefore is Love said to be a child,

Because in choice he is so oft beguiled.

As waggish boys in game themselves forswear,

so the boy Love is perjured every where:

For ere Demetrius look'd on Hermia's eyne,

He hail'd down oaths that he was only mine;

And when this hail some heat from Hermia felt,

so he dissolved, and showers of oaths did melt.

I will go tell him of fair Hermia's flight:

Then to the wood will he to-morrow night

Pursue her; and for this intelligence

If I have thanks, it is a dear expense:

But herein mean I to enrich my pain,

To have his sight thither and back again.

TASK ONE

A modern translation

It's amazing how much happier some people are than others! People throughout

Athens think I'm as beautiful as Hermia. But so what? Demetrius doesn't think so,

and that's all that matters. He refuses to admit what everyone else knows. But even

though he's making a mistake by obsessing over Hermia so much, I'm also making a

mistake, since I obsess over him. Love can make worthless things beautiful. When

we're in love, we don't see with our eyes but with our minds. That's why paintings of

Cupid, the god of love, always show him as blind. And love doesn't have good

judgment either—Cupid, has wings and no eyes, so he's bound to be reckless and

hasty. That's why they say love is a child. because it makes such bad choices. Just as

boys like to play games by telling lies, Cupid breaks his promises all the time. Before

Demetrius ever saw Hermia, he showered me with promises and swore he'd be mine

forever. But when he got all hot and bothered over Hermia, his promises melted away. I'll go

tell Demetrius that Hermia is running away tomorrow night. He'll run after her. If he's

grateful to me for this information, it'll be worth my pain in helping him pursue my rival

Hermia. At least I'll get to see him when he goes, and then again when he comes back.

TASK ONE

Passage Two

Act 2, Scene 1Lines 146 – 187

Oberon. Well, go thy way: thou shalt not from this grove

Till I torment thee for this injury.

My gentle Puck, come hither. Thou rememberest

Since once I sat upon a promontory,

And heard a mermaid on a dolphin's back

Uttering such dulcet and harmonious breath

That the rude sea grew civil at her song

And certain stars shot madly from their spheres,

To hear the sea-maid's music.

Puck. I remember.

Oberon. That very time I saw, but thou couldst not,

Flying between the cold moon and the earth,

Cupid all arm'd: a certain aim he took

At a fair vestal throned by the west,

And loosed his love-shaft smartly from his bow,

As it should pierce a hundred thousand hearts;

But I might see young Cupid's fiery shaft

Quench'd in the chaste beams of the watery moon,

And the imperial votaress passed on,

In maiden meditation, fancy-free.

Yet mark'd I where the bolt of Cupid fell:

It fell upon a little western flower,

Before milk-white, now purple with love's wound,

And maidens call it love-in-idleness.

Fetch me that flower; the herb I shew'd thee once:

The juice of it on sleeping eye-lids laid

Will make or man or woman madly dote

Upon the next live creature that it sees.

Fetch me this herb; and be thou here again

Ere the leviathan can swim a league.

Puck. I'll put a girdle round about the earth

In forty minutes.

TASK ONE

[Exit]

Oberon. Having once this juice,

I'll watch Titania when she is asleep,

And drop the liquor of it in her eyes.

The next thing then she waking looks upon,

Be it on lion, bear, or wolf, or bull,

On meddling monkey, or on busy ape,

She shall pursue it with the soul of love:

And ere I take this charm from off her sight,

As I can take it with another herb,

I'll make her render up her page to me.

But who comes here? I am invisible;

And I will overhear their conference.

[Enter DEMETRIUS, HELENA, following him]

Modern Translation

Oberon

Well, go on your way, then. You won't leave this grove until I've paid you back

for this insult. (to Puck) My dear Puck, come here. You remember the time when

I was sitting on a cliff, and I heard a mermaid sitting on a dolphin's back sing

such a sweet and harmonious song that it calmed the stormy sea and made

stars shoot out of the sky so they could hear her better?

Puck

I remember

Oberon

That same night, I saw Cupid flying from the moon to the earth, with all of his

arrows ready. (You couldn't see him, but I could.) He took aim at a beautiful

young virgin who was sitting on a throne in the western part of the world, and

he shot his arrow of love well enough to have pierced a hundred thousand

hearts. But I could see that Cupid's fiery arrow was put out by watery, virginal

moonbeams, so the royal virgin continued her virginal thoughts without being

interrupted by thoughts of love. But I paid attention to where Cupid's arrow fell.

TASK ONE

It fell on a little western flower, which used to be white as milk but now has

turned purple from being wounded by the arrow of love. Young girls call it

“love-in-idleness.” Bring me that flower. I showed it to you once. If its juice is

put on someone's eyelids while they're asleep, that person will fall in love with

the next living creature he or she sees. Bring me this plant, and get back here

before the sea monster has time to swim three miles.

Puck

I could go around the world in forty minutes.

Oberon

When I have the juice of that flower, I'll trickle some drops of it on Titania's eyes

while she's sleeping. She'll fall madly in love with the first thing she sees when

she wakes up—even if it's a lion, a bear, a wolf, a bull, a monkey, or an ape. And

before I make her normal again—I can cure her by treating her with another

plant—I'll make her give me that little boy as my page. But who's that coming

this way? I'll make myself invisible and listen to their conversation.

Passage Annotation & Language Analysis RubricUsing comment boxes, identify and explain the effect of language features within selected passages of Shakespeare’s A Mid Summer Night’s Dream

MARK RANGE DESCRIPTOR: typical performance in each range

A+

28-30 marks

______________

A

24-27 marks

Comprehensive and extensive identification of language features.

Very thorough and highly detailed explanation of the effect language features have upon specific passages.

Comprehensive use and application of ICT comment boxes.

B+

21-23 marks

Very detailed knowledge and appreciation of language features.

Thorough and detailed explanation of the effect language features have upon specific passages.

Accurate knowledge and use of ICT comment boxes.

B

19-20 marks

______________

C+

16-18 marks

Some detailed knowledge and a well-developed understanding of language features.

Satisfactory and mostly relevant explanation of the effect language features have upon specific passages

Satisfactory understanding and use of ICT comment boxes.

C

15 marks

______________

D

12-14 marks

Some knowledge and understanding of language features.

Some explanation with some relevant detail of the effect language features have upon specific passages.

Some application and use of ICT comment boxes.

E

0-11 marks

Understanding of language features is limited with hardly any recognition of the role it plays in the play’s passages.

Brief explanation with a few details of the effect language features have upon specific passages.

Undeveloped application and use of ICT comment boxes.

TASK TWO

Group Drama Presentation

Instructions

Your group will consist of between 1 and 3 actors AND a commentator.

Actors

The actors will select a passage, and present it to the class from memory. It must be at least 7 lines per student.

Commentator

The commentator’s role will be to present to the class your group’s analysis of the passage. Your group will need to analyse the following:

1. Context – Where is the passage found? What comes immediately before and after the passage?

2. Important language features – What words, lines and imagery are significant? Why?

3. Tone – What feelings and attitudes are revealed? How is the tone important? Why?

4. Significance – Why has the passage been chosen? A hint: how does the passage help Shakespeare and the characters explore his ideas (themes) about love, marriage and obedience to a father or a husband.)

Group Drama Presentation Comment on the connections between the text and the dramatic presentation.

MARK RANGE DESCRIPTOR: typical performance in each range

A+

28-30 marks

______________

A

24-27 marks

Reflective commentary demonstrates thorough and perceptive analysis of the features of the original text.

An illuminating and highly convincing relationship between the dramatic response and the original text is established and detailed insight into the process of producing a dramatic response is demonstrated.

Highly expressive and coherent development of the dramatic performance.

B+

21-23 marks

Reflective commentary demonstrates considered and perceptive analysis of the features of the original text.

A convincing relationship between the dramatic response and the original text is established and insight into the process of producing a dramatic response is demonstrated.

Expressive and coherent development of the dramatic performance.

B

19-20 marks

______________

C+

16-18 marks

Reflective commentary includes some comment on features of the original text.

A clear and plausible relationship between the dramatic response and the original text is established, and some understanding of the process of producing a dramatic response is shown.

Clear and coherent development of the dramatic performance.

C

15 marks

______________

D

12-14 marks

Some comment on the process of producing a dramatic response that is clearly related to the original text is evident in the reflective commentary.

A relationship between the dramatic response and the original text is established and insight into the process of producing a dramatic response is demonstrated.

A coherent dramatic performance.

E

0-11 marks

Little or no comment on the process of producing a dramatic response is demonstrated in the reflective commentary.

A simple and expressionless dramatic performance

TASK THREE

Writing Folio

Instructions

Select and write responses to TWO of the following:

ONE

Imagine you are Hermia. After line 127 you are left alone on the stage. Write a monologue, in which you reflect on all that has been spoken between these lines.

In your monologue reflect on love, marriage and obedience to your father (and king). Include the following:

1. Hermia’s emotions and thoughts about what Egeus (her father) and Theseus (her king) have said.

2. Hermia’s thoughts on whether to obey her father or marry Lysander.3. What life was like for women (wives and daughters) in Elizabethan

England. (You may have to research this information.)4. Does Hermia think she should only marry for love? What evidence can

you find in support of your answer?5. Does Shakespeare sympathise with Hermia’s attitude? How do you know?

What evidence can you find in support of your answer?

Alas! Shakespeare and his actors didn’t have a laptop! You will have to write by hand. You have no option but to take out your quill (pen) and parchment (paper) and write …

Length: 500 words (+)

TWO

Instructions

The date is 1595. Queen Elizabeth has asked you, Lord Emsworth, to attend the Globe Theatre. William Shakespeare’s play, A Midsummer Night’s Dream, has just opened. Queen Elizabeth wants your to review the play – is A Midsummer Nights Dream worth attending?

Of course, Queen Elizabeth is to busy to see you. She is avoiding the assassins of Spain, and is currently infatuated with that lovable rogue, Sir William Drake. Alas! Your review will have to be hand-written!

You have no option but to take out your quill (pen) and parchment (paper) and write …

Make sure you include the following:

1. The plot2. The settings (the forest and palace – I wonder what each represents?)3. The characters and their relationships – e.g., Hermia & Lysander, Demetrius &

Helena, Tatiana & Oberon, Thisbe & Pyramus.4. Comedy & tragedy (Tatiana & Bottom – the donkey)5. The magic love potion6. Dreams7. Puck8. Shakespeare’s ideas on love, marriage and obedience

Length: 500 words (+)

THREE

Instructions

Select one of the following topics. Write a text response of 500 + words.

1. Discuss how A Mid Summer Night’s Dream both celebrates and ridicules love.

2. What role does conflict play in A Mid Summer Night’s Dream?

3. What elements in Acts 4 and 5 contribute to make A Mid Summer Night’s Dream a comedy? (For a definition of comedy, see pages 108-9 of your text.)

FOUR

Designing a Trump Card Pack

Instructions

You are going to design a set of trump cards about A Midsummer Night’s Dream. You will create a card for EACH of the following characters:

Theseus Egeus Hermia Helena

Lysander Demetrius Oberon Titania

Puck Peaseblossom Nick Bottom (the ass)

On the FIRST SIDE you will include:

1. An illustration of the character2. Trump Card Attribute Scores (1 - 10)

Strength

IntelligenceMagic powerMischiefBeautyLoveObedienceCity Forest Midsummer madnessInsults

For example, Demetrius may score an 8 for strength, a 0 for magic power and a 7 for City. (In the city, Demetrius is safe, whereas in the Forest he is a victim of fairy magic power. Demetrius would therefore score perhaps a 4 for the Forest attribute.)

On the SECOND SIDE you will create a Trump Card Fact Sheet. Include the following information:

Character profile Best quote Best imageryRelationships Themes 1. 2. 3.

Task 1 – Creative Response Respond creatively to a text, focusing on the themes, views and values

MARK RANGE DESCRIPTOR: typical performance in each range

A+

28-30 marks

______________

A

24-27 marks

Establishment of a highly convincing relationship between the response and the original text.

Comprehensive understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text, in a sophisticated and highly-accomplished, complex and coherent piece of writing.

Very close and perceptive reading of the original text, adopting or resisting a wide range of features of the original text, as appropriate to the chosen task.

Seamless additions to the text.

Highly expressive, fluent and structured writing

B+

21-23 marks

Establishment of a convincing relationship between the response and the original text.

Detailed understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a complex, expressive and coherent piece of writing.

Close and thoughtful reading of the original text, adopting or resisting a range of features, as appropriate to the chosen task.

Careful linkages of additions to the text.

Expressive, fluent and structured writing

B

19-20 marks

______________

C+

16-18 marks

Establishment of a clear and plausible relationship between the response and the original text.

Sound understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a fluent and coherent piece of writing.

Some close reading of the original text, adopting features of the original text, as appropriate to the chosen task.

Clear linkages of additions to the text.

Generally expressive, fluent and structured writing

C

15 marks

______________

D

12-14 marks

Establishment of a clear relationship between the response and the original text.

Some understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a clearly-expressed piece of writing.

Limited reading of the original text. Identification and adoption of some features of the original text.

Some clear linkages of additions to the text.

Clear expression

E

0-11 marks

Establishment of some relationship between the response and the original text.

Limited understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a clearly-expressed piece of writing.

Adoption of a few features of the original text. Identification of some features of the original text.

Limited connections made to the original text.

Simple expression

Task 1 – Creative Response Respond creatively to a text, focusing on the themes, views and values

MARK RANGE DESCRIPTOR: typical performance in each range

A+

28-30 marks

______________

A

24-27 marks

Establishment of a highly convincing relationship between the response and the original text.

Comprehensive understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text, in a sophisticated and highly-accomplished, complex and coherent piece of writing.

Very close and perceptive reading of the original text, adopting or resisting a wide range of features of the original text, as appropriate to the chosen task.

Seamless additions to the text.

Highly expressive, fluent and structured writing

B+

21-23 marks

Establishment of a convincing relationship between the response and the original text.

Detailed understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a complex, expressive and coherent piece of writing.

Close and thoughtful reading of the original text, adopting or resisting a range of features, as appropriate to the chosen task.

Careful linkages of additions to the text.

Expressive, fluent and structured writing

B

19-20 marks

______________

C+

16-18 marks

Establishment of a clear and plausible relationship between the response and the original text.

Sound understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a fluent and coherent piece of writing.

Some close reading of the original text, adopting features of the original text, as appropriate to the chosen task.

Clear linkages of additions to the text.

Generally expressive, fluent and structured writing

C

15 marks

______________

D

12-14 marks

Establishment of a clear relationship between the response and the original text.

Some understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a clearly-expressed piece of writing.

Limited reading of the original text. Identification and adoption of some features of the original text.

Some clear linkages of additions to the text.

Clear expression

E

0-11 marks

Establishment of some relationship between the response and the original text.

Limited understanding and use of features such as characterisation, setting, narrative structure, tone and style of the original text in a clearly-expressed piece of writing.

Adoption of a few features of the original text. Identification of some features of the original text.

Limited connections made to the original text.

Simple expression

Text Response RubricRespond to the topic question, showing how the text constructs meaning, conveys ideas and values, and is open to a range of interpretations.

MARK RANGE DESCRIPTOR: typical performance in each range

A+

28-30 marks

______________

A

24-27 marks

Thorough and thoughtful understanding of the ideas, characters and themes constructed and presented in the text.

Construction of a well-developed interpretation of the topic question.

Considered selection and use of significant textual evidence to support analysis.

Highly organised, fluent and skilful use of appropriate oral language conventions to engage an audience.

B+

21-23 marks

Thorough knowledge of the ideas, characters and themes constructed and presented in the text.

Construction of a sound interpretation of the topic question.

Careful selection and use of suitable textual evidence to support analysis.

Organised, fluent and good use of appropriate oral language conventions to engage an audience.

B

19-20 marks

______________

C+

16-18 marks

Knowledge of the ideas, characters and themes constructed and presented in the text.

Construction of a general interpretation of the topic question.

Suitable use of textual evidence to support analysis.

Organised and relevant use of appropriate oral language conventions to engage an audience.

C

15 marks

______________

D

12-14 marks

Some knowledge of the ideas, characters and themes constructed and presented in the text.

Some evidence of an ability to construct a general response to the text and identify a possible interpretation.

Some use of textual evidence to support analysis.

Some relevance, some organisation and some use of oral language conventions to engage an audience.

E

0-11 marks

Limited knowledge of the ideas, characters and themes constructed and presented in the text.

Little evidence of ability to construct a general response to the text or to identify an interpretation.

Minimal use of textual evidence.

Limited organization, limited control and limited use of oral language conventions to engage an audience.