STUDY GUIDE: LITERATURE ENGLISH HOME LANGUAGE GRADE 12

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1 STUDY GUIDE: LITERATURE ENGLISH HOME LANGUAGE GRADE 12 A publication of Impak Onderwysdiens (Pty) Ltd Copyright reserved. Apart from any fair dealing for the purpose of research, criticism or review as permitted under the Copyright Act, no part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from Impak Onderwysdiens (Pty) Ltd. CAPS aligned 2014 Edition Compiler HILARY DE VILLIERS Ë1412-E-EHL-SG02µº ¹ ¹Î

2 TABLE OF CONTENTS LESSON ELEMENTS... 4 PREFACE... 6 YEAR PLAN... 8 UNIT 1: Poetry and Amadeus Lesson 1: Amadeus Background ACTIVITY Lesson 2: The Scatterlings of Africa by Johnny Clegg ACTIVITY Lesson 3: Amadeus Act I scenes ACTIVITY Lesson 4: Amadeus Act I scenes ACTIVITY Lesson 5: The Cape of Storms by Thomas Pringle ACTIVITY Lesson 6: Amadeus Act I scenes ACTIVITY Lesson 7: Amadeus Act I scenes ACTIVITY UNIT 2: Poetry and Amadeus Lesson 8: Rivonia Road 2 by Adam Schwartzman ACTIVITY Lesson 9: Amadeus Act I scenes and Recap Act I ACTIVITY ACTIVITY Lesson 10: Amadeus Act II scenes ACTIVITY Lesson 11: Allegiances by William Stafford ACTIVITY Lesson 12: Amadeus Act II scenes ACTIVITY Lesson 13: Amadeus Act II scenes ACTIVITY Lesson 14: Amadeus Act II scenes ACTIVITY Lesson 15: Amadeus Act II scenes ACTIVITY Lesson 16: Musée des Beaux Arts by W.H. Auden ACTIVITY Lesson 17: Amadeus Act II scenes 17 end ACTIVITY ACTIVITY UNIT 3: Poetry and Persuasion Lesson 18: The world is too much with us by William Wordsworth ACTIVITY Lesson 19: Persuasion Background to the novel ACTIVITY ACTIVITY Lesson 20: Persuasion Vol. 1 Chapters ACTIVITY ACTIVITY ACTIVITY Impak Onderwysdiens (Pty) Ltd 1

3 ACTIVITY ACTIVITY ACTIVITY Lesson 21: The Second Coming by W. B. Yeats ACTIVITY Lesson 22: Persuasion Vol. 1 Chapters ACTIVITY ACTIVITY ACTIVITY ACTIVITY ACTIVITY ACTIVITY UNIT 4: Poetry and Persuasion Lesson 23: Revise for Task ACTIVITY ACTIVITY Lesson 24: Holy Sonnet: Batter my Heart by John Donne ACTIVITY Lesson 25: Persuasion Vol. 2 Chapters ACTIVITY ACTIVITY ACTIVITY ACTIVITY ACTIVITY ACTIVITY Lesson 26: Poppies in July by Sylvia Plath ACTIVITY 26: Lesson 27: Persuasion Vol. 2 Chapters ACTIVITY ACTIVITY ACTIVITY ACTIVITY ACTIVITY ACTIVITY Lesson 28: Revision of Persuasion [and Amadeus] UNIT 5: Poetry and Revision of Novel and Drama Lesson 29: Sonnet 146: Poor soul, by William Shakespeare ACTIVITY Lesson 30: Amadeus Revision Contextual ACTIVITY ACTIVITY Lesson 31: In Praise of the Shades by Chris Mann ACTIVITY Lesson 32: Persuasion Revision contextual questions ACTIVITY Lesson 33: Piano by D. H. Lawrence ACTIVITY Lesson 34: Revision literature essays ACTIVITY ACTIVITY Lesson 35: Revision Poetry essay and contextual questions ACTIVITY UNIT 6: REVISION ADDENDUM A: RUBRICS FOR WRITING POETRY ESSAYS Impak Onderwysdiens (Pty) Ltd 2

4 ADDENDUM A: RUBRICS FOR WRITING POETRY ESSAYS ADDENDUM B: RUBRIC FOR WRITING LITERATURE ESSAYS ADDENDUM C: SOME USEFUL NOTES ON POETRY ADDENDUM D: GLOSSARY BIBLIOGRAPHY AND REFERENCES Impak Onderwysdiens (Pty) Ltd 3

5 Unit Lesson 1: Reading and Viewing: Literature Study AMADEUS Background Content The play in a nutshell (Oxford) As an old man, Antonio Salieri calls on the audience (Ghosts of the Future) to witness his confession about his rivalry with Wolfgang Amadeus Mozart and his determination to destroy this brilliant composer. By means of flashbacks, Salieri takes us back to scenes in the last ten years of Mozart s life from the time that he met 25-year-old Mozart at the court of Emperor Joseph II in Vienna until Mozart s death. Salieri s jealousy of Mozart s music which he describes as the Voice of God becomes an obsession. His attempts to block Mozart s career are so successful that Mozart dies penniless. Not even that can soften Salieri s heart, and 32 years later he confesses to the Ghosts of the Future not because he wants forgiveness, but because he wants to gain himself lasting infamy as Mozart s killer Content Note on the prescribed edition, different versions and the film IMPORTANT The edition that has been prescribed for you to study is the Harper Perennial edition published in Note that if you do not work from this edition, you will find differences in the text. Throughout this study guide, the page numbers refer to prescribed edition (ISBN: ). In the prescribed edition, the Introduction by Director Sir Peter Hall and the Preface by the writer, Peter Shaffer, make it clear that there have been alterations to the text since the first performance in 1979 and the publication of the play in Peter Shaffer sub-titles his Preface: Amadeus: The Final Encounter, and refers to earlier versions of the play. In fact, there are SIX versions of the play, culminating in the revival of the play in London and New York in , which led to the final amendments. The last scene of the play has been rewritten several times and your prescribed edition contains the final scene as it was performed in the revival, and which Peter Shaffer regards as (probably) the final version Content Background Some of the information provided below must be read before you start the play in Lesson 3. Other information is provided in text boxes. This is useful, but does not have to be read in advance. Sometimes it can be frustrating to get too much information when you are dying to get started with the play! If you prefer, come back to it later instead. Impak Onderwysdiens (Pty) Ltd 16

6 Unit 1 The play vs history: The play is a drama, and does not pretend to be an historical account of Mozart or Salieri, but it does draw a great deal on historical fact. Shaffer says that he was initially intrigued by the mystery surrounding Mozart s death, and the rumours that Salieri may have poisoned him, and this motivated him to write a play in which he explored the themes of what may have caused this. When you get to the scenes involving the mysterious grey figure, you will be intrigued to discover the historical truth behind the story. Many critics agree that the Mozart he presents in the play is probably very similar to the real man, judging from written records such as Mozart s letters to his father, and to a friend, Michael Puchberg, (who was also a Freemason). Other critics have not approved of the way that Mozart is presented. In Hall s Introduction he tells of how the then British Prime Minister Margaret Thatcher refused to believe that Mozart, the composer of such heavenly music, could be anything like the way he is depicted in the play, and told him so in no uncertain terms! The playwright: A short biography of Peter Shaffer can be found at the back of your prescribed text, on p Some additional information that you may find interesting, or that may help you to appreciate the play better, is Shaffer s interest in music which he developed while at school in London. This explains how he could not only write the drama Amadeus, but also create the dramatic effects of Mozart s music as an important feature of the drama on stage. Many of Shaffer s plays deal with the theme of searching for God, and Amadeus is no exception. Salieri may spend a great deal of his life railing against God, but if he didn t care about having a relationship with God, he would not feel betrayed by God and would not feel guilty about his actions towards Mozart. Wolfgang Amadeus Mozart ( ): How does one sum up a man of such musical genius and such complex character in a paragraph or two! Mozart was born on January 27, 1756 in Salzburg, Austria. He is considered one of the most brilliant and versatile composers ever to have lived. He worked in all musical genres (as evident in the list of his music) and produced an extraordinary number of musical works in such a short life. At the age of six he was composing his first pieces, touring Europe and playing a variety of instruments a child prodigy. After moving to Vienna, Mozart married Constanze Weber in 1782, a match that his father did not approve of. Like many geniuses in their field, Mozart had his own ideas and was a bit of a rebel. His prodigious talent brought him into conflict with rival musicians (who did not understand his genius) and his independent attitude caused conflict with musicians at the Emperor s court (particularly Antonio Salieri). Emanuel Schikaneder, owner of a popular theatre company and a Freemason, believed in Mozart s music and commissioned The Magic Flute which ran for over two hundred performances. This was not enough to save Mozart from poverty and illness, however. He died a pauper at the age of 35 and was buried in an unmarked grave. The cause of his death is most commonly thought to be rheumatic fever (also known as military fever in those days). Impak Onderwysdiens (Pty) Ltd 17