war photographer comparison essay

War Photographer / Remains Essay

(grade 5-6).

Both ‘War Photographer’ and ‘Remains’ explore memories. In the second stanza of ‘War Photographer’, Duffy creates a vivid image of one of the photographer’s memories by writing ‘running children in a nightmare heat’. Duffy’s words create graphic, powerful imagery of innocent children caught up in the middle of a warzone, running in agony and terror away from a chemical weapon. Duffy suggests through these words that the photographer's mind is always filled with powerful and upsetting memories of the terrible things he witnessed while taking photos in warzones. Armitage makes clear the soldier cannot forget the memory of shooting the looter by writing ‘probably armed, possibly not’. Armitage’s repetition of these words in the poem emphasise that this particular memory, of whether or not the looter is armed, is very important. It is important because the soldier is wondering whether or not he needed to kill the looter. If the looter was not armed, the soldier killed an innocent person, who posed no threat to him. Armitage’s use of the word ‘possibly’ indicates that the soldier cannot be sure that the looter was armed, and runs this memory over and over in his mind. Armitage’s repetition of these words also emphasise the power of this memory, as it keeps flooding back into the soldier’s mind, even when he is home on leave. It is clear from both poems that being in or near war can deeply affect people, leaving them with lasting trauma.

Both ‘War Photographer’ and ‘Remains’ explore guilt. In the third stanza of War Photographer, Duffy makes the photographer’s guilt clear by writing that he sees a ‘half-formed ghost’ when he develops one of the photographs. Duffy’s imagery in the words ‘half-formed’ helps the reader to imagine the photograph slowly developing in front of his eyes. Her use of the word ‘ghost’ implies that the photographer is being haunted by the memory of this man and the cries of the man’s wife when she realised her husband was dead. Duffy suggests he feels guilty because he was not able to do more to help this man or his wife; all he could do was stand by and take a photograph. Similarly, in the closing lines of ‘Remains’, Armitage makes the soldier’s guilt clear by writing ‘his bloody life in my bloody hands’. Armitage uses the blood as a symbol of the guilt that the soldier feels; the soldier feels he has blood on his hands because he killed a person who could have been innocent. Armitage could have chosen to end the poem with this line because he wanted to demonstrate that the soldier cannot remove the image of the looter’s blood from his mind, and that the guilt he feels for killing the looter will stay with him forever.

Both poems explore struggle . In the final stanza of ‘War Photographer’, Duffy conveys the struggle of the photographer, who feels angry that his readers are not more moved by his pictures by writing ‘reader’s eyeballs prick with tears between the bath and pre lunch beers’. Duffy’s use of the word ‘prick’ to describe the readers’ emotions indicates that they barely cry when they see the photographs. Duffy’s suggestion is that, when we are so far removed from war, we cannot fully understand the pain that people go through. Duffy’s use of the words ‘bath’ and ‘beers’ remind the reader that in England we have many luxuries that people in warzones don’t have. This makes it very easy for us to forget the terrible lives that other people have, because we can go back to enjoying our own luxurious lifestyles. The struggle in Remains is different. In Remains, Armitage presents the soldier as deeply traumatised by what he experienced at war. Remains makes clear the soldier struggles to forget what he saw and did by writing ‘the drink and drugs won’t flush him out’.Armitage’s use of the word ‘flush’ implies that the emotions the soldier feels are like toxins within his body that he wants to get rid of. It is clear that the soldier has become reliant on addictive substances as a way of coping. Armitage conveys to his readers the terrible trauma that many soldiers experienced and tells the reader how difficult it was for them to return to normal life when they returned.

(Grade 8-9)

Both ‘War Photographer’ and ‘Remains’ explore the haunting power of memories. In the second stanza of ‘War Photographer’, Duffy creates a vivid image of one of the photographer’s memories by writing ‘running children in a nightmare heat’. Here, Duffy’s words create graphic, powerful imagery of innocent children caught up in the middle of a warzone, running in agony and terror away from a chemical weapon. This poetic image was inspired by a real-life photograph captured by a war photographer in Vietnam. Through this evocative imagery, Duffy suggests that the photographer's mind cannot shake the distressing memories of the terrible pain he witnessed while taking photos in warzones. Similarly, Armitage makes clear the soldier cannot forget the memory of shooting the looter through his use of the poem’s refrain: ‘probably armed, possibly not’. Armitage’s repetition of these words emphasise that this particular ambiguous memory, of whether or not the looter is armed, is haunting him. If the looter was not armed, the soldier would not have needed to kill him. Therefore, he is plagued by a feeling of potential guilt; ihe could have killed an innocent person, who posed no threat to him. Armitage’s repetition of these words throughout the poem also emphasise the power of this memory, as it keeps flooding back into the soldier’s mind, even when he is home on leave. It is an unwelcome and persistent reminder that is contributing to his post-traumatic symptoms. It is clear from both poems that being involved in or an observer of war can deeply affect people, leaving them with a lasting mental struggle.

Both ‘War Photographer’ and ‘Remains’ explore the intensity of guilt. In the third stanza of War Photographer, Duffy makes the photographer’s guilt evident by writing that he sees a ‘half-formed ghost’ when he develops one of the photographs. Duffy’s powerful metaphor helps the reader to vividly imagine the photograph slowly developing in a chemical solution in front of his eyes, while the word ‘ghost’ implies that the photographer is being psychologically haunted by the memory of this man and the terrible cries of the man’s wife. Perhaps Duffy suggests that the photographer feels guilty because he was not able to do more to help this man or his wife; all he could do was carry out his role by capturing the moment with a photograph for the media. TSimilarly, in the closing lines of ‘Remains’, Armitage makes the soldier’s guilt clear by writing ‘his bloody life in my bloody hands’. Armitage uses the blood as a symbol of the guilt that the soldier feels; the soldier feels he has blood on his hands because he killed a person who could have been innocent. Armitage could have chosen to end the poem with this line because he wanted to demonstrate that the soldier cannot remove the image of the looter’s blood from his mind, and that the guilt he feels for killing the looter will stay with him, or metaphorically stain him, forever.

Both poems explore an inner conflict or struggle . In the final stanza of ‘War Photographer’, Duffy conveys the struggle of the photographer, who feels infuriated that his readers are not more emotionally moved by his pictures by writing ‘reader’s eyeballs prick with tears between the bath and pre lunch beers’. Duffy’s use of the word ‘prick’ to describe the readers’ emotions indicates that they barely cry when they see the photographs, or that their emotion is transient because they cannot empathise with the people in the photographs as they are so far removed from conflict zones. Duffy’s use of the words ‘bath’ and ‘beers’ remind the reader that in England we have many everyday luxuries that people in warzones don’t have. This makes it easy and almost inevitable for us to forget the terrible lives that other people have, because we are so engrossed in our own luxurious lifestyles. While there is an emotional struggle for the soldier in Remains, the nature of the strife is different. In Remains, Armitage presents the soldier as deeply traumatised by what he experienced at war. Remains makes clear the soldier struggles to forget what he saw and how he behaved by writing ‘the drink and drugs won’t flush him out’.Here, Armitage’s use of the word ‘flush’ implies that the emotions the soldier feels are like toxins within his body that he wants to eject. It is clear that the soldier has become reliant on addictive substances as a way of coping with the devastating effects of war and its violent agony. Armitage conveys to his readers the terrible trauma that many soldiers experience, and exposes to the reader how difficult it is for soldiers to adapt to normal life when they return from war.

Both Duffy and Armitage use structure to reflect an attempt to control difficult emotions . In ‘War Photographer,’ Duffy deliberately uses a tight stanza structure with a clear rhyme scheme to mirror the order the photographer is trying to restore in his own mind. He is described as putting his photographs into “ordered rows,” just as Duffy carefully brings order to the poem. Perhaps she is suggesting that this sort of organisation is the only way he can eliminate the chaos and distress he struggles with. In Armitage’s poem, the soldier is less successful in containing his emotional outpourings. While the poem begins in an ordered way with regular stanza structures, it descends into irregular and erratic stanzas to perhaps symbolise his inability to control the traumatic memories which continue to flood his mind.

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Why I love…Comparing in the AQA Anthology: Poppies and War Photographer

In this series I have tried to put together some high level examples of comparisons for the AQA Power and Conflict Anthology. The next poems that I’ll be teaching are Poppies and War Photographer so I’ve tried to complete a high level example on these two poems. Hopefully, the comparisons make sense. Any feedback is much appreciated. I’ve linked here to the other comparison blogs and at some point there will be a full set across the Anthology. A copy of the essay can be downloaded here: Poppies vs War Photographer

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Why I love…Comparing Poems: AQA Exposure by Owen with Storm on the Island by Heaney

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Explore the presentation of powerful emotions related to conflict in Poppies and War Photographer.

Powerful emotions are shown in both poems: Poppies and War Photographer through the perspective of people outside of the conflict, but who experience a form of conflict themselves. In Poppies the persona appears to be a mother, who is experiencing feelings of loss as a result of her son growing up and going to war. War Photographer depicts the outsider’s perspective in a different way to Poppies: it is seen more vividly and visually through the eyes of someone experiencing the conflict, photographing the conflict but not being able to do anything to help those injured by the conflict. In this way the conflict and powerful emotions, while different are equally powerful. Memory, visual representation and the power of touch is presented in both poems to reinforce the way powerful emotions are created by the experiences of conflict.

Both poets use memory to reinforce the powerful emotions evident in the poems. Memory, in Poppies appears to be from a mother, who seems to remember her son leaving for school or leaving for the war. The mother “pinned one onto your lapel” with the past tense implying that this was something that happened and a memory that is sharply remembered, as a result of the imminence of “Armistice Sunday”. The significance of the proper nouns and use of “Armistice” is important as it has symbolic meaning as a time when we all get together to remember those who fell in war, a time for reminiscing and a time to reflect on the human sacrifices that were made. The ambiguity over whether the jacket was a school blazer, or an army jacket increases the poignancy. Irrespective of when the poppy was “pinned” onto the “lapel” the tactile action is maternal and loving and shows the bond between mother and child, that grows from when they are little and remains even when they are grown up. Memory is differently explored in War Photographer and the memory is from the perspective of a persona, who was in the conflict, but as a bystander and observer, rather than as an active participant. Their memory is sharply painful “the cries of this man’s wife” with the enjambment reinforcing the powerful jolt of remembrance, when the “half formed ghost” appears as it is revealed in his darkroom. The photographer appears to have compartmentalised what he saw and refers to the memories using emotive language “a hundred agonies in black and white” which almost dehumanises the powerful emotions linked to the conflict that was seen by the war photographer, as the vast array of “agonies” reflects the habitual suffering that humanity experiences during conflict. However, Duffy may have been influenced to write about the powerful emotions in the poem in a detached way to show the outside world the horror that her friends had to catalogue and photograph, while not being able to help or do anything, as that was not what they were there to do. This dehumanisation of the people depicted in the poem is further reinforced by the next step of removal from the horror when the fact is used that “the editor will pick out five or six”, which is completely different from the first-person perspective in Poppies. The mother in Poppies seems to live and breathe the pain and suffering, whereas the photographer is once removed from the suffering.

Furthermore, both poets use visual representations to emphasise the powerful emotions that are evident in the poems. In poppies the imagery of “poppies…placed on individual war graves.” Is an incredibly strong visual, as most people have experienced the sight of poppies on graves as a form of memorial, so this is familiar and significant. Unlike this public visual display, in War Photographer, he is “finally alone” creating imagery of a relief that the photographer is able to hide away in his darkroom surrounded by the ironic “spools of suffering” as the old-fashioned camera’s had “spools” of film that captured the images. The sibilance here perhaps reinforces the visual representation of the sheer amount of powerful emotions contained in the film that has yet to be developed. As well as the actual poppies creating vivid visual imagery and the as yet undeveloped film from War Photographer, in Poppies the setting is visually represented. Duffy has the persona “skirting the church yard walls,” with the verb “skirting” implying that she does not want to be there or does not want to be seen, as if she wants to fade into the background, but the visual imagery of a churchyard is very commonplace and familiar to British people. Whereas, in War Photographer the setting and visual representation of areas is listed with the proper nouns naming places that are far away and unfamiliar to the reader “Belfast. Beruit. Phnom Penh.”. All these places are known to be places that have suffered from conflict and the removal of the familiar by Duffy to the less familiar name only settings could show another removal from the powerful emotions that ordinary people feel when they see images in the newspapers. As Duffy reflects the “reader’s eyeballs prick with tears” which is a recognition of the powerful emotions reflected in the photographs taken of the conflict but the juxtaposition of the familiar comfort of everyday life shows that this is a fleeting moment of empathy for most people “between the bath and pre-lunch beers”. Both poems use visual representations as a way of familiarising and defamiliarising the conflict and the powerful emotions felt as a result of the conflict.

Finally, both poems use the power of touch through the tactile acts inherent in the poems. As a seamstress, Weir uses imagery of keeping the hands busy and using touch to make the persona seem closer to their lost loved one. The verbs “traced”, “leaned” and “pulled” in the final stanza show the powerful emotions of the persona missing her son and using touch as a way to keep her with her son. Although, it isn’t only touch, the senses are important too and she “hoping to hear your playground voice” implying she misses a time when her son was young, free and innocent and wants to remember this. Powerful emotions of loss are shown in the way she continually references caring touches “smoothed down your shirt’s” which are clearly memories of what she did when her son was with her. Duffy, meanwhile, uses the actions of the people suffering in the conflict to create the feeling of how futile the conflict was “running children in a nightmare heat.” These images are only possible due to the developing of these with hands that “tremble” even though they “did not tremble then” which implies that while undertaking the job of taking photographs of the conflict the photographer is fine, but not after the event, when he has time to reflect and think about it. Both Poppies and War Photographer show the power of touch in bringing powerful memories to the surface. In Poppies this is done through the memory of tactile acts of care between the mother and the son and in War Photographer through the developing of the film and the release of the memories as a result of the pictures that were taken.

Both poets reflect powerful emotions in different ways. The powerful emotions in Poppies appear to be reflected through the relationship of a mother and a son and this leads to a very personal reflection, which one could be forgiven for thinking is Weir’s own experience but is not. Whereas, in War Photographer the experience is that of a third-party bystander, who was employed to take pictures of the conflicts and sell these, but Duffy shows that the powerful emotions evoked by the pictures mean that the persona is not able to see this as a purely business and unemotional transaction. Both poets show the powerful emotions through the persona’s and although they are very different in many ways, the suffering of humanity is evident in both poems.

Hope that this comparison is useful.

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omg thats amazing well done. It helped me a lot.

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Home — Essay Samples — Literature — Poetry — Comparison Between War Photography (Carol Duffy) and Poppies (Jane Weir)

"Poppies" and "War Photographer": a Comparison of War Poems

• Categories: Carol Ann Duffy Poetry

About this sample

Words: 514 |

Published: May 19, 2020

Words: 514 | Page: 1 | 3 min read

• Dowson, J., & Dowson, J. (2016). Voices from the 1980s and After. Carol Ann Duffy: Poet for Our Times, 87-121. (https://link.springer.com/chapter/10.1057/978-1-137-41563-9_3)
• Hughes-Edwards, M. (2006). ‘The House […] has Cancer’: Representations of Domestic Space in the Poetry of Carol Ann Duffy. In Our House (pp. 121-139). Brill. ( https://brill.com/display/book/9789401202817/B9789401202817_s010.xml)
• Dimarco, D. (1998). Exposing Nude Art: Carol Ann Duffy's Response to Robert Browning. Mosaic: A journal for the interdisciplinary study of literature, 25-39. ( https://www.jstor.org/stable/44029809)
• Schweik, S. (1987). Writing war poetry like a woman. Critical Inquiry, 13(3), 532-556 . ( https://www.journals.uchicago.edu/doi/abs/10.1086/448407?journalCode=ci)

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War Photographer Summary & Analysis by Carol Ann Duffy

• Line-by-Line Explanation & Analysis
• Poetic Devices
• Vocabulary & References
• Form, Meter, & Rhyme Scheme
• Line-by-Line Explanations

"War Photographer" is a poem by Scottish writer Carol Ann Duffy, the United Kingdom's poet laureate from 2009 to 2019. Originally published in 1985, "War Photographer" depicts the experiences of a photographer who returns home to England to develop the hundreds of photos he has taken in an unspecified war zone. The photographer wrestles with the trauma of what he has seen and his bitterness that the people who view his images are unable to empathize fully with the victims of catastrophic violence abroad. The poem references a number of major historical air strikes and clearly draws imagery from Nick Ut's famous Vietnam War photograph of children fleeing the devastation of a napalm bomb.

• Read the full text of “War Photographer”

The Full Text of “War Photographer”

“war photographer” summary, “war photographer” themes.

Apathy, Empathy, and the Horrors of War

Lines 13-15, lines 15-18.

• Lines 19-24

Trauma and Memory

Lines 11-12.

• Lines 13-18

The Ethics of Documenting War

Line-by-line explanation & analysis of “war photographer”.

In his dark ... ... in ordered rows.

The only light ... ... intone a Mass.

Belfast. Beirut. Phnom ... flesh is grass.

He has a ... ... seem to now.

Rural England. Home ... ... weather can dispel,

to fields which ... ... a nightmare heat.

Something is happening. ... ... a half-formed ghost.

He remembers the ... ... into foreign dust.

Lines 19-21

A hundred agonies ... ... for Sunday’s supplement.

Lines 21-22

The reader’s eyeballs ... ... and pre-lunch beers.

Lines 23-24

From the aeroplane ... ... do not care.

“War Photographer” Symbols

Photographs

• Line 2: “with spools of suffering set out in ordered rows”
• Line 7: “Solutions slop in trays”
• Lines 13-15: “A stranger’s features / faintly start to twist before his eyes, / a half-formed ghost”
• Line 19: “A hundred agonies in black and white”

“War Photographer” Poetic Devices & Figurative Language

Alliteration.

• Line 2: “s,” “s,” “s”
• Line 4: “th,” “th”
• Line 5: “pr,” “pr”
• Line 6: “B,” “B,” “P,” “P”
• Line 7: “H,” “h,” “S,” “s”
• Line 8: “h,” “h,” “th”
• Line 9: “th”
• Line 13: “S,” “s,” “t,” “f”
• Line 14: “f,” “s,” “t,” “t,” “t”
• Line 16: “h,” “h”
• Line 17: “w,” “w,” “w”
• Line 20: “s”
• Line 21: “S,” “s”
• Line 22: “b,” “b,” “b”
• Line 6: “Belfast. Beirut. Phnom Penh. All flesh is grass.”
• Lines 11-12: “to fields which don’t explode beneath the feet / of running children in a nightmare heat.”
• Line 6: “All flesh is grass.”
• Line 1: “I,” “i”
• Line 2: “o”
• Line 3: “o,” “o”
• Line 4: “ou,” “e,” “u,” “e”
• Line 5: “ie,” “a”
• Line 6: “e,” “a,” “e,” “e,” “a”
• Line 8: “i,” “i,” “i,” “e,” “e”
• Line 10: “i,” “i,” “ea,” “e”
• Line 11: “ie,” “o,” “o,” “ea,” “ee”
• Line 13: “i,” “i,” “i,” “a,” “e,” “u”
• Line 14: “ai”
• Line 15: “ie”
• Line 16: “i”
• Line 17: “o,” “o,” “a,” “o,” “o,” “u”
• Line 18: “oo,” “u”
• Line 19: “a,” “a,” “a”
• Line 20: “i,” “i,” “i,” “i,” “i,” “i”
• Line 21: “u,” “u,” “i”
• Line 22: “i,” “ea,” “ee,” “e,” “ee”
• Line 23: “a,” “a,” “a,” “e”
• Line 24: “i,” “i”
• Line 6: “Belfast. Beirut. Phnom Penh. All”
• Line 7: “do. Solutions”
• Line 8: “hands, which”
• Line 9: “now. Rural England. Home”
• Line 13: “happening. A”
• Line 15: “ghost. He”
• Line 16: “wife, how”
• Line 21: “supplement. The”
• Line 1: “r,” “r,” “n,” “ll,” “l,” “n”
• Line 2: “s,” “l,” “s,” “s,” “t,” “t,” “r,” “d,” “r,” “d,” “r”
• Line 3: “l,” “l,” “l,” “l”
• Line 5: “pr,” “pr,” “p,” “r,” “t,” “t,” “ss”
• Line 6: “B,” “s,” “t,” “B,” “t,” “P,” “n,” “P,” “n,” “ll,” “l”
• Line 7: “H,” “h,” “S,” “l,” “sl”
• Line 8: “h,” “s,” “h,” “s,” “t,” “t,” “th”
• Line 9: “th,” “R,” “r,” “g,” “g,” “n”
• Line 10: “n,” “p,” “n,” “w,” “p,” “l,” “w,” “d,” “p,” “l”
• Line 11: “l,” “d,” “d,” “pl,” “d,” “th,” “th”
• Line 12: “n,” “n”
• Line 13: “S,” “str,” “r,” “s,” “t,” “r,” “s”
• Line 14: “f,” “t,” “st,” “t,” “t,” “t,” “st”
• Line 15: “f,” “f”
• Line 16: “w,” “h,” “w,” “h”
• Line 17: “w,” “w,” “d,” “d,” “w,” “eo”
• Line 18: “d,” “st,” “d,” “d,” “st”
• Line 21: “S,” “s,” “s,” “s,” “r”
• Line 22: “t,” “rs,” “b,” “tw,” “th,” “b,” “th,” “r,” “b,” “rs”
• Line 23: “s,” “r,” “ss,” “r”
• Line 24: “r,” “s,” “s”

End-Stopped Line

• Line 2: “rows.”
• Line 3: “glows,”
• Line 5: “Mass.”
• Line 6: “grass.”
• Line 10: “dispel,”
• Line 12: “heat.”
• Line 14: “eyes,”
• Line 18: “dust.”
• Line 22: “beers.”
• Line 24: “care.”
• Lines 1-2: “alone / with”
• Lines 4-5: “he / a”
• Lines 7-8: “trays / beneath”
• Lines 8-9: “then / though”
• Lines 9-10: “again / to”
• Lines 11-12: “feet / of”
• Lines 13-14: “features / faintly”
• Lines 15-16: “cries / of”
• Lines 16-17: “approval / without”
• Lines 17-18: “must / and”
• Lines 19-20: “white / from”
• Lines 20-21: “six / for”
• Lines 21-22: “prick / with”
• Lines 23-24: “where / he”
• Line 2: “spools of suffering”
• Line 6: “All flesh is grass”

Parallelism

• Lines 10-11: “to ordinary pain which simple weather can dispel, / to fields which don’t explode beneath the feet”
• Lines 16-18: “how he sought approval / without words to do what someone must / and how the blood stained into foreign dust.”
• Lines 4-5: “as though this were a church and he / a priest preparing to intone a Mass.”

“War Photographer” Vocabulary

Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.

• "All flesh is grass"
• Sunday's supplement
• Impassively
• (Location in poem: Line 1: “dark room”)

Form, Meter, & Rhyme Scheme of “War Photographer”

Rhyme scheme, “war photographer” speaker, “war photographer” setting, literary and historical context of “war photographer”, more “war photographer” resources, external resources.

"War Photographer" Read Aloud — Listen to the poem read aloud.

Trailer for the Documentary "War Photographer" — Watch the trailer for the 2011 documentary War Photographer, which explores the responsibilities of photographers in war zones, focusing on photographer James Nachtwey.

"The Terror of War" — Explore Nick Ut's image from the Vietnam War, "The Terror of War." This famous photograph may have inspired "War Photographer." Note the second photographer at the right of the image examining his camera as children run by him, burnt and naked.

Carol Ann Duffy Biography — Learn more about Carol Ann Duffy, Britain's first female Poet Laureate, on Poets.org.

Interview with War Photographer Nick Ut — Watch this NBC interview with Vietnam War photographer Nick Ut about taking his famous photo depicting the naked "Napalm Girl" and the responsibility of photographers in war zones. Ut's comments intersect potently with the themes explored in "War Photographer."

LitCharts on Other Poems by Carol Ann Duffy

A Child's Sleep

Anne Hathaway

Before You Were Mine

Death of a Teacher

Education For Leisure

Elvis's Twin Sister

Head of English

In Mrs Tilscher’s Class

In Your Mind

Little Red Cap

Mrs Lazarus

Mrs Sisyphus

Pilate's Wife

Pygmalion's Bride

Queen Herod

Recognition

Standing Female Nude

The Darling Letters

The Dolphins

The Good Teachers

Warming Her Pearls

We Remember Your Childhood Well

Everything you need for every book you read.

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War Photographer

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Document Details

• Word Count 685
• Page Count 2
• Level AS and A Level
• Subject English

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Model Answer: Comparing War Photographer and Poppies

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

21 June 2020

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A detailed, high-level model answer comparing War Photographer and Poppies.

All essays receive a grade and a very detailed commentary analysing the strengths and weaknesses of the answer. This enables students to identify good practice and techniques to implement in their work. Answers should also act as a source of inspiration for students introduce them to different responses to the text.

All answers were written by a high attaining GCSE age student under exam conditions. Therefore, the answers are not expected to be perfect but realistic representations of what can be achieved during a GCSE exam.

This resource has been targeted at the AQA specification but will still be useful to all GCSE English Literature students.

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English Literature Paper 2: Model Answers - Bundle 1

A detailed set of 5 model answer on J B Priestley's 'An Inspector Calls' the AQA Power and Conflict poetry anthology and unseen poetry. Together this forms Sections A, B and C of AQA GCSE English Literature Paper 2. The answers included in this bundle are: An Inspector Calls Conflict between generations Gender Priestley’s intentions The importance of Eva The importance of the Inspector Poetry Anthology Comparing Exposure and Charge of the Light Bridgade London and Checking out Me History Ozymandias and The Prelude The Prelude and Kamikaze War Photographer and Poppies Unseen Poetry Blessing The Rear-Guard The Wild Swans Autumn Piano This allows students to understand how to structure their arguments to achieve full marks. At the end of the essay is the mark as well as a detailed comment analysing the student’s strengths and weaknesses. This enables students to understand what parts of the essay have been so successful. This resource has been written for AQA, but will be useful to all students studying English Literature. This is bundle 1 and offers excellent value for money. Included in this set are 15 answers. Check out the rest of the series and other great resources in my Tes Shop. Any Enquires: Instagram - @thomasd0resources Twitter - @thomasd01resou1 Email - [email protected]

Power and Conflict - Model Answers Complete Collection

This is a detailed set of 9 model answer on the 'Power and Conflict' poetry. The answers included in this bundle are: * Ozymandias and My Last Duchess * Tissue and London * Bayonet Charge and Remains * Exposure and Charge of the Light Brigade * London and Checking Out Me History * Ozymandias and The Prelude * The Emigree and Storm on the Island * The Prelude and Kamikaze * War Photographer and Poppies All essays receive a grade and a very detailed commentary analysing the strengths and weaknesses of the answer. This enables students to identify good practice and techniques to implement in their work. Answers should also act as a source of inspiration for students introduce them to different responses to the text. All answers were written by a high attaining GCSE age student under exam conditions. Therefore, the answers are not expected to be perfect but realistic representations of what can be achieved during a GCSE exam. This resource has been targeted at the AQA specification but will still be useful to all GCSE English Literature students. This is the complete collection, comprimising all of the answers from both bundle 1 and bundle 2, for a discounted price. Check out the rest of the series and other great resources in my Tes Shop. Any Enquires: Email - [email protected]

Power and Conflict - Poetry Anthology: Model Answers 1

A detailed set of 5 model answer on the power and conflict poetry anthology. The answers included in this bundle are: * Comparing Exposure and Charge of the Light Bridgade * London and Checking out Me History * Ozymandias and The Prelude * The Prelude and Kamikaze * War Photographer and Poppies This allows students to understand how to structure their arguments to achieve full marks. At the end of the essay is the mark as well as a detailed comment analysing the student’s strengths and weaknesses. This enables students to understand what parts of the essay have been so successful. This resource has been written for AQA, but will be useful to all students studying the poems from power and conflict. This is bundle 1 and offers excellent value for money. Check out the rest of the series and other great resources in my Tes Shop. Any Enquires: Email - [email protected]

GCSE English Literature Model Answers

A detailed set of 5 model answer on Charles Dickens’ ‘A Christmas Carol’, Willaim Shakespeare’s ‘Romeo and Juliet’, J B Priestley's 'An Inspector Calls' and the Power and Conflict poetry anthology. Together this forms all of AQA GCSE English Literature Paper 1 and Sections A and B of AQA GCSE English Literature Paper 2. The answers included in this bundle are: A Christmas Carol: Happiness The most powerful spirit Working life Attitudes to Christmas The importance of family Romeo and Juliet: Honour Juliet as a faithful daughter Lady Capulet as a mother Romeo and Juliet’s love The Nurse as a friend to Juliet An Inspector Calls: Conflict between generations Gender Priestley’s intentions The importance of Eva The importance of the Inspector Poetry Anthology: Comparing Exposure and Charge of the Light Bridgade London and Checking out Me History Ozymandias and The Prelude The Prelude and Kamikaze War Photographer and Poppies This allows students to understand how to structure their arguments to achieve full marks. At the end of the essay is the mark as well as a detailed comment analysing the student’s strengths and weaknesses. This enables students to understand what parts of the essay have been so successful. This resource has been written for AQA, but will be useful to all students studying the poems from power and conflict. This is bundle 1 and offers excellent value for money. Check out the rest of the series and other great resources in my Tes Shop. Any Enquires: Instagram - @thomasd0resources Twitter - @thomasd01resou1 Email - [email protected] This allows students to understand how to structure their arguments to achieve full marks. At the end of the essay is the mark as well as a detailed comment analysing the student’s strengths and weaknesses. This enables students to understand what parts of the essay have been so successful. This resource has been written for AQA, but will be useful to all students studying ‘Romeo and Juliet’, 'A Christmas Carol', 'An Inspector Calls' and the poems of 'Power and Conflict'. This is bundle 1 and offers excellent value for money. Included in this set are 20 answers. Check out the rest of the series and other great resources in my Tes Shop. Any Enquires: Instagram - @thomasd0resources Twitter - @thomasd01resou1 Email - [email protected]

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Join get revising, already a member, comparison between war photography (carol duffy) and poppies (jane weir).

• Created by: SamSkin
• Created on: 01-04-17 15:27
• English Literature
• AQA Anthology

Report Thu 22nd March, 2018 @ 21:12

Its War Photographer not War Photography. :)

Report Fri 19th October, 2018 @ 21:15

this helps alot

Report Mon 10th December, 2018 @ 19:58

Thanks great homework help.

Report Fri 1st February, 2019 @ 10:16

Report Wed 28th April, 2021 @ 11:33

Report Thu 16th June, 2022 @ 13:17

dead poem never reading this again it made my grandma disintigrate like dust

Report Thu 16th June, 2022 @ 13:18

i lied admaski is fake and im a lier with no firiends

Report Thu 16th June, 2022 @ 13:20

icl if anyone ever shows me this poem again im going to body slam them into a concrete wall then procede to curb stomp them at least 46 times until their head is not visible to the nakes eye                                                              SYM.

Report Mon 7th November, 2022 @ 18:16

Report Fri 2nd December, 2022 @ 11:08

Report Fri 2nd December, 2022 @ 11:09

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Editorial: John Eastman tried to help Trump overturn the 2020 election. Of course he should be disbarred

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When lawyers lose their licenses to practice law, it’s typically because they mistreated their clients. Perhaps they improperly spent the client’s money to pay off personal bills, rather than to hire investigators or experts, or otherwise work on the case. Maybe they regularly failed to meet deadlines for filing court papers, or just weren’t sufficiently zealous in representing their clients’ interests.

The State Bar of California’s case against attorney and legal scholar John C. Eastman was quite different.

Eastman was zealous, and then some, in crafting legal arguments and strategies that attempted to justify the disproven claims of his client — Donald Trump — that he was cheated out of reelection in 2020, and that Vice President Mike Pence had superpowers to accept or reject state election results involving Trump’s candidacy, and his own.

Only rarely do licensing authorities discipline lawyers for going overboard on their clients’ behalf, and for good reason. Lawyers should have leeway to try a range of arguments and legal theories, and should not be sanctioned for being novel or even audacious in advocating for their clients. They should not be punished for arguing theories not currently in vogue. They are protected by the 1st Amendment.

Column: John Eastman’s journey from respectable O.C. Republican to Batman villain

At some point, Eastman changed for the worse. The man I remember became a full-on culture warrior.

June 20, 2022

Up to a point.

A lawyer’s duty, crucially, extends beyond the client. Attorneys are officers of the court, and key figures in a system whose purpose is to determine the truth, apply the law and achieve justice. California lawyers take an oath to support the Constitution and to conduct themselves with integrity.

A State Bar Court judge on Wednesday ruled — appropriately and wisely — that in providing legal cover for Trump’s dishonest bid to subvert the 2020 election, Eastman violated his oath, undermined the quest for truth and justice, and inflicted serious and perhaps lasting damage on the very institutions of democracy and law that are the foundation of his profession.

How John Eastman’s role in Jan. 6 still haunts the California university where he taught

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July 8, 2022

Notwithstanding Eastman’s reputation as a legal scholar and former dean of Chapman Law School in Orange — and as a 2010 candidate for California attorney general — Judge Yvette Roland recommended that he be permanently disbarred.

The final decision is up to the state Supreme Court.

It would best serve California, the legal profession and election integrity for the court to follow Roland’s recommendation. Eastman’s conduct was egregious. As Trump was selling his election fraud fairy tale to the public, and after states’ election officials certified slates of electors, state and federal courts rejected suits to overturn the certifications and state legislatures rejected challenges, Eastman wrote two memos mapping out plans for Pence to ignore all of those actions on Jan. 6, 2021.

Editorial: Jan. 6 insurrection was the result of a continuing war on truth

The attack on the U.S. Capitol was a consequence of one Big Lie about the 2020 presidential election heaped atop a slew of marginally smaller lies.

Jan. 6, 2022

In the words of the State Bar’s trial counsel, Eastman demonstrated that he knew his role as Trump’s lawyer “was not to provide good faith advocacy, but to fabricate an illusion of legality to an illegal effort to delay the formal recognition of Trump’s obvious defeat by any means possible.”

He used his law license to provide cover for an illegal scheme. He counseled Pence to break the law. He made, or stood behind, statements that he almost certainly knew to be false, such as an argument by Texas officials in its lawsuit to undermine the election that the probability of Biden actually winning in four states — given Trump’s lead in early election night counting — were “less than one in a quadrillion to the fourth power.” His legal arguments were specious.

Editorial: No immunity for Trump. Former presidents don’t have a ‘get-out-of-jail-free’ card

Special counsel Jack Smith has the right to ask the Supreme Court to expedite the former president’s case. Time is of the essence because Trump could be the GOP’s 2024 presidential nominee.

Dec. 20, 2023

Roland cited the example of Donald Segretti , a California lawyer who became infamous during the Watergate scandal amid President Nixon’s 1972 reelection campaign. Segretti’s misconduct was child’s play in comparison to Eastman’s. He faked letters to stir chaos among Democratic candidates. His dirty tricks had nothing to do with his being a lawyer, yet he was suspended from law practice for two years for failing to uphold the ethical standards of the legal profession.

Eastman’s actions were infinitely worse and require much tougher sanctions. He didn’t merely lie in an attempt to change voters’ minds. He actively tried to disenfranchise voters who had already cast their ballots, in what Roland called “an egregious and unprecedented attack on our democracy.”

Did Trump commit a crime when he relied on Eastman’s legal arguments to subvert the 2020 presidential election? Did Eastman ? That question may ultimately come before a Georgia jury. The question currently before the California Supreme Court is whether, given all of the former president’s misconduct, his lawyer is fit to remain an officer of the court in this state.

The answer should be obvious.

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