1. Thesis: Write one sentence stating how both poems approach the question’s focus — include a similarity AND a difference.

2. Point 1 (Language): Name one language feature per poem (e.g. Blake’s anaphora “every” / Afrika’s bodily language “my feet know”). Note the effect of each.

3. Point 2 (Form/Structure): Name the form of each poem and explain what it does (e.g. Blake’s quatrains = controlled rage / Afrika’s clipped free verse = suppressed anger).

4. Point 3 (Context): One context point per poem that explains WHY the poet presents place this way.

5. Chosen poem quotations: Write out 2–3 key quotations from memory so you don’t forget them mid-essay.

To Autumn (Keats): “Season of mists and mellow fruitfulness” (sibilance, sensory richness) • “Where are the songs of Spring?” (rhetorical question, acceptance of time passing) • “soft-dying day” (gentle euphemism for decline/death)

Composed upon Westminster Bridge (Wordsworth): “Earth has not anything to show more fair” (hyperbole, awe) • “like a garment, wear / The beauty of the morning” (simile, city clothed in nature) • “the very houses seem asleep” (personification, peace)

London (Blake): “charter’d street” / “charter’d Thames” (repetition, control) • “mind-forg’d manacles” (metaphor, psychological oppression) • “Marriage hearse” (oxymoron, corruption)

I started Early – Took my Dog (Dickinson): “He followed – close behind” (personification, pursuit) • “I felt His Silver Heel / Upon my Ankle” (sensory, threatening intimacy) • Hymn metre creating unsettling contrast

Where the Picnic was (Hardy): “stick-ends, charred, / Still strew the sward” (symbol, dead memory) • “winter mire” (pathetic fallacy) • “one—has shut her eyes / For evermore” (death breaking up the group)

Adlestrop (Thomas): “Yes, I remember Adlestrop” (conversational, intimate) • “all the birds / Of Oxfordshire and Gloucestershire” (expansion, pastoral beauty) • “no one left and no one came” (isolation, stillness)

Home Thoughts from Abroad (Browning): “Oh, to be in England / Now that April’s there!” (exclamatory longing) • “the wise thrush; he sings each song twice over” (personification, joy) • “gaudy melon-flower” (foreign beauty dismissed)

First Flight (Fanthorpe): “Plane moves. I don’t like the feel of it.” (flat, nervous voice) • “earth slithers / Off at an angle” (the ground losing its hold) • “At this height nothing lives.” (cold, empty distance)

Stewart Island (Adcock): precise observational detail (sandflies, a seagull attack, the hotel manager’s wife) • Speaker as visitor, not native • Free verse reflecting casual, detached exploration

Presents from my Aunts in Pakistan (Alvi): “of no fixed nationality” (dual identity) • “peacock-blue” / “apple-green” (colour imagery for Pakistani culture) • “longed / for denim and corduroy” (English items colourless)

Hurricane Hits England (Nichols): “the earth is the earth is the earth” (epizeuxis, universal connection) • “Huracan,” “Oya,” “Shango” (invocation of Caribbean gods) • Pronoun shift from “her” to “I”

Nothing’s Changed (Afrika): “my feet know / and my hands” (bodily memory) • “the hot, white, inwards turning / anger of my eyes” (controlled rage) • Restaurant vs café contrast (inequality made visible)

Postcard from a Travel Snob (Hannah): Persona voice (dramatic irony) • Four neat ABAB quatrains (polished surface mirroring pretension) • Satirical tone exposing how place is used for ego

In Romney Marsh (Davidson): “The beach, with all its organ stops / Pealing again” (organ metaphor) • ABAB quatrains (hymn-like, worshipful) • Nature as grand and indifferent

Absence (Jennings): “It was because the place was just the same / That made your absence seem a savage force” (the sameness of the place sharpens the loss) • The unchanged setting intensifies loss • Three tight five-line stanzas (compressed emotion)