Hello, everyone, my name's Ms. Keller and welcome to today's lesson.

In this session, we are going to be analysing how poets reflect desire in natural settings.

So by the end of today's lesson, we'll be able to produce a detailed, nuanced, and tentative comparative analysis of "Sonnet 29" and "Letters from Yorkshire".

So on today's key words, we have nuanced, tentative, detailed, participle phrase and desire.

So nuanced means something has subtly different aspects or details, often with underlying complexity.

Tentative means that something is uncertain or provisional, subject to change or adjustment.

Detailed means that something is comprehensive, thorough and includes many specifics or particulars.

A participle phrase is a part of a sentence that begins with a verb, used to add extra detail or description.

And finally, desire is a strong feeling of longing or wanting often for something or someone specific.

So how is today's lesson going to look? Well, we're going to start by looking at how you establish an argument, and then when we've done that, we're going to work on producing a detailed, nuanced and tentative analysis.

So two of our Oak students, Andeep and Jacob, are attempting to answer the following question, how do the poets present desire in "Sonnet 29" and one other poem? And it says, "Let's start by considering how "Sonnet 29" presents desire." So Jacob begins, "Desire is intense and overwhelming for the speaker." "Also, it includes sexual physical desire as well as emotional desire." "Furthermore, the speaker's desire is corruptive." "The object of the speaker's desire is made clear to the reader." "And by the end of the poem, the desire is fulfilled." So now they've recapped how the poet presents desire in "Sonnet 29", they need to do the same for one other poem.

And Jacob suggests that they should choose "Letters from Yorkshire".

So how does the poet present desire in this poem? But I'd to give you an opportunity to discuss this.

So thinking really carefully about how desire is presented in "Letters from Yorkshire".

Pause the video while you discuss this with the people around you, or if you're working on your own, that's okay.

Just make a few notes on the paper in front of you or in your exercise book.

So pause the video for as long as you need to and when you're ready to feedback your responses, click play and we'll continue.

Okay, welcome back.

Some really fantastic discussions taking place there to start us off.

I was really impressed with how well we all seem to know that poem.

So let's see what Jacob and Andeep came up with in their discussion.

So Andeep starts by saying "In 'Letters from Yorkshire, desire isn't sexual or romantic." And Jacob agrees.

In fact, he points out that, "It's emotional and spiritual desire." "The speaker's desire is ambiguous.

Is it for her friend or is it a yearning to be closer to the natural world?" "And by the end of this poem, the speaker's desire is unfulfilled." So now it's time for us to compare these two poems. So what I'd like you to do is have a look at the information that we've gathered here and discuss with the people around you or make a few notes about any similarities or differences that you can identify in this information.

So pause the video while you have a good look, discuss the similarities and differences, and then click play when you are ready to continue.

Okay, welcome back.

I was really impressed to see that people were already starting to unpick the relationship between these two poems, which is fantastic.

So I'd like to just pick up on a few responses that I overheard in discussions.

So I'd like to start with this idea then that these poems mostly link to different types of desire.

So in "Sonnet 29", we get this idea that there's an intense desire.

It is mostly motivated by sexual and physical desires, and it is presented as corruptive since it's the fantasy thoughts the speaker has of their lover that begins to obscure what they really like.

Whereas in "Letters from Yorkshire", we have the opposite, the relationship between the two people and the desire that our speaker feels is not romantic or sexual.

However, we do have that similarity in that both of these poems do include emotional desire.

So we're getting a bit of both, a similarity but also some differences.

Secondly then in "Sonnet 29", the object of the speaker's desire is clear, whereas in "Letters from Yorkshire" it's ambiguous.

So we've got quite obvious difference there.

We know who our speaker desires.

However, the object of the speaker's desire in "Letters from Yorkshire" can be interpreted in a multitude of ways.

She could perhaps desire a romantic relationship with the man from Yorkshire, or simply she could desire the man lifestyle.

She could yearn to be closer to nature.

And then lastly, by the end of "Sonnet 29", the speaker's desire is fulfilled.

However, in "Letters from Yorkshire", it is left unfulfilled and we've got that word however there, showing that it is a difference.

On one hand, we have our happy ending where our speaker is fulfilled when her lover returns at the end of "Sonnet 29" versus the lonely bleak image that Dooley leaves with at the end of "Letters from Yorkshire".

So now Andeep and Jacob have begun to draw some links between these two poems and identify the similarities and differences.

They actually now have a skeleton structure for their comparative response.

And actually what they can do is use these three comparative points that they've managed to come up with about both these poems as a topic sentence for each of the three paragraphs they could use in their comparative analysis.

So paragraph one could focus on how the poems most linked to different types of desire.

Paragraph two could focus on the idea that in "Sonnet 29", the object of the speaker's desire is clear, whereas in "Letters from Yorkshire" it is ambiguous.

And the final paragraph could focus on the ends of the poems and how the end of "Sonnet 29", the speaker's desire is fulfilled.

However, in "Letters from Yorkshire", it's left unfulfilled.

But here Jacob raises an important point.

These ideas are good and they are valid, but, "They aren't as detailed as they could be." And Andeep agrees.

How could they add extra information? Well, what they could do is use participle phrases to add extra detail to these topic sentences.

And remember that participle phrase is one of our key words from today's lesson.

And a participle phrase begins with a verb adding a clause to add that extra detail.

So let's have a look at an example.

So we have the simple sentence, John left the office for the day.

Now let's see what would happen if we add a participle phrase.

We could add a past participle, finished with his work, John left the office for the day.

We could also add a present participle, running to the door, John left the office for the day.

And here we're able to add important ideas to that sentence.

So we're learning a lot more about John leaving the office because of these clauses that we're putting at the beginning.

So how could Jacob and Andeep use these participle phrases to add detail to their topic sentences? So Jacob's going to start with a present participle phrase.

So we have our original sentence.

The poems mostly link to different types of desire, which could be redrafted to focusing mostly on different types of desire.

"Letters from Yorkshire" and "Sonnet 29" do both draw on ideas of emotional desire throughout.

So by pushing that main idea from the original sentence into that present participle phrase, the different types of desire, we now have the rest of the sentence to make that extra point that both poems focus on emotional desire.

So Andeep is going to have a go at using a past participle phrase, explored through a shared link to emotional desire, "Letters from Yorkshire" and "Sonnet 29" consider the complexity of togetherness and unity.

So we're putting that shared link to emotional desire here in that first clause, which means that the rest of the sentence has allowed Andeep to consider the effect of this link to emotional desire.

So let's pause here and check our understanding.

Which of these sentences begins with a participle phrase.

So pause the video while you have a read of the three options and when you think you've decided which one has a participle phrase, click play and I'll reveal the correct answer.

Okay, welcome back and well done to those of you who said A, singing at the top of her lungs, Mina took a quick shower.

Remember, it's easy to spot these participle phrases because they begin with a verb.

So now it's time for our first practise task of today's lesson.

So what I would like you to do is use participle phrases to redraft the other two topic sentences from the Oak pupils' plan.

So Andeep and Jacob did that first one for us as you see there.

And it's up to you to have a go at doing number two and number three.

So we have in "Sonnet 29", the object of the speaker's desire is clear, whereas in "Letters from Yorkshire", it is ambiguous.

And we have by the end of "Sonnet 29", the speaker's desire is fulfilled, however, in "Letters from Yorkshire", it is left unfulfilled.

So pause the video for as much time as you need to redraft these sentences, adding in that all important detail.

And then when you're ready to feedback your responses, click play and we'll carry on.

Okay, welcome back.

A really fantastic effort from everyone there in that first task.

So well done.

So here is an example of what you could have written.

So we'll start with number two because remember Andeep and Jacob had already done that first one for us.

So our original sentence was in "Sonnet 29", the object of the speaker's desire is clear, whereas in "Letters from Yorkshire", it is ambiguous.

And we could have redrafted that sentence to say, presented as either platonic or with unrequited romantic feelings, the speaker's desire in "Letters from Yorkshire" is ambiguous, whereas in "Love's Philosophy", the object of the speaker's desire is clear.

So here I that extra detail about how the relationship in "Letters from Yorkshire" is actually presented.

And number three then.

So our original sentence said, by the end of "Sonnet 29", the speaker's desire is fulfilled however, in "Letters from Yorkshire", it is left unfulfilled.

So with a participle phrase, our redrafted sentence could look like this; reuniting with her lover at the end of the poem, the speaker's desire in "Sonnet 29" is fulfilled.

However, in "Letters from Yorkshire", it is left unfulfilled as Dooley leaves us with an image of bleak separation.

So if you notice there that participle phrase is enabling us to actually describe what happens at the end of each poem.

So what I would like you to do now is to check your work.

So compare your responses to the ones that you see here and underline all the extra information that you manage to add using participle phrases.

So pause the video while you do that, and when you're ready to continue, click play and we'll carry on.

Okay, so we've reached the halfway point of today's lesson.

So now we've looked at how to establish our argument, it's time to focus on producing a detailed, nuanced, and tentative analysis.

So let's start off by thinking about what these words mean.

In pairs or small groups, or you can make some notes if you're working on your own, I would like you to take a minute or two to discuss the meaning of the word detailed, nuanced and tentative.

So pause the video while you have that discussion or make your notes and click play when you're ready to continue.

And we'll feed back some responses.

Okay, welcome back.

Some fantastic discussions taking place there.

And I definitely heard people picking up on some of the correct definitions.

So well done.

So detailed them means that something is comprehensive, it's thorough and includes many specifics or particular.

So it covers every possible aspect of an issue or a topic.

No stones left unturned.

Nuanced then relates to these subtly different aspects or details often with underlying complexity.

So for example, if you took the words happy and excited, they both are positive emotions, but there are nuanced differences between these emotions because happy is a feeling of joy, whereas excitement specifically relates to anticipation or looking forward to something.

So that's just one example.

And tentative then means uncertain or provisional, subject to change or adjustment.

It means that we're putting forward an idea without stating it as a concrete fact.

So now we know what these words mean.

It's important to think about how we can write in a way that is detailed, nuanced, and tentative because actually these are the fundamentals of effective analysis writing.

So I'd like to throw it out to you again to discuss or make some notes.

How can you make your writing detailed, nuanced, and tentative? Pause the video and then click play when you're ready to continue.

Okay, welcome back.

So let's explore some top tips for this effective analysis writing then.

So in order to make your writing detailed, we have three things that we can do.

First of all, we can zoom in on key words and phrases from the quotation.

So we put our whole quotation and then we break it down into individual words.

Then we can identify the writer's methods.

So we are looking for language techniques perhaps, or ways that our writers use structure or form.

And finally, we can consider the writer's intention.

So why do we think they made the choices that they did? So nuanced, how can we bring out these subtly different aspects in our writing? And there are two things to consider.

First of all, our analysis should always explore multiple valid interpretations.

So we're not just interpreting the text and thinking, yes, that's exactly how it should be interpreted, but we're thinking actually, how might somebody else with a different point of view read this particular line or interpret this stanza? And secondly, we can bear in mind the wider context of the poem when making inferences.

And this is really useful because it can give us an insight into the writer's influences or potentially their intentions because we could consider perhaps the historical period that they were writing in or whereabouts in the world they were writing and the cultural influences that they might have had.

Or we can think about what we know about their life experiences, which might actually give us an insight into which of our multiple interpretations could be more likely.

And finally then tentative.

We can use tentative language as we can't know a writer's intentions for certain.

And examples of tentative language include perhaps, likely, could, imply, suggest or indicate.

These are all fantastic words that you can use in your writing to show that your interpretation is tentative.

So let's revisit Andeep and Jacob's attempt to answer this question.

So Andeep has used the first topic sentence from their plan to start writing an analysis paragraph answering the question, how do poets present desire in "Sonnet 29" and "Letters from Yorkshire" ? Explored through a shared link to emotional desire, "Letters from Yorkshire" and "Sonnet 29" consider the complexity of togetherness and unity.

Dooley's poem focuses on emotional and spiritual desire, suggesting the two people have an ambiguous relationship.

While it's likely their relationship is platonic rather than a romance, it could also be interpreted as one with unrequited romantic feelings.

Since the phrasing of this line sounds different to the speaker's normal voice.

So it could be something the man has said that the speaker repeats to themselves as a reminder.

Another interpretation is that the speaker actually yearns for the man's lifestyle and for a closer relationship to nature.

She questions whether the man's life is real compared to her own because he directly engages with nature.

This rhetorical question suggests she attaches moral value to engaging with nature since it implies that she believes this is what makes a real life experience.

So let's track the through Andeep's response then and look at how he's managed to make his writing detailed, nuanced, and tentative.

So in the beginning then, these first two sentences.

So first of all, we're starting off with this detailed topic sentence that uses participle phrases.

So explored through a shared link to emotional desire.

So we've got that idea that we're going straight in with that similarity.

And then we've got our evidence which is embedded effectively into the sentence.

So the quotation that Andeep's chosen is short and he's embedded it as part of the sentence.

So while it's likely the relationship is platonic rather than romance.

So then he's also using advanced vocabulary to show the nuances between the two poems. So remember that original example that I gave about happy and excited and how using a specific word can sometimes explain your argument or your point so much more clearly.

In less words you can say more.

So here we've got lots of advanced vocabulary, complexity, togetherness, unity, ambiguous, unrequited, phrasing, particularly that last word phrasing because it really drills down on Dooley's method.

It's the phrasing of that line that gives us that impression that it might not be the words of the speaker, but perhaps the words of the man from Yorkshire.

Another way then that Andeep has managed to make his analysis nuanced here is he's explored multiple interpretations because we've got this idea of while we can interpret it one way, it could also be interpreted in another way.

So that's fantastic.

And this continues into the second half of the paragraph where he actually explores a third interpretation.

So another interpretation of that particular quotation.

Which is fantastic from that one word romance, Andeep has actually managed to pull three different interpretations, which is impressive.

Is also very detailed in the fact that he zooms in on aspects of the language and identifies the writers methods.

So we've got this idea of these short one word quotations, making it really clear exactly which part of the language we're getting that impression from.

But also we have got literary methods identified such as the rhetorical question here.

And finally then how is it tentative? Well, Andeep is using lots of tentative language to suggest his ideas rather than to state them as concrete facts.

So we've got suggesting, while it's likely, could also be, sounds, could be.

And then at the end there, we've got suggests and implies.

So I'd like to just pause here and check our understanding again.

So firstly, which of the words below means subtly different aspects or details often with underlying complexity.

So pause the video while you have a look at the options and when you think you've made your mind up, click play and I'll reveal the correct answer.

Okay, well done if you said B, nuanced.

One more question then how can we ensure our writing is nuanced? So have a look at these three top tips and decide which one specifically links to that idea of a nuanced analysis.

So pause the video while you have a think and when you think you've made your mind up, click play and I'll reveal the correct answer.

Okay, welcome back and congratulations to those of you who said, C, explore multiple interpretations and consider the wider context of the poem when making inferences.

So now it is time for the final task of today's lesson.

And what I would like you to do is to reread Andeep's paragraph and annotate exactly where his writing is detailed, nuanced, and tentative.

Now, you are more than welcome to use three different colours if you have them, but don't worry if not, a great way that you could do this is to use the following key, perhaps in the margin or to one side or use in arrows you could label the different parts of Andeep's answer with D for detailed, N for nuanced and T for tentative.

And then when you've done that, what I would like you to do is finish his paragraph by analysing how Barrett Browning presents desire in "Sonnet 29".

So Andeep has done half the work by analysing "Letters from Yorkshire", and it's up to you to continue on from that word, whereas, comparing that second poem.

And I want to challenge you to make sure your writing is detailed, nuanced, and tentative, remembering all of those top tips and how Andeep managed to use them in his writing.

So pause the video for as long as you need to to give this a really good go.

And when you think you've finished click play and we'll go through some responses.

Okay, welcome back.

So now it's time for you to check your work, thinking really carefully about whether your response is detailed, nuanced, and tentative.

So I'll put up that checklist again.

So work your way through when you're looking at detailed, thinking to yourself, have I zoomed in? Have I identified methods? And have I considered the writer's intentions? When you're considering how nuanced your analysis is, did you consider multiple interpretations? Did you think about the wider context of the poem? And then finally, did you use tentative language? It may even be a good idea for you to continue using the key that you were using earlier to annotate Andeep's work to perhaps annotate your own.

And when you've done that, I'd like you to set yourself of what went well at an even better if for next time.

So looking at these top tips, which one do you think you did best? And which one do you think you need to flag to yourself to include a bit more next time? So pause the video while you review your work and set those all important targets and then click play when you're ready to continue.

Okay, we've made it to the end of today's lesson, so well done for all the efforts that you've put in today.

And I hope you feel a bit more confident when it comes to comparative analysis writing.

It's not an easy skill to master, but it is such a useful one to have in your toolkit.

So let's just summarise what we've covered in today's lesson.

participle phrases can make topic sentences more specific and precise.

Comparative conjunctions should be used to show the relationship between two texts.

And finally, analysis should be detailed, tentative, and nuanced referencing poetic methods.

So thanks again for joining me and I hope to see you again soon.