Hello, everyone, and welcome to today's lesson.

My name's Ms. Keller, and in this session we're going to be analysing Lord Byron's poem "When We Two Parted." Okay, so the outcome of today's lesson is that we'll be able to explore how Byron uses language to show the speaker's multifaceted feelings about their illicit affair.

So let's have a look at today's key words.

We have anguish, anaphora, euphemism, sibilance, and grief.

So what do these words mean? Anguish is intense mental suffering or emotional distress.

Anaphora is a method which uses the repetition of a word or phrase at the beginning of successive clauses or lines of poetry.

A euphemism is another literary method, and it involves substituting a mild or indirect expression for something that is considered rude or taboo or controversial.

Sibilance is another method which involves the repetition of hissing or hushing sounds, often involving the letters s, sh, or z.

Sibilance is very similar to alliteration in that it also focuses on the sounds that appear at the beginning of words.

However, sibilance just deals with these s, sh, and z sounds.

And finally, grief, which is emotional suffering typically triggered by loss, death, or a significant disappointment.

So how is today's lesson going to look? Well, we are going to start off by considering how Byron conveys a sense of sadness, and then secondly, we are going to explore how Byron conveys a sense of shame.

So let's get started.

Okay, so to begin, I would like us to read our copies of "When We Two Parted." And don't worry if you've already read it before, it's still useful for you to have another really good read through and familiarise yourself with the key ideas and the language choices.

So as you are reading, I would like you to underline any references to death, and then once you've had a chance to have that careful read through, I'd like you to discuss with the people around you what you think these repeated references to death could symbolise.

So perhaps have a chat with a partner.

Or if you're working on your own, that's okay, perhaps make some notes on your paper or in your exercise book.

So pause the video while you have a good read through and a chance to discuss this.

And then when you are ready to click play, we'll continue.

Okay, welcome back.

Some fantastic discussions taking place there to start us off.

I was really pleased to see people really digging in to what these repeated references could symbolise.

So when we have these repeated references, particularly if they are metaphorical, we would refer to it as an extended metaphor.

Since nobody actually dies in this poem, as far as we are aware, we can take these references to death to be figurative, to be metaphorical.

So throughout the poem, Byron uses the extended metaphor of death to create a sense of sadness.

And this suggests that the speaker feels anguish when he reflects on the end of the relationship and how the nature of the affair meant he had to grieve for it in secret.

So rather than being able to confide perhaps in his closest friends about the heartbreak he felt at the end of this relationship, because the whole thing was conducted in secret because it was illicit and an extra marital affair, the heartbreak that he had to endure afterwards also had to take place in secret.

And this is what the poem is focusing on.

So let's identify some evidence from the text that supports this idea and unpick Byron's use of language in a bit more detail.

So starting here with stanza one.

Let's look at lines five and six.

"Pale grew thy cheek and cold, colder thy kiss." We have these adjectives here, cold and colder, which we could argue links to the idea of a dead body because the idea of skin feeling cold to the touch is something that we might associate with a corpse.

So we're already getting this initial description of how the speaker's partner, the ex lover became or is described like a dead body.

Perhaps we could look at it as the speaker feels they've already lost that person.

It's like they've died.

So now let's have a look at stanza three and line 18.

We have this word knell.

Now, a knell is the sound of a ringing bell, and this word is traditionally used to refer to a funeral bell, a bell that is rung to signify that a funeral is taking place.

So the idea that when the speaker hears the name of the ex lover, it sounds like a knell, a bell that is rung at funerals, again, we have got this link to death and also perhaps to remembrance.

And then here in stanza four line 26, "In silence, I grieve." And this word grieve one of our key words today referring to that feeling of loss or mourning.

The speaker is mourning the loss of this relationship and of their partner.

Perhaps similarly to how somebody may grieve after somebody has died.

So now I'd like to pause for a quick discussion.

And I'd like to think very carefully about the order of these quotes and how they progress across the poem.

So we've got this one from stanza one, stanza three, and stanza four.

I'd like you to think here about Byron's intentions.

Why did he order the quotes in this way, and what could it suggest about the speaker's sadness? So pause the video here for a few moments while you discuss this with the people around you, or you make a few notes in your exercise book or on your paper.

And then when you are ready to continue, press play and we'll feedback some responses.

Okay, welcome back.

Another fantastic discussion there.

I was really impressed that people were picking up on these key words and also particularly I heard lots of people referring to what is known as the grieving process.

So the steps that we may take in order to grieve or mourn for the loss of a loved one.

And this was a particular thread that I wanted to discuss in a bit more detail.

So in this order, the quotes could symbolise the process of grieving after someone's death.

This first quote from stanza one, pale and cold.

These descriptive adjectives could link to the initial shock of a death or the initial shock that perhaps the speaker felt when this relationship ended.

And then as the feeling of heartbreak perhaps starts to sink in and the speaker realises that this relationship is over, we get this description of the speaker hearing their lover's name and describing it like a knell in their ear.

And we know that word knell links to the idea of funerals.

So perhaps this could symbolise the remembrance period that the speaker goes through where they don't have contact with this lover anymore, but they're beginning to think about their memories, to consider their memories of that person and look back on the time that they spent together.

And then last of all, then this quote from stanza four, and we've got that verb there, grieve.

So this perhaps could symbolise one of the later stages of bereavement there, the continuing grief that follows after the initial shock, and then the initial period of remembrance, we have that grief that continues and stays with us moving forward.

So by ordering these quotations in this way and showing the progression of this extended metaphor in the way that he does, Byron could be linking here to the finality of the breakup in the same way that a death is something that cannot be reversed.

It's final.

This relationship and the end of it is just as final.

And therefore the anguish that is felt by the speaker about this loss is perhaps as intense as if they had lost somebody through a death.

So let's pause here for a check for understanding.

Which word is missing from this quote? Pause the video while you have a good read and decide which option you think best fills that gap and then click play when you are ready to continue.

Okay, welcome back.

So well done to those of you who said the missing word was B.

"In silence I grieve." And remember, we've got that link to the extended metaphor of death.

So it is time to practise our knowledge so far.

And what I'd like you to do is summarise how the extended metaphor of death develops as the poem progresses.

And I'd like you to use discourse markers and relative clauses to structure your response and add detail.

And on the right hand side there we have got a list of words that you could use.

So we have discourse markers which are used to show the order or the progression of something.

So words like firstly, then, finally.

And we also have relative pronouns which are used to create relative clauses and add detail.

So these are words such as whose, who, that, which.

So I'd like you to have a go at using both these different vocabulary types in your answer.

So take as much time as you need to give this a really good go.

And then when you think you are ready to continue, click play and we'll feedback some responses.

Okay, welcome back.

Fantastic effort taking place there.

I could see people really thinking carefully about how they could use those relative pronouns to add some extra detail to their answer, because, remember, English is one of those subjects where how you explain your knowledge is equally as important as the knowledge you have.

So let's have a look at an example response.

"Byron implies that the end of this relationship has caused great anguish to the speaker.

Firstly, the use of the words cold and colder, which describe the partner's skin and kisses present the speaker's initial loss at the breakup as like a death since the partner is described like a corpse.

Then, in the middle of the poem, Byron uses the word knell to symbolise the speaker's feelings about his lost partner, whose name he can no longer bear to hear.

Finally, at the end of the poem when the speaker states 'In silence I grieve' Byron hints at the speaker's reflections on the relationship that he continues to mourn even after long years.

The use of this extended metaphor throughout the poem arguably emphasises the anguish and grief felt by the speaker after their illicit affair ended." So let's have a think about how this response is structured and think carefully about whether it uses those vocabulary types from the previous slide.

So does it use discourse markers? Well, yes, we have quite a lot of discourse markers.

We have firstly, then, and finally, which help us to track through the poem in order.

And what about relative pronouns? So we do have a few relative pronouns here.

We have which, so the words cold and colder, which describe the partner's skin and kisses.

So here the relative clause is adding detail that gives us a bit more context to that quote.

And then we've got whose, the speaker's feelings about his lost partner whose name he can no longer bear to hear.

So we're just adding a little bit more detail there to analyse that quotation now.

And last of all, Byron hints at the speaker's reflections on the relationship that he continues to mourn.

So rather than just saying on the relationship, we here are able to add a little bit of detail about how the speaker feels about that relationship moving forward.

So one of the most effective things about this response is that it begins with a topic sentence and it ends with a concluding statement.

So at the beginning of the paragraph we have, Byron implies that the end of this relationship has caused great anguish to the speaker.

We have a very clear inference about the text there.

The writer is introducing the argument that they're going to make across the rest of the paragraph.

And then we have that concluding statement at the end, the use of this extended metaphor throughout the poem arguably emphasises the anguish and grief felt by the speaker after their illicit affair has ended.

And if you notice, this concluding statement is summarising that language analysis there that took place in the middle, but also very cleverly linking back to the initial point that was made in the topic sentence.

And we can see that word anguish turning up there at the beginning and at the end of the paragraph.

So that's what's really good about concluding statement is you can summarise your argument and link back to the beginning, but be careful that you don't just repeat what you'd said at the top.

Always try to take that idea just a little bit further than you did at the beginning.

So I'd like you to take a moment to have a read through your answer.

Have you included a topic sentence and a concluding statement? If you have, then fantastic.

But if you haven't, take a few moments to redraft your answer to include these sentences.

So pause the video for as long as you need to and then click play when you are ready to continue.

Okay, welcome back.

We are halfway through today's lesson, so well done for all your efforts so far.

So for this part, we are going to consider how Byron conveys a sense of shame.

So I'd like to begin with a discussion.

Take a few moments to have another look at the poem and underline or circle or make a list of all the words you can find in the text that link to shame.

So pause the video here for as long as you need to and then click play when you're ready to continue.

Okay, welcome back.

I can see lots of people with different pieces of vocabulary annotated onto their poems, which is fantastic.

So let's discuss some of these key quotations in a bit more detail.

So, well done if you picked up on any of these quotations.

We have shame there in line 16.

Shudder in line 19.

Rue, which is another word for regret, in line 23.

A secret in line 26.

And forget in line 27.

So if we look at all these words together, we can see that the theme of shame and secrecy is woven throughout the poem.

And as well as his word choices, we can also spot this idea in Byron's use of language techniques.

So in particular, there are three key techniques that Byron uses to create a sense of shame, and they are sibilance, euphemism, and anaphora.

So you may remember these words from our keywords in today's lesson.

So let's see if you can remember what they mean.

So to start with, I would like you just to match up each of the language techniques to the correct definition.

So pause the video while you have a good read through of these definitions.

And when you think you have matched them up correctly, click play and I'll reveal the answers.

Okay, welcome back.

So let's have a look at which definition matches each of the techniques.

So we have sibilance, which is the repetition of hissing or hushing sounds, often involving the letters s, sh, or z.

And a great way to remember the definition of sibilance is that it actually begins with that hissing sound, sibilance.

So euphemism then is when we substitute a mild or indirect expression for something that is considered rude or taboo.

And a common euphemism that we use in everyday life is when we say perhaps that somebody has passed away rather than they have died.

This is a softer, perhaps less distressing way that we could refer to a death.

So that is an example of a euphemism.

The idea that they've passed away suggests that they've simply moved on, which is a much nicer way for us perhaps to think about the loss of a loved one.

And then last of all, then anaphora, which is the repetition of a word or phrase at the beginning of successive clauses or lines of poetry.

And anaphora is a great technique because it's a really easy one to spot when you are looking down at the page because you simply have to look along that left margin and see if any of the same words are appearing after each other.

Okay, so now we have explored what each of these techniques is.

What I would like you to do is to match each technique to the correct quote from the poem.

So, again, pause the video for as long as you need to, and then when you are ready for me to reveal the answers, click play and we'll continue.

Okay, welcome back.

So let's map each of these techniques to one of the key quotations.

So sibilance then.

"I hear thy name spoken, and share in its shame." So we've got that spoken, the hissing sound, and then we've got share and shame, both sh sounds.

Our euphemism then.

"They know not I knew thee, who knew the too well." And we've got this idea here that perhaps our speaker knew their lover a little bit too well, which could be read as a euphemism for the sexual side to this relationship.

Perhaps they were too intimate with each other for two people who were married to other people.

And then last of all, we have anaphora.

"In secret we met, in silence I grieve." And if you see we've got that word in at the beginning.

So now finally what I would like to do is to have a discussion about how each of these techniques emphasises the speaker's sense of shame.

So, again, pause the video and have a discussion about at least one of these quotations.

If you are working as a larger group or a class, you might wish to choose just one quotation and focus on it in your group.

However, if you're working on your own, that's okay, perhaps have a look at all three and make some notes.

Click play when you're ready to continue and we will discuss.

Okay, welcome back.

Some fantastic discussions taking place there and people really thinking about how the sounds we hear out loud or how the repeated words have an effect on us as a reader when we are reading it and how they open the door for us to interpret deeper meanings into this text.

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

So sibilance, a really fantastic inference that I heard somebody make was that this idea of repeated sh sounds so in share and in shame actually linked this idea of secrecy because they remind us of shushing somebody.

So we've got this idea of sh, it's a secret, and those repeated sounds are linking to that idea of everything being a little bit hush hush and secretive.

Okay, so moving on to this euphemism, "They know not I knew the who knew the too well." So some people were picking up on this idea, don't worry if you didn't know this before, but it's a really good thing to remember that the words know and knew actually link to biblical references to sex.

As the Bible was a religious text, it didn't often use explicit references to sexual behaviour.

However, the word know was frequently used to imply that sexual behaviour had taken place.

So, for example, the couple knew each other well.

So by doing this, Byron actually plays on this double meaning they did know each other very well, perhaps too well for people that were married to other people.

But also this idea of knowing relating to how intimately they knew each other because of the sexual side to this affair.

And then last of all, then anaphora.

So the repetition of the word in emphasises the covert nature of the affair that was mourned in private.

So it's almost drawing a relationship between these ideas because in secret they met, in silence our speaker was forced to grieve.

Okay, so let's pause and check our understanding.

So true or false, Byron uses anaphora to emphasise the covert nature of the affair.

Pause the video while you have a moment to think and then click play and I'll reveal the answer.

Okay, well done to those of you who said it was true.

So now let's justify this answer.

So have a read at these two possible explanations and decide which one you think is the most compelling justification.

So pause the video again while you have a read through and when you think you've decided, click play and we'll discuss responses.

Okay, welcome back.

And congratulations to those of you who said A.

The anaphora emphasises the following word of each line, secret and silence, to show the private nature of the relationship.

So by having that repeated word in the word that follows it is then emphasised.

So now it's time to practise our knowledge of how Byron conveys this sense of shame.

And what I would like you to do is to write an analytical paragraph answering the following question.

How does Byron use language to convey the speaker's shame about their illicit relationship? And I'd like you to use this checklist to help you structure your answer and add detail.

So starting with that topic sentence, then adding your supporting evidence, zooming in, justifying your ideas, and finally summarising everything that you've argued with that concluding statement.

And then not forgetting to use those relative pronouns to add detail with those relative clauses.

So pause the video and give yourself as much time as you need to give this a really good go.

If you want to have a look at some examples of the topic sentence, concluding statement, or the relative pronouns, then feel free to jump back to our task that we did in the first half of the lesson.

So take some time to think really carefully about your ideas and produce this analytical paragraph.

And when you think you are finished, click play and we'll feed back some responses.

Okay, welcome back.

So let's start by reading Aisha's paragraph and thinking really carefully about whether she included everything from the checklist.

So Aisha says, "In 'when We Two Parted,' Byron emphasises the speaker's shame about the affair.

He writes, 'I hear thy name spoken and share in its shame.

' The sibilance of the sh sounds emphasises the hushed secretive nature of the relationship.

And here Byron uses the sounds of the poem to symbolise the shame felt by the speaker about the illicit fair." So let's go over to that checklist then and see what Aisha has included.

Well, did she include a topic sentence? Yes, she did right there at the top.

And what about supporting evidence? Well, we have got this quotation.

"I hear thy name spoken and share in its shame." Does she zoom in on this quotation, and I'm picking a bit more detail? Yes, she does, because she discusses the sh sounds and how that is sibilance.

Does she then go on to justify her ideas? Yes, because she says that the sibilance actually emphasises the hushed secretive nature of the relationship.

So she's beginning to discuss the effects of that language usage.

And does she end with a concluding statement? Yes, she does.

"Here Bryon uses the sounds of the poem," which is what she was analysing, "to symbolise the shame felt by the speaker," which has that link back up to the topic sentence.

Last of all then, does she include relative pronouns? Unfortunately, she doesn't.

And actually this has prevented her from adding extra detail to her answer using those relative clauses.

So how could she redraft her answer to include them? Well, let's have a look at this redrafted version.

"In 'When We Two Parted,' Byron emphasises the speaker's shame about the affair.

He writes, 'I hear thy name spoken and share in its shame.

' The sibilance of the sh sounds, which causes the reader to make shushing noises when reading aloud," so here that relative clause is thinking very carefully about that effect on the reader, "emphasises the hushed secretive nature of their relationship.

Here, Byron uses the sounds of the poem to symbolise the shame felt by the speaker about the illicit affair, which is a central theme in the poem." So by using that relative pronoun which there at the bottom, Aisha has actually been able to make an overarching point about the poem itself and drawing on that idea of how shame is central theme in the poem.

So Aisha has actually now included two relative clauses, which is great because it helps her to add important detail to her justification and her concluding statement.

Okay, so we've come to the end of today's lesson.

So let's just sum up what we've covered today.

Byron uses an extended metaphor to compare the end of the affair to the loss of a loved one.

The progression of this metaphor throughout the poem symbolises the progression of the speaker's grief as time passes.

And Byron uses a euphemism to refer to the illicit nature of the relationship.

Byron uses sibilance to emphasise the secretive nature of the affair.

And, finally, Byron uses anaphora to reveal how he has to hide his anguish in the wake of the affair.

Can I just take a moment to say a massive well done for all your hard work in today's lesson, and I hope that you feel a lot more confident when it comes to analysing this poem.

So have a great day and I hope to see you all again soon.