Hello everyone, and welcome to our next lesson in the unit Victorian childhood, Victorian childhood: the power of rhetoric.

Nice to see you all.

My name is Mr. Barnsley.

I'm really looking forward to going through today's lesson with you.

By the end of today's lesson, you are gonna be able to identify how language and structural devices have been used to make a powerful speech.

So five key words that you should expect to come across in today's lesson.

Corrupt, drudgery, guileless, unscrupulous, and humanity.

Let's find out what they mean.

So one meaning of corrupt is to make negative changes or alterations to something.

Drudgery means boring, menial work.

If you are an innocent person, you can be described as being guileless.

An unscrupulous person has no morals or principles.

To act with humanity means being humane and kind.

Okay, our lesson is broken down into three parts today.

We are gonna start the lesson by learning about how to write with emotion.

We're then gonna move on to asking questions with style and then we're gonna finish with looking at some amazing anaphora.

We're gonna start by writing with emotion.

So emotive language is where a writer increases the strength of their vocabulary choices to make their writing more emotionally persuasive.

I want you to look at the sentence that I've written.

I was sad I lost my book.

Now I'm gonna focus on the word sad here, the adjective sad, and I'm gonna try replacing this with different synonyms, words that mean the same or very similar things.

And as I do this, I want you to ask yourself, do you become more or less sympathetic to me when I change this word? And how does the changing of this word change how important you think the book was to me? Let's have a look.

I was unhappy I lost my book.

Just think to yourself, has that changed? Are you feeling more sympathetic to me? Does the book seem more or less important? Have a think.

What about if I use the word depressed? How has that changed things? More or less sympathetic? Or if I say the word bitter, how does that change your understanding of this sentence? How does that change your understanding to me or your sympathy towards me? I was devastated I lost my book.

I want you to pause the video now and have a quick discussion.

Or if you're by yourself, just make a couple of notes.

How does changing that word sad impact the amount of sympathy you have for me and also how important you view my missing book? Have a discussion and press play when you're ready to continue.

I heard some great discussion there, so I've got a top tip for you.

You need to make sure you select your vocabulary choices carefully when you are writing persuasively.

You need to consider the strength of emotion that you want your audience to feel.

We're gonna do a check for understanding now.

I want you to select the adjective from the answers below to replace the word in bold.

I want you to select the word which will cause the greatest strength of emotion in a reader.

So, "I was happy to see my friend again." Which word do you think we can replace happy with to create the greatest strength of emotion? So is it A, ecstatic; B, satisfied; or C, delighted? Well done if you said A, ecstatic.

This means incredibly happy, and certainly more happy than satisfied or delighted suggest.

What about the second sentence? "Maya was angry to find out that she'd run out of milk." Which is gonna give the greatest strength or create the greatest strength of emotion in a reader? Is it A, cross; B, irritable; or C, furious? Make your choice now.

Well done if you selected C, furious.

This definitely suggests that Maya is very, very angry to find out that she'd run out of milk.

Potentially someone else has taken the last of her milk.

And finally, "Mik was nervous that they would not have all the right equipment." Which of these is strongest out of concerned, bothered, or anxious? Make your choice now.

This is a tougher one, but well done if you selected anxious.

I'd argue anxiety, which is a kind of a form of stress and nervousness, suggests that this would create the greater sense of emotion in a reader.

They're probably more likely to feel sympathetic for Mik if they were just concerned or bothered.

But it's important to know it's not only our adjective choices which we can choose and select carefully when we're writing emotively.

We can also select our nouns, our verbs, and our adverbs.

They can be really carefully selected and they can change the amount of emotion a reader or a listener might feel.

Let's share some examples, shall we? So let's take the noun noise.

Noise obviously means kind of a level of sound, but I can use different nouns instead of noise to make this sound sound quieter or noisier depending on my vocabulary choice.

So I could start with a buzz, a fairly quiet noise.

Move slightly louder to a noise.

To a commotion, that's starting to get my attention.

A roar, getting louder and finishing with a cacophony which is a collection of incredibly loud noises.

Likewise, I can use my verb choices to add strength of emotional feeling.

So let's imagine I'm running away from something.

If I was ambling away, it would suggest I was moving quite slowly.

Rushing suggests more speed, to running, to racing, to finally sprinting.

So if I really wanted to show that I was either excited for something or terrified of something, I might use the verb sprint as opposed to run.

And finally, adverbs.

So I can use the adverb quietly.

But actually, I can get more sensitive with that and I can move down to faintly, softly, inaudibly, can barely be heard, silently.

So if I was talking about the boy cried quietly and the boy cried silently, that silently might seem like this is even a more emotional type of crying that the boy is doing.

He's so upset, but he doesn't want anyone to hear him.

So make sure we always carefully select our nouns, our verbs, and our adverbs as well when we're trying to write emotively.

Check for understanding time now.

The answers below are all rewrites of the following sentence.

"Olivia cried when she realised she was lost and alone." I want you to select the response which has been written in the most emotive way, the one that's gonna get the most sympathetic reaction for Olivia.

Is it A, Olivia snivelled when she realised she was adrift and deserted? Is it B, Olivia bawled when she realised she was lost and abandoned? Or is it C, Olivia bawled when she realised she was adrift and lonely? Make your choice now.

Well done if you selected B.

We can rule A out because snivelled is a very kind of, it suggests she wasn't crying very much, maybe sniffling slightly, whereas bawled suggests she was crying her eyes out.

So then we have to start to look at some of the adjectives towards the end of the text, the end of the sentence.

And I would argue lost and abandoned create a much greater sense of isolation and loneliness than being adrift and being lonely.

Adrift almost suggests that she could see whoever it was she was with, but she just couldn't quite reach them.

Whereas lost and abandoned makes her sound like she's completely alone.

Right, we are ready to get started on our first task.

And this is an important task because we're actually gonna be working on this over a series of lessons.

Now, I want you to imagine you've been asked to speak in front of the British government in 1850.

You've been asked to persuade the government to do more to support working class children.

I've given you a speech that I want you to deliver, but you've said, "No, no, no, no.

I think I can make this more persuasive, more emotive." So I want you to rewrite the passage from the speech below, improving the vocabulary to make it more emotive.

So as I read it to you, just listen and think, which words could I improve? "Many children in this country are poor.

They often lead sad lives, always worrying when they will get their next bit of food.

Some families can hardly afford a home, so do not have the money to send their children to school.

Education is an important tool in helping people leave poverty behind." Okay, I want you to pause this video and rewrite this passage, improving the vocabulary choices to make it more emotive.

Press play when you are ready for some feedback.

Okay, I want to take a moment for us to sit back, read our work back to ourselves, reflect and assess how we've done against the success criteria.

So as you reread your work, ask yourself, where have you improved the paragraph by using emotive adjectives? Where have you improved the paragraph by using emotive nouns? Where have you improved the paragraph by using emotive verbs? And where have you improved the paragraph by using emotive adverbs? Pause the video, and press play when you're ready to see a model answer.

Okay, I want to share with you a model answer now and some improvements that I've made.

These are not the only improvements you could have made.

You could have made different ones, you could have chosen different vocabulary.

But I just wanted to show you some examples of what you could have said.

So, many children in this country are poor could be improved to many children in this country are impoverished.

They often lead destitute lives, always plagued with worry about when they will get their next morsel of food.

It means like a crumb, a scrap of food.

Some families can seldom afford a roof over their head.

I'm making that more emotive than a home.

I'm saying they can't even afford a shelter, a roof over their head.

So do not have the money to send their children to school.

Education is a crucial tool in helping people escape poverty.

I want you to pause this video and have a quick discussion.

How have my changes or what have been the impacts of these changes? How have they made it more persuasive? Pause the video, have a discussion, and press play when you are ready to continue.

Okay, great discussion there.

And now we're ready to move on to the second part of today's lesson.

We are gonna be asking questions with style.

So we know that rhetorical questions are really powerful persuasive devices.

I'm sure you've all used them before.

However, when overused, or not used quite as well as they can be, they can sometimes affect the sophistication of your writing.

Let me give you an example.

Here's some examples of rhetorical questions used pretty well.

Do you want to see children dying from starvation on the streets? Do you? What if this was your child? Now these rhetorical questions are good, and they wouldn't look out of place in a good speech, but I'm gonna challenge us to make them better.

I'm gonna challenge us to make them more sophisticated.

So before I can do that, I need to work out, well, what is it that's maybe holding these good rhetorical questions back from being great rhetorical questions.

Well, the first is, this is a really obvious answer to the question or there is a really obvious answer to the question, and that's okay.

Rhetorical questions don't require an answer, so having an obvious answer is fine.

But sometimes, the answer can almost be a little bit too obvious.

Like, let's be honest here, how many of the British government when you're speaking to them aren't gonna agree with you here? No one is gonna admit to wanting to see children dying from starvation on the streets.

Here, I've used this very short rhetorical question as a follow-up, and in this case I might be overusing it a little bit.

The "do you?" isn't really adding anything, it's just kind of repetition and adding pressure for the sake of it.

So there might be a more sophisticated way of doing this.

And finally, you might notice all three of the rhetorical questions I use here are very over reliant on direct address, but in particular one piece of direct address.

And that is the pronoun you.

And I think when we use direct address, we're very used to using the word you.

But I'm gonna challenge you and say, is that always the most effective way of persuading people? How would you feel if someone asked you three questions very quickly back to back saying, you, you, you? Do you think that would persuade you to listen to them? Or might it make you feel a little bit defensive and like you want to close down and stop listening to them? So like I said, there's nothing wrong with these rhetorical questions, but let's have a look at what we could do to make them feel a little bit more sophisticated.

So here's an example of really sophisticated use of rhetorical questions.

"Are we really willing to accept that so many of our nation's children are living destitute lives, plagued with worry about where their next morsel of food will come from? Is this something a global leader in the industrialised world should be proud of?" Well, we can see these are very sophisticated, but should we look at in a little bit more detail about why? Well, first of all, you can see I've used complex sentences here to create complex questions.

And I've done this by using emotive descriptions to paint shocking images and I've made these part of my questions.

So let's try and use all of these lessons that we learned in the first part, the first cycle of today's lesson, and implement them into our rhetorical questions.

You've noticed here I have used two rhetorical questions back to back.

The second one is really building on the first.

It's asking them to really think carefully about that first question.

In fact, it's doing the exact same job as saying do you, but in a more sophisticated way.

And also I want you to notice the direct address that I've used.

I've been a bit more subtle here.

I've not overly been over reliant on the word you.

In fact, I've used this collective pronoun, we at first, to say that this is collectively our responsibility, that we all need to work on this together.

And to be honest here, I've used a bit of flattery because I know I'm talking to some very important people in Great Britain.

So I've called them a global leader in the industrialised world.

I'm saying that these people are in charge of one of the most important countries in the world.

And by doing this, by using this flattery and this collective pronouns, what I've actually very subtly done here is try and get them on my side, but also speaking directly to them.

So this is quite challenging, so I want us to have a go at doing this together.

So at first I'm gonna do it and then you are gonna have a go at doing something very similar.

So I wanna take this idea that there are too many Victorian children living homeless, and I wanna turn this into a couple of really sophisticated rhetorical questions.

So first, all I'm gonna do is try and make this sentence more emotive.

So, "The impoverished children of this great city have been left abandoned, without a roof over their heads." Really emotive way of saying too many Victorian children are homeless.

Now I want to break this down and turn it into a couple of questions.

So first of all, I'm gonna say, "When did this great city start to tolerate the abandonment of impoverished children?" So rather than saying when did you, I'm gonna make them collective, when did this great city start to tolerate, to accept, that we were gonna abandon impoverished children, abandon poor children? And we had a follow up question for them.

When did we start to accept the sight of malnourished, so underfed, innocents, a really emotive way of saying children, without a roof over their heads? So both of these questions are talking about children being left in poverty and left to be homeless.

Right, I'm gonna challenge you over to you.

I want you to take this idea that Victorian children do not have access to education or to free education.

So I want you to try and turn this into one or even better, two really powerful rhetorical questions.

So use these questions to help you when you're writing.

First of all, start by thinking, can you make that sentence more emotive using description and to make your question more complex? Think about your use of direct address.

Is it subtle? Are you not being reliant on you? Are you trying to use some more collective terms? And if you do add a second rhetorical question, does it kind of build on the first? Pause the video and have a practise at writing some really sophisticated rhetorical questions.

Press play when you're ready to continue.

Right, I think we are ready for task two.

We are gonna rewrite and improve our passage from task one by adding sophisticated rhetorical questions.

I want to challenge you to include emotive imagery to create really complex questions.

I want to challenge you to use direct address subtly.

Remember, don't become over reliant on you.

And I want, if you are using more than one rhetorical question in succession back to back, make sure the second develops on from the first.

So you can rewrite your passage that you've already worked on today.

But here's my improved passage if you want to use that as inspiration as well.

Okay? You are adding rhetorical questions.

Pause the video, take as much time as you need to write, and press play when you are ready for some feedback.

Well done, everyone.

That was a challenging, challenging task, and I'm really pleased with how much effort you put into it.

Now we want to take a moment to step back, reread our work, reflect and see how well we've done in comparison to the success criteria.

So reread your work, and I want you to identify where you've used emotive imagery to create complex rhetorical questions.

I want you to identify where have you subtly used direct address, and where have you developed a rhetorical question using a second follow-up question.

Pause the video, reread your work, and check it in comparison to today's success criteria.

Right, we're ready to move on to our final part of the lesson where we are gonna be working on anaphora.

Now, this is a technique you might not have used before, but I know you've done some challenging bits already in this lesson.

I know you can push yourself and learn about something new.

So anaphora is a structural technique.

It can help us structure our work in a persuasive manner.

I'm gonna just read you a little bit of a speech.

"I am here today to raise an important issue, that of children's rights.

Every day in this city, innocent children wake up from a rough night's sleep with nothing more than a pavement for a pillow.

The dawn brings them little hope of bettering their chances.

Every day, blameless children under the age of 10 are forced to work in chimneys which cover them in burns and bruises, cripple their legs, and corrupt their lungs.

They know that without an education, they are destined to remain in a life of drudgery.

Every single day in this great city of London, guileless children are driven to a life of crime by hunger, desperation, or worse still, by unscrupulous schemes of greedy adults.

How can we claim to be a civilised society when we allow such unspeakable crimes against humanity to occur before our eyes?" Okay, so there is some anaphora in there, and I'm gonna tell you that they have now been highlighted in the text.

There they are.

Looking at the highlighting then, pause the video and see if you can work out what do you think a definition for anaphora might be? Press play when you are ready to find out.

Okay, well done.

I think I heard some people coming up with the right answer there.

So anaphora is the repetition of a word or phrase at the beginning of successive clauses.

So it has to come at the beginning of a sentence and there has to be quite close together.

So it might be the beginning of each paragraph or beginning of clauses and sentences in succession.

Okay, we're gonna do a quick check for understanding to make sure we definitely know what anaphora is.

So true or false, anaphora and repetition are exactly the same technique.

Make your choice now.

Well done if you said false.

It's time to justify our answer.

Why is that false? Is it because A, anaphora is specifically the repetition of words or phrases at the start of repeated clauses? Or is it that anaphora refers to repetition of two or more words, and repetition only talks about individual words or ideas? Which is the correct response? Well done if you picked A.

So anaphora is a type of repetition, but it's a very specific type of repetition where words or phrases appear at the start of repeated clauses.

So our final task today is you are gonna highlight and label the model paragraph below with the success criteria we've been working on today.

So I want you to identify emotive language, rhetorical questions, and anaphora.

I'm gonna read this to you.

Make sure you are following along.

"Is there a more important issue for us to resolve than children's rights? Each morning, innocent children wake up from a rough night's sleep with nothing more than a pavement for a pillow.

The dawn brings them little hope of bettering their chances.

Each morning, blameless children wake and prepare themselves to climb chimneys which will cover them in burns and bruises, cripple their legs, and corrupt their lungs.

We have to ask ourselves, is this the life we want for the innocent youth of our city? They know that without an education, they are destined to remain in a life of drudgery.

Each morning, guileless children awaken and are faced with a life of crime driven by hunger, desperation, or worse still, the unscrupulous schemes of greedy adults.

Each morning, when we wake from a night of undisturbed rest, we should ask, how can we claim to be a civilised society when we allow such unspeakable crimes against humanity to occur before our eyes?" Okay, pause the video, highlight and label this model paragraph with the three success criteria we've worked on today.

Press play when you're ready for some feedback.

Well done.

I heard some really good discussion there and I could see some great highlighting.

So let's have a look then.

Let's see if we manage to identify all of the success criteria.

So these are just some of the emotive words that I think have been deliberately picked to create an emotional response from the listener.

Well done if you spotted these.

There were three rhetorical questions in the text, one at the beginning, one in the middle, and one at the end.

So well done if you spotted them.

And notice that none of them have used you as direct address.

And then the anaphora was each morning, each morning, used four times across that text.

Well done if you spotted all of them.

Okay, well done.

We've got to the end of today's lesson, Victorian childhood: the power of rhetoric.

So what have we learned today? Well, we've learned that using emotive language requires us to select the sensitivity of our vocabulary very carefully because we want to elicit specific emotions from our audience.

We've also learned that excellent rhetorical questions use emotive language to enhance the complexity of the question we're asking.

But we also know that great rhetorical questions should use direct address subtly.

We're gonna try and avoid overusing you.

And anaphora is also a useful tool for structuring persuasive writing.

Do make sure you take the exit quiz to check your understanding.

It's been quite complex ideas in this lesson.

And please do join me for future lessons in this scheme of work.

Thank you.