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Literature Component: POEMS (Form 2)
My Hero & What is Red Prepared !y: Puan"#a$inaMohd%uso SM Sains'enu Muhammad Faris Petra
My Hero
1
By Willis Hall
The poet’s background Willis Edward Hall (6 Hall (6 April 1929 – 7 March 2005) was an English playwright and radi and t!l!"isin t!l!"isin writ!r writ!r wh dr!w n his wr#ing wr#ing class rts in $!!ds $!!ds%% England &r 'ch & his writing writing His *!st+#n *!st+#nwn wn wr# was a stag! stag! adaptat adaptatin in & th! 1959 n"!l Billy Liar (1960)% c+ writt!n with th! *#,s athr and Hall,s li&!lng &ri!nd and clla*ratr -!ith Wat!rhs!Hall Wat!rhs! Hall cntin!d this scc!ss&l partn!rship with Wat!rhs! and% "!r th! n!.t thirty y!ars% th! tw '!n prdc!d 'r! than 250 scripts &r th!atr!% &il' and t!l!"isin Hall als wrt! 'r! than a d/!n childr!n,s *#s% inclding a s!ri!s a*t a &a'ily call!d The Hollins wh Hollins wh '!!t a "!g!tarian "a'pir! call!d nt Alcard H! als wrt! a *#% Henry Hollins and the Dinosaur H! wrt! 0 radi and t!l!"isin plays% as w!ll as cntri*ting t 'any 3 s!ri!s s!ri!s H! als wrt! th! script &r th! scc!ss& scc!ss&l l pr4!ct% pr4!ct% Peter Pan: A Musical Adventure (1996)llwing Adventure (1996)llwing a lng &ight with !sphag!al canc!r % Hall di!d at his h'! in W!st r#shir! n r#shir! n 7 March 2005
My Hero My dads as *ra"! as a dad can *!% 8 rat! hi' '*!r :n!% H!s nt a&raid & th! d!ad & night% :r anything nd!r th! sn
And is h! a&raid & s#!l!tns; s#!l!tns; t dad% nt n yr !lly<
H!s nt a&raid & '!!ting ghsts% H!d !"!n s'il! and gr!!t =!'% And things things that scar! scar! 'st dads dads th! 'st% 'st% My dad cld 4st d!&!at =!'
My dads as *ra"! as a dad can *!% And h!s h!s always r!ady r!ady t pr"! pr"! it > why% wh!n a spid!rs in th! *ath% ?!s M' ha"! t c'! and r!'"! it;
Interpretation h! p!rsna 'a#!s a stat!'!nt a*t his@h!r &ath!r as a *ra"!@crag!s p!rsn (a &ath!r is nr'ally *ra"!) 8n his@h!r pinin% his@h!r &ath!r is th! *!st His@h!r &ath!r is nt scar!d & th! i!t!st and dar#!st part & th! night :r anything that !.ists arnd s (8t can als '!an that his@h!r &ath!r is nt a&raid & anything dring th! day)
:r anything nd!r th! sn
>tan/a w Line no. 1
Line
Interpretation h! p!rsnas &ath!r is nt scar!d & watching hrrr '"i!s n t!l!"isin lat! at night
> why% wh!n a spid!rs in th! *ath% ?!s M' ha"! t c'! and r!'"! it;
Interpretation h! p!rsna 'a#!s a stat!'!nt a*t his@h!r &ath!r as a *ra"!@crag!s p!rsn (a &ath!r is nr'ally *ra"!) – it is r!p!at!d t !'phasi/!his &ath!rs *ra"!ry@crag! H! is willing and cn&id!nt t shw his *ra"!ry@crag! h! p!rsna ad'ir!s his@h!r &ath!r and is prd & hi'% *t h!@sh! cannt nd!rstand why his@h!r 'th!r has t g!t rid & a spid!r (4st a s'all ins!ct) that is in th! *atht* (!rhaps% his@h!r &ath!r is scar!d & tiny ins!cts<)
+S ,O' "FR"+* OF-
*"*
+S "FR"+* OF-
STANZA 1 •
•
The darkness or quietness quietness of the night Anything or everything around him /during the day
STANZA 2 • •
Horror movies on television at night Skeletons
STANZA 3 • •
Ghosts Things that that sare other other fathers
STANZA 4 •
!ampires "
STANZA 5 •
Spider
• •
#olf$man %rankenstein&s monster
t!F Frankenstein; or, The Modern Prometheus is a n"!l n"!l writt!n writt!n *y th! English athr athr Mary
Wllstn!cra&t >h!ll!y Wllstn!cra&t >h!ll!y that that t!lls th! stry & a yng sci!nc! std!nt 3ictr ran#!ns ran#!nst!in t!in%% wh cr!at!s a grt!s! *t h'an li#! cr!atr! in a sci!nti&ic !.p!ri'!nt >h!ll!y start!d writing th! stry wh!n sh! was 1G% and th! &irst !ditin & th! n"!l was p*lish!d anny'sly anny'sly in $ndn in 1G1G% wh!n sh! was 20 >h!ll!y,s na'! &irst app!ar!d n th! s!cnd !ditin% p*lish!d in ranc! in 1G2
The poet’s background Mary 3e4enport O5#eill ( O5#eill ( Agst 1G79 – 1967) was an 8rish p!t and p!t and dra'atist dra'atist >h! was *rn in $ghr!a $ghr!a%% nty Kalway% Kalway % 8r!land in 1G79 r' 1G9G+190 sh! stdi!d t!aching at th! ?*lin M!trplitan >chl & Art (th! pr!s!nt+day atinal ll!g! & Art% ?*lin) Wh!n sh! was &i&ty% sh! p*lish!d a cll!ctin & p!try Prometheus and Other Poems ($ndnF Lnathan ap! 1929) which cnsists & thirty+thr!! lyric p!'s% &r dr!a' p!'s% n! lng p!'% and a "!rs!+play his was th! &irst cll!ctin & p!try p*lish!d *y an 8rish p!t% *!sid!s !a !ats% ts% which cld *! cnsid!r!d cnsid!r!d 'd!rnist 'd!rnist >h! is n! & a s'all n'*!r & #nw #nwn n !arly !arly 20th c!ntry c!ntry 8rish 'd!rnist w'!n w'!n p!ts p!ts :n! :n! & h!r h!r 'st 'st ppl pplar ar *# *#s% s% ,,Hailstn!s and Hali*t Bn!sF Ad"!ntr!s in lr%,, illstrat!d *y $!nard W!isgard% was p*lish!d *y ?*l!day in 1961 and print!d in s!"!ral langag!s 8n it% Mrs :,!ill id!nti&i!d and int!rpr!t!d th! 'st &a'iliar clrs thrgh "!rs! h! *# was s!d as a sppl!'!ntary t!.t in schls in th! Jnit!d >tat!s and a*rad
What is Red2
!d is sns!t Bla/ing and *right !d is &!!ling *ra"! With all yr 'ight !d is a sn*rn >pt n yr ns! >'!ti'!s r!d
*
8s a r!d% r!d% rs! !d siggl!s t Wh!n y ct yr hand !d is a *ric# And th! snd & & a*and !d is htn!ss g!t insid! Wh!n yr! !'*arrass!d And want want t hid! hid! ir!+crac#!r% &ir!+!ngin! ir!+&lic#!r r!d– And wh!n wh!n yr! angry angry !d rns thrgh yr h!ad !d is an 8ndian%
!A+,-T.-,
A 3al!ntin! 3al!ntin! h!art h!art h! tri''ings n A circs cart !d is a lipstic# !d is a sht !d is a signal hat saysF CWatch t
1
!d is th! giant!st lr & all !d is a shw+&&% d*t a*t it + Bt can y i'agin! $i"ing witht it;
This poe6 is all about the colour RE3 Line no.
Line
Interpretation: RED is the colour of…
1 2 5 6 7 G 9 10 11
!d is sns!t Bla/ing and *right !d is &!!ling *ra"! With all yr 'ight !d is a sn*rn >pt n yr ns! >'!ti'!s r!d 8s a r!d% r!d% rs! !d siggl!s t Wh!n y ct yr hand !d is a *ric#
Ht and *right sn
s! that is *rnt *y th! sn (wh!n y ar! nd!r th! ht sn &r t lng) A rs! (th! &lw!r)
12
And th! snd & a*and
$d and high pitch snd & a 'sical *and
1 1 15 16
!d is htn!ss g!t insid! Wh!n yr! !'*arrass!d And want want t hid!
17 1G
ir!+crac#!r% &ir!+!ngin! ir!+&lic#!r r!d–
19 20 21 22
And wh!n wh!n yr! angry angry !d rns thrgh yr h!ad !d is an 8ndian% A 3al!ntin! 3al!ntin! h!art h!art
1. Red capture capturess attention. attention. t t is one of of the most most visible visible colours! colours! secon second d only to yellow yellow which explains why it is used on fire engines and stop signs to trigger alertness. ". Red is one of the top top two favouri favouritecol tecolours ours of of all people. people. #. Red is the most most popular popular colour colour used on flags flags in the world. world. $pproxima $pproximately tely %%& of all all flags include red. '. Red is is the inte interna rnatio tional nal colo colour ur for for ()*+. ()*+. ,. Red represents beauty in many languages and cultures. . Red is the colour colour of good good luck in $sia $sia and is the the most popular popular colour colour in hina. hina. Red is associated with fire! south! and summer. t is also associated with good luck and fortune. %. n /ngland! /ngland! red phone phone booths and and red double-dec double-decker ker buses buses are national national icons. icons. (tandard 0ritish pillar boxes mail boxes2 have been painted red since 13%'. 3. n ndia! ndia! a red mark on on the forehead forehead is said said to bring bring good luck. luck. )o the 4indu! 4indu! red symbolizes 5oy! life! energy! and creativity. 6. Red is an auspici auspicious ous colour colour for marriage marriage.. 0rides in in ndia and and 7epal 7epal wear red saris8 saris8 in 9apan! a red kimono symbolizes happiness and good luck.
1"
1. n ;alaysia and (ingapore! (ingapore! the colour red traditionally traditionally symbolizes 5oy. hinese 7ew are given to unmarried children to bring good fortune to them for the rest of the year. 11. ;ost 9apanese children draw the sun as a big red circle. 1". Red roses symbolize passionate love. 1#. Red is the colour of ;ars. )his planet is known as the ?od of @ar. 1'. 0ees cannot see the colour red! but they can see all other bright colors. Red flowers are usually pollinated by birds! butterflies! bats! and wind! rather than bees.
+*+AB$R +4R$(/( )4$) 7BAC/ R/C Red carpet treatment giving privileged treatment to an important person2 aught red-handed found guilty doing something bad2 Red in the face to become embarrassed2 (eeing red getting angry2 Red flag a warning of danger2 7ot worth a red cent no value2 Red letter daya memorable! 5oyful day2 Red tape extra formalities in governmental process2 n the red a term to describe an economic loss2 • • • • • • • • •
1'
",SWERS
My Hero $RA%T&%E ' STA#(A ' 1 Which lin! sgg!st sgg!sts s that th! p!rsna p!rsna thin#s thin#s & his &ath!r &ath!r as th! th! *!st *!st h!r; 8 rat! hi' '*!r :n! 2 What is th! th! '!aning '!aning & Cth! Cth! d!ad d!ad & night nightD; D; h! night is "!ry dar# and i!t STA#(A ) 1 $ist tw tw things things that d nt nt scar! scar! th! p!rsn p!rsnas as &ath!r &ath!r (i)) (i $at! $a t!+n +nig ight ht &i &il' l' @h @hr rr rrr ' '"i "i! ! n t! t!l! l!"i "isi sin n (ii) >#!l!tns 2 Which lin! t!lls s that th! p!rsna is cn&id!nt cn&id!nt a*t a*t his &ath!rs *ra"!ry; *ra"!ry; t dad% nt n yr !lly< STA#(A * 1 What wld wld th! p!rsna p!rsnas s &ath!r &ath!r d t pr"! that h! is nt a&raid & & ghsts; ghsts; >'il! and gr!!t th!' 2 Which lin! lin! sgg!st sgg!sts s that his &ath!r &ath!r is *!tt!r *!tt!r than than th!r th!r &ath!rs; &ath!rs; My dad cld 4st d!&!at =!' STA#(A + 1 $ist th! th! thr!! thr!! typ!s typ!s & 'nst!rs 'nst!rs '!nti '!ntin!d n!d in this this stan/a stan/a (i) 3a'pir!s (ii) Wl&+'an ( iii) ran#!nst!ins ' 'nst!r 2 h! wrd wrd Chi'D Chi'D r!&!rs r!&!rs t t th! p!rs p!rsna nas s &ath!r &ath!r STA#(A ,
1(
1 Which lin! lin! sgg!st sgg!sts s that th! p!rsn p!rsnas as &ath!r &ath!r is "!ry cn&i cn&id!n d!nt; t; And h!s h!s always r!ady r!ady t pr"! pr"! it 2 What d! d!s s his 'th 'th!r !r ha"! ha"! t d in th! *athr *athr' '; ; >h! has t r!'"! th! spid!r that is in th! *atht* $RA%T&%E ) -HOTS .uestions/ NOT :The ans!ers "or HOT# $uestions can %e varied & !ide ran'in' %ut most importantly( they should %e lo'ical)reasona%le and relevant to the $uestion. Teachers are advised to use their o!n discretion. The ans!ers 'iven %elo! are simply e*amples o" accepta%le ones. 1 Wh d y y thin# thin# th! p!rsn p!rsna a is tal#ing tal#ing t a*t a*t his &ath!r &ath!r; ; Why; May*! h! is tal#ing t his &ri!nds@class'at!s *!cas! th!y ar! 'a#ing c'parisns a*t th!ir &ath!rs 2 Hw d!s th! p!rsna p!rsna #nw that that his &ath!r &ath!r is nt a&raid & watching hrrr hrrr '"i!s '"i!s lat! at night; h! p!rsna sl!!ps lat! !"!ry night @ h! watch!s th! '"i!s with his &ath!r 8n yr yr pinin% pinin% which lin! lin! is th! th! *!st d!scriptin & his &ath!rs *ra"!ry; *ra"!ry; Why; Why; CMy dad cld 4st d!&!at =!'D *!cas! h! can d what th!r &ath!rs cannt d +Note: The student can ,ust choose any line %ut he needs to ,usti"y his choice. What wld wld his his &ath!r &ath!r d d t th! 'nst 'nst!rs !rs (in (in stan/a stan/a ); Hw; Hw; H! wld #ill th!' all *y sing his #arat! s#ills 5 Why d y y thin# th! th! p!rsnas p!rsnas 'th!r 'th!r has t r!'"! th! th! spid!r in th! *atht*; *atht*; His &ath!r is scar!d & spid!rs r tiny@&rry ins!cts 6 >gg >gg!st !st tw tw ways t shw shw yr yr appr!cia appr!ciatin tin t yr yr &ath!r &ath!r (i) Always h!lp hi' wash his car (ii) lay ga'!s with hi' 7 Apa Apart rt &r' yr yr &ath!r% &ath!r% wh wh wld y y cnsid!r cnsid!r yr yr h!r; Why; Why; 8 chs! 'y n!igh*r *!cas! h! is strng and *ra"! li#! 'y &ath!r G What wld wld *! th! *!st pr!s!nt pr!s!nt y cld cld gi"! t yr &ath!r &ath!r n his his *irthday; *irthday; Why; 8 will gi"! hi' a "id! ca'!ra s that h! can r!crd all th! &a'ily acti"iti!s &r his "id! cll!ctin $RA%T&%E * -!O%A0"AR1/ 1 2