The links below will take you to an easy to print version of a timeline of English Literature. Alongside other important moments in English Literature and the English language, it includes the dates of the monarchs of England and Great Britain, key literary and artistic movements, stages of the English language, as well as the dates of production/publication of Macbeth, Strange Case of Dr Jekyll and Mr Hyde, An Inspector Calls, and the poems from the ‘Power and Conflict’ cluster of the AQA Anthology. Obviously, you can edit these texts to fit with those that your pupils are studying.
The dates of the movements are up for debate, of course, as different commentators will put different dates on these periods. You can change them as you see fit.
You can also add any more key moments to the timeline. I kept it to these as I didn’t want it to get too ‘busy’.
This is for a display of landscape A4 sheets measuring 7 x 4 (28 sheets in total).
This resource takes ideas from displays shared with me over the years by colleagues, so I don’t claim originality.
I’ve included links to an uneditable PDF version, as well as an editable Powerpoint version. If you want to use the editable version, the fonts in use are Gill Sans for most of the text, and Mexcellent (regular) for the literary movements.
If you notice any errors, aside from arguments over dates, please do let me know in the comments below. I’m looking at you, History teachers.
NB. As with any of the resources I share, I stipulate that I don’t give this freely to anyone who chooses to sell resources anywhere online. If you are such a person, I ask you kindly not to download this. Obviously, you can ignore this request as I have no way of monitoring this. But if you do, shame on you for ignoring my request. As for anyone else, thanks for keeping the sharing of resources completely free. You are wonderful people.
There are a number of resources I return to again and again online, in order to either find useful texts for pupils to read, or to deepen my contextual knowledge of texts. Here are five sites I think are really helpful.
This is a brilliant resource that connects digital texts from the Folger Shakespeare Library with articles on the JSTOR digital library. As the strapline tells us: “Pick a play. Click a line. Instantly see articles on JSTOR that reference the line.”
Below is a screenshot that shows you how it works. I’ve chosen the line “‘Tis an unweeded garden / That grows to seed.” from Hamlet’s first soliloquy (Act 1, Scene 2). You can see that there are 53 references to this line in JSTOR. It lists them on the right of the screen, and by hovering over each one, you can see the page of the article on which it is referenced. In the referenced page on the example above, you can see how the line can be seen as part of a tradition of similar references to husbandry as a metaphor for kingliness and national security across a number of Shakespeare’s plays. Illuminating, right?
I love these. Here you can browse some really interesting articles on Shakespeare and the Renaissance, Romantics and Victorians, and Twentieth Century literature. All of the articles are linked to items in the British Library’s collection (mainly original manuscripts), with embedded slideshows throughout the articles exploring these items. There’s some really useful contextual stuff here.
This is an American website containing “a free collection of fiction and nonfiction for 5th-12th grade classrooms”. It is a wonderful digital resource.
You can search texts based on the grade they are aimed at (just add 1 to get the UK equivalent age: 6th grade is the same as Year 7 in the UK), or by the text’s Lexile range. Or – and this is where it is really useful – you can search it based on theme, genre (looking for speeches or short stories?), or by a short list of books that the texts link to (for example, searching for texts linked to Animal Farm returns some nonfiction articles on Stalin and the Russian Revolution, among other things). You can also search for texts based on linguistic and rhetorical devices, so if you are looking for examples of hyperbole or dramatic irony, the search will return texts that contain these.
What’s more, each text comes with a series of questions to help comprehension. And you can download each text as a PDF (which includes these questions).
With some articles, some iWonder pages and some BBC archive videos, this is a really useful source of contextual information for literature texts. With pages on the Tudors, the Victorians and some key moments of the Jacobean period (to name but a few useful touchstones for English teachers), there are some great resources here.
In a similar style to the BBC History site, English Heritage’s simple timelines and overviews of the key periods in English history are a valuable resource. Not only is this organised by period, you can also explore it by themes such as Power & Politics, Religion, Daily Life, and Arts & Invention. Have a look and see what you think.
But it would be equally untrue if I were to say I love poetry.
The reason both these statements are untrue is because they are huge, sweeping statements. Poetry, like music, movies, books, art, theatre, television and chocolates runs the gamut from the great (strawberry creams) to the woeful (coffee creams). I love some poetry. In fact, I love lots of poetry. But there’s some poetry I plain dislike. This is the first thing I discuss when teaching poetry: that it is a matter of taste. People don’t say “I hate music”; they say “I hate Kula Shaker”. They might hate The Voice and Top Gear and Hollyoaks, but that doesn’t mean they hate television. So if a pupil says “I don’t like poetry”, I suggest that what they mean is “I don’t like any of the poetry I’ve read to this point in my life”. And I tell them that I think that will change.
Such preamble out of the way, I always ask my pupils this simple question before studying poetry with them for the first time:
What is poetry?
Don’t read ahead yet. Just stop here and answer the question. Commit to a definition. Take as long as you need. Write it down if you want, but I want you to have a definition. If you don’t want to write it down, say it aloud. Poetry is…
Was that surprisingly hard to do? Maybe, maybe not. Maybe you’ve thought about having a clear definition before. But if you haven’t, that might have taken a little bit of thought or refinement. Certainly, it seems a difficult question for pupils to answer. In fact, for many of us, it’s one of those things that we assume we know the answer to, but perhaps we don’t. Psychologist Rebecca Lawson explored this illusion of knowledge when she asked people to draw something very simple, something we should all be familiar with: bicycles. She found that, despite such familiarity, most people can’t draw a bike or even pick one out in a line-up of drawings.
When I ask pupils to answer the question “What is poetry?”, I get all sorts of answers, some vague, some pertinent: it rhymes, it doesn’t have to rhyme, it’s a way of showing emotions, it tells a story, it has a rhythm, it uses lines and verses, poems are short, etc.
Most of those answers might be true of some poems, but they never get anywhere near defining poetry. I spend a little time trying to falsify their answers: if poetry rhymes, does that mean this shop name is a poem?
If poems tell stories, is this a poem?
Eventually, we can all agree that we haven’t really defined what poetry is, so I suggest we need to understand what it is if we are going to study it.
And this is how I get pupils to define it.
I show them a range of differing texts – about 8 or 9 – and ask them to look at them and answer two questions:
Is this a poem?
The thing I don’t tell them is that every one of the texts is a poem. I just ensure that each of them is so different from the next. I throw in seemingly impenetrable modernism from Gertrude Stein, a short three-word poem, a prose poem, some nonsense from Spike Milligan, some E.E. Cummings, and a few others. I make sure that each of the poems do different things – some have clear meanings, some are abstruse; some rhyme, some don’t; some are long, some are short; some have end-stopped lines, some use enjambment; some are narrative, some present ideas or feelings.
For as long as I’ve been doing this task with classes, the pupils have always responded that they are certain that some of the texts are poems and they are adamant that others aren’t. They are also often some that they are undecided on. Sometimes I let them remain undecided but ask them to explain why.
Once pupils have made their decisions, we go through each of the poems, one by one, together. We explore meanings and messages, highlight differences and look at the features, and I slowly reveal my trick: that they are all poems.
We then go back to the first question, with a further clause at the beginning:
If all of these are poems, what is poetry?
(In other words, what do they all have in common?)
Then, with some questioning, we arrive at a very simple definition. The wording tends to differ with each class, but it goes something like this:
Poetry uses words (or language) in different ways (without having to follow the rules of grammar), often using patterns, to create meanings.
It is, as I say, a really simple definition, but I think it unlocks poetry a little for pupils. From here, we might actually apply this definition by giving pupils an opportunity to create poems such as humuments, blackout poetry or cutout poetry. I find this is quite efficient as it doesn’t rely on pupils trying to write something from scratch and gives them an opportunity to produce a poem by using words that are already in front of them and to apply the definition by using those words in different ways (breaking rules) to create new meanings.
I’ve always found this a simple but effective way to introduce poetry.
I'm just a teacher, standing in front of a class, asking them to be quiet and listen.