something that can't be touched e.g. love

when writers use something to represent intangible ideas; for example, a rose as a symbol for love

the state of being alone with no-one around you

to be placed far away from others; to have little contact with others

Symbolism in Alfred, Lord Tennyson's ‘The Lady of Shalott’

English

Bruegel's Landscape with the Fall of Icarus: how the myth inspired the painting

Exploring William Carlos Williams’s poem ‘Landscape with the fall of Icarus’

Exploring W.H. Auden's poem 'Musée des Beaux Arts'

Exploring William Carlos Williams's poem 'The Hunters in the Snow'

Exploring Walter de la Mare's poem 'Brueghel's Winter'

Comparing poems: 'Brueghel's Winter' and 'The Hunters in the Snow'

Alfred, Lord Tennyson's 'The Lady of Shalott': understanding the ballad

Exploring enjambment in Alfred, Lord Tennyson's ‘The Lady of Shalott’

Descriptive writing using Lord Tennyson's 'The Lady of Shalott' as stimulus

Effective sensory language using ‘The Execution of Lady Jane Grey’ as stimulus

Third person omniscient writing: ‘The Execution of Lady Jane Grey’ as stimulus

Writing a full descriptive piece: ‘The Execution of Lady Jane Grey' as stimulus

Reviewing and refining descriptive writing: alliteration, plosives and sibilance

Natasha Bowen's ‘Skin of the Sea’: understanding the extract

Writing inspired by ‘Skin of the Sea’: varying sentence types to create rhythm

Use of flashback in Natasha Bowen's 'Skin of the Sea'

Geoffrey Chaucer's ‘The Canterbury Tales’: compelling characterisation

Creating convincing characters using ‘The Canterbury Tales’ as stimulus

Pat Barker's 'The Silence of the Girls': understanding the extract

Madeline Miller's 'The Song of Achilles': understanding the extract

Comparative paragraphs: 'The Silence of the Girls' and 'The Song of Achilles'

Hanan Al-Shaykh's ‘The Fisherman and the Jinni’: understanding the story

Exploring the theme of power in Hanan Al-Shaykh's ‘One Thousand and One Nights’

The five part narrative structure

Planning a narrative using the five part narrative structure

Writing a full narrative piece using the five part narrative structure

Improving and proofreading a piece of narrative writing

In 'Myths and Legends Re-Told', pupils explore how they can alter traditional stories to convey modern ideas and morals. In 'Animal Farm: the Pigs and Power', pupils learn about Orwell's allegory and understand how he uses an apparently simple fairy story to convey a political message. 

In 'Step Into the Unknown', pupils look at the ways in which famous children's writers create convincing settings, particularly through descriptions of windows and doors. In 'Myths and Legends Re-Told', pupils take inspiration from the ways in which writers and poets use powerful imagery and symbolism, to inspire their own writing. 

In this unit, pupils read and explore a range of text types in connection to classical myths and legends. They first look at poetry before doing some descriptive writing inspired by poetry and paintings. They then explore Chaucer and modern retellings of myths to inspire their narrative writing.

Myths, legends and stories that inspire

Subjects which particular individuals may be sensitive to, eg, adoption, migration, bereavement or death, divorce, poverty, deprivation.

Depiction or discussion of sensitive content

Depiction or discussion of sex or sexual body parts, including sex education.

Depiction or discussion of sexual content

In 'The Lady of Shalott' ('Myths, Legends and stories that inspire'), what does the Lady of Shalott sacrifice when she looks out of the window to see Sir Lancelot in real life?

In 'The Lady of Shalott' ('Myths, Legends and stories that inspire'), what does the Lady of Shalott symbolise?

something that can be touched e.g. a table

something that can’t be touched e.g. love

when writers use something to represent abtract ideas

Match these words, all important in understanding 'The Lady of Shalott' ('Myths, Legends and stories that inspire').

she has a happy existence weaving a "charmed web".

Match these sentence stems about 'The Lady of Shalott' ('Myths, Legends and stories that inspire') to their endings.

In Stanza five of 'The Lady of Shalott' ('Myths, Legends and stories that inspire'), Tennyson writes of the Lady of Shalott: "No {{ }} hath she to sport and play".

In Stanza eight of 'The Lady of Shalott' ('Myths, Legends and stories that inspire'), Tennyson writes of the Lady of Shalott: "But in her web she still delights / To weave the mirror's {{ }} sights".

In 'The Lady of Shalott' ('Myths, Legends and stories that inspire’), what does the Lady of Shalott have to constantly do in the tower that she lives in?

In 'The Lady of Shalott' ('Myths, Legends and stories that inspire'), who lives with the Lady of Shalott in her tower?

she knows she is about to die, and travels towards Camelot

to show off the "charmed web" she has created

she wants to drown herself in the river leading to Camelot

In 'The Lady of Shalott' ('Myths, Legends and stories that inspire'), why does the Lady of Shalott decide to leave her tower?

description of the island and the rumours about the Lady of Shalott

description of curse, but also that beauty of the "web" 

Sir Lancelot is described, and the Lady of Shalott leaves her loom

the Lady of Shalott sails to Camelot in a boat, knowing she will die

Match each section of the poem 'The Lady of Shalott' ('Myths, Legends and stories that inspire') to its plot points.

The Lady of Shalott hears Sir Lancelot singing.

The Lady of Shalott looks out the window and sees Sir Lancelot and Camelot.

The "web" leaves her loom and is destroyed.

The Lady of Shalott realises the curse is "upon" her.

Starting with the first, order these plot points about the moment the Lady of Shalott sees Sir Lancelot ('Myths, Legends and stories that inspire').

In Stanza eight of 'The Lady of Shalott' ('Myths, Legends and stories that inspire’), we hear the first piece of dialogue from the Lady of Shalott herself. She says, "I am half {{ }} of shadows".

Symbolism in Alfred, Lord Tennyson's ‘The Lady of Shalott’

Lesson outcome

Content guidance