Denis Delaney Ciaran Ward Carla Rho Fiorina MODULES F The Victorian Age G Early Twentieth Century and Modernism H The Contemporary Age AWNI0A Literatu in the “english language iy Ry a uae bl =_ Victorian Age 1837-1901 Charles Dickens (Wnters’ Gatery, p. F1S) Emily Bronté (Wters’ Galery, p. F32) Charlotte Bront (Wters’ Gallery, p. F32) George Eliot (Wrters’ Galery, p. F40) Robert L Stevenson (Writers’ Gallery, p.F47) Oscar Wilde (Witers’ Gatley, p. F54) ‘Thomas Hardy (Witers’ Galery, p. F63) Nathaniel Hawthorne (Whiters’ Gallery, p. F71) Herman Melville (Wintes’ Gallery, p. F7B) Mark Twain (ites Gallery, p. FBS) Lord Alfred Tennyson (Weiters’ Gallery, p. F92) | Robert Browning (Weiters’ Gallery, p. 99) Matthew Arnold (Wicters’Goltery,p. F103) Gerard Manley Hopkins (Wirters’ Gotery, p.F106) Emity Dickinson (iiters’ Galery, p. FIV) | Walt Whitman (Wiites’ Gallery, p. F116) David Copperfield (p. F2) Hard Times (p. F9) Wuthering Heights (p.F17) Jane Eyre (p. F26) Silas Marner (p. F34) The Strange Case of Dr Jeckyll and Mr Hyde (p. Fal) The Picture of Dorian Gray (p. F48) Tess of the d'Urbervilles (p. F56) The Scarlet Letter (p. F65) Moby Dick (p. F72) Huckleberry Finn (p. F79) portance of Beir este 18) F1 I Fall into Disgrace (p,F2) F2 Our Housekeeping (p.F6) F3 The One Thing Needtul(p. 19) F4 The Keynote (p. F13) FS Lam Heathcif(p. F17) 6 Her Presence Was with Me (p. £22) £7 My Soul Began to Expand (p. F26) FB 1 Will not Be Yours (p. F29) £9 Old Master Morner(p. F34) F10 Our Life Is Wonderful (p, F37) FI1 Dr Lanyon’s Narrative (p.F41) F12 Henry jekyl’s Full Statement of the Case (p. F45) F13 Beauty s a Form of Genius (p.F48) F14 It ls the Face of My Soul(p. F51) F1S The Gil inthe Pink Cotton Jacket (p. F56) F16 It ls Stonehenge! (p. 59) F17 The Light that Is to Reveal all Secret (p. F65) F18 A Spell Wos Broken (p. F68) F19 It ls Moby Dick Ye Have Seen (p. 7 F20 Polly-Voo-Franzy (p. F79) F21 ‘TW Go to Hel’(p. FB2) @F22 Break, Break, Break (p. F87) 23 Morte d’Arthur (p. F90) @ F24 My Lost Duchess (p. F93) F25 Home-Thoughts, from Abroad (p. #96) @F26 Dover Beach (p. F100) @ F27 Pied Beauty (p. F104) FRB A Bid Came Down the Wok (1 F29 Because I Could not Stop for ‘Deat? (p.F109) 30 When | Heard the Leared Astronomer (p. F112) H E31 0 Coptain! My Coptain!(P.F) F321 Wes Found n a Handbag (1es Fiction = novel of ‘initiation Fiction - novel Fiction - romantic novel Fiction - novel of initiation Fiction ~ novel Fiction - horror story Fiction — aesthetic novel Fiction - regional novel Fiction - novel Fiction - novel, Fiction - novel of initiation Poetry - elegy Poetry - elegy Poetry ~ dramatic monologue Poetry Poetry - dramatic ‘monologue Poetry Poetry Poetry Poetry ~ free verse Poetry Drama - comedy of Gg "| Parents and children Marriage Education The environment Love and marriage Love and obsession Injustice and rebellion Love denied Greed The power of love Thirst for knowledge Good and evil Beauty Pride and corruption Social ostracism Retribution Conscience Moral courage ‘Obsession/revenge The art of argument Conscience Mourning Death Jealousy Homesickness Love in changing times Nature Nature Death Nature and science Heroes snobbery Table of Contents 37 aera Extended metaphor (p. F5) Revealing character through physical description (p. FIT) Plot (p. F24) Dialogue to reveal character (pF) Omniscient obtrusive narrator (-¥39) Doppelganger (p. F46) Paradox (p. F50) ‘symbolic setting (p. F62) Pathos (p. F70) symbolic names (p. F77) ‘The naive narrator (p. F84) Punctuation (p. £88) Dramatic monologue (p. F95) Mood (p. F102) Style (p. F105) Style (p. F110) Free verse (p. F113) Creating a character (p. F123) ae pers Visual Link F5: Education Link to the world of music: Another ‘Buick in the Weil by Pink Floyd (p, F12) ‘Visual Link F3: The Poor Link to the world of music: iduthering Heights by Kate Bush (p.F25) Visual Link F9: The Brontes Link tothe world of musle: Money by Pink Floyd (p. F37) Visual Link F3: The Poor Visual Link F12: Art Nouveau Visual Link F3: The Poor ‘Visual Link F6: Victorian Morality Visual Link F6: Victorian Morality Visual Link F7: Sentimentality Visual Link F11: The USA: Slavery and the Civil War Link to the world of music: (Sitting ‘on) the Dock of the Bay by Otis Redding (p. F89) Link to the world of music: Lonesome for a Place | Know by Everything But The Girl (p. F98) Visual Link FB: A Crisis of Faith Visual Link F11; The USA: and the Civil War saeThe Victorian Age 1837-1901 PS The Context (p £124) Historical and Social Backgroun! The ictovin Age 1837-1901 (p. F12 Main events: Britain 1837-1901 (p. North American History 1823-19 Pieces of the Past The Getty Main events: North Amenica 18; Early Twentieth Century and Modernism 1901-1950 Henry ames The Turn ofthe Screw GUA ving Detestobe, Dangers (Writers’ Gallery, p. G8) (p.G2) Presence (p. G2) G2 Tae Me Avay rom Het!(p. 5) HG. Wells ‘The War ofthe Worlds G3 ‘Here They ae (p. C9) (Wites Gofey, p.c14) | (p. G8) Joseph Conrad Heart of Darkness G4 Dorkness Wos here Yesterday, G (Wters’Galery,p.G22) | (p. G18) GS ‘The Horr! The Horot(p, G18) EM. Forster ‘ARoom with a View (G6 The Sensation of a Fog (0. 28) (Winters Gallery, p.G31) | (p. G24) G7 The Good Man (p. G28) Dil. Lawrence Sons and Lovers (p. 32) C8 "Will oll Him Paut'(p. 32) (Whites’ Galery, p. G39) C9 "You're Old, Mother'(p. G38) James Joyce Dubliners (p. G41) G10 Araby (p. G41) (rts Cole, p. 652) Urysses (G48) QGI Yes(p. C48) Virginia Woott Tothe Lighthouse G12 Why Mast They Grow Up? (p. Gt (Witers’ Galery, p.G60) | (p. G54) G13 The Formidable Ancient Enemy (0.58) George Orwell Nineteen Eighty-Four G14 Big Brother Is Watching Yu (.< (Whters’ Gaflery,p.G70) | (p. G62) G15 ‘How Many Fingers, Winston” (. G65) F. Scott Fitzgerald The Great Gatsby (p.G72) | G16 tim Gotsoy‘(p.672) (Wters’ Galery, p. G79) G17 “The Poor Son-o-a-itch (pC Ernest Hemin« A Farewell to Arms G18 | Wos Through (p. G80) (Writes Gallery, p.88) | (p. G80) G19 Pleose don't Let Her Die(p. G84) Wiliam Faulkner The Sound and the Fury ‘G20 She Smeled lke Trees (p. 691) (Writer Galey, p.c97) | (p. G90) 21 Pride about My Knots (9.34) John Steinbeck ‘The Grapes of Wrath, G22 The Grapes of Wrath (p. G98) (Witew Gate p.c106) |p. c98)" Oe ‘ G23 ‘He's Dyn, Tell You!(p.G10})Table of Contents The Literary Background (p. £130) Victorian Literature (p. F130) Pleces of the Past Oscar Wilde's Trial (p_ £134) Visual Link F&: The Victorian Family ‘Visual Link F2: The Middle Classes Visual Link 3: The Poor Visual Link FI: The Depiction of Victorian Society Visual Link F5: Education Visual Link F11. The USA: Slavery and the Chal War Visual Link F10:Vitoran Architecture | Visual Link F&A Crisis of Fath | Visual Link F13: The End of the Century Meanwhile, Elsewhere (p. F135) ring te aussian Literature: North American Literature (p. F141) Pleces of the Past Emily Dickinson (p. F143) Tolstoy (p. F135) Cross-Curricular Link: Literature and Society (European literature) (p. F144) Fiction ~ ghost story ion ~ science fiction Fiction ~ novel Fiction - novel of initiation Fiction - short story Fiction - modernist novel Fiction - modernist novel Fic novel ~ dystopian Fiction — novel Fiction - novel Fiction - novel Fiction - novel Supematural/tear ‘Adults and children Alien invasion Givlisation Colonialism Social mores Sell-ealisation Mother and child Mother and son Adolescent love Recollection Mother and children The creative process Totalitarianism Torture/brainwashing Heroes Death and disillusionment War Love and death Diversity Dwversity Capitalism Desperation Limited point of view (p. G7) Science fiction (p. G12) Symbols (p. G18) Setting (p. G30) Dialogue (p. G38) Epiphany (p.. G47) ‘Stream of consciousness (p. G51) Characterisation (p. G57) Utopia and dystopia (p. G68) Fist-person narrators (p. G78) Style (p. 687) Interior monologue (p. G93) Free indirect speech (p. G102) Visual Link G1: The ‘New Woman’ Link to the world of musie: Starman by David Bowie (p. G13) Visual Link G4: The Exotic Visual Link G3: The Changing Class System Visual Link G3: The Changing Class System. Visual Link G13: Mal de Vivre Visual Link G14: Women Artists Visual Link G19: Modemist Sculpture Visual Link 620: Totalitarianism Link to the world of music: Sexcrme by The Eurythmics (p. G69) Visual Link G16: Urban America Visual Links G7, G8, G9, G10: The World War Visual Link G17: Rural America and the Depression Link to the world of music: The Ghost of Tom Joad by Bruce Springsteen (p. G105)PTR Ex ™ Table of Contents William Butler Yeats: Go (inten Gan; p. G11) Early Twentieth Century and | a ce proone Modernism | Rupert Sroat 1901-1950 Siegfried Sassoon {iiters’ Galery, p. G12) TS. Eliot (Witers’ Galery, p. G130) WH. Auden ((viters' Galery, p. G138) Dylan Thomas (iiters” Galery, p. C144) Robert Frost (Writers’ Galery, p. G148) Wallace Stevens (iriters’ Gary, p. G11) G.B, Shaw Pygmalion (p. G152) ' (Wniters’ Gatery, p. G1S6) Arthur Miller Death of a Salesman (Unters’Gallery, p.G165) | (p. G157) The Context (p. 167) Historical and Social Background (p. C167) Britain 1901-1950 (p. G167) Pieces of the Past Blood, Toil, Tears and Sweat (p. G168) Main events: Britain 1901-1950 (p. G172) North American History 1900-1950 (p. G173) Pieces of the Past Riding the Rails (p. G175) Main events: North America 1901-1950 (p. G176) QCM Lovter 1976 (p. 6107) G9 GBS He Hires for the Cloths of Hea p.anniy 49.G26 Tie Wid Sivans at Coole fp. Gy GIT The Soldier (p. G7) @ G28 Dake et Deconum Est(p. G18) G29 Base Detais (p. G120) G30 The Love Song of. Aled Prt (p. Gi24) @ G31 Funerol Blues (p. G132) 632 Refugee Blues (p. G134) G33 In My Cratt or Sullen Art (p. G13 G34 Do not Go Gentle into That Goo Night (p. G141) © G35 The Road not Taken (p. G14) G36 Disilusionment of Tem O'Clock (p. G49) @ G37 Eliza’s Fist Pronunciation Lesson (p.G152) G38 He just Wants You to Mate Goo (p.G157) G39.1'm a Dime a Dozen and so Are (p.G161)Poetry Poetry Poetry - sonnet Poetry Poetry ~ sate Poetry — dramatic monologue Poetry Poetry ~ blues Poetry Poetry -villanelle Poetry Poetry Drama - comedy Drama - modem tragedy Rebellion Romantic love Nostalgia/nature Patriotism War/death Absurdity of war Alienation Bereavement and mourning Ostracism Creative process Death Decisions Conformity Class division Work/ambition Generational conflicts 3 Table of Contents 7 Teo ues Refrain (p. G111) Visual Link G6: Dublin, 1916 Link to the world of music: Your Song by Elton John (p. G112) Visual Links G7, G8, G9, G10: The First World War Theme (p.G121) Conceit (p. G129) Visual Link G11: The End of the War Visual Link G13: Mal de Vivre Blues poetry (p. G137) Visual Link G18: The Spanish Civil War Euphemism (p. G143) Literal and symbolic meaning (9.6147) Denotation and connotation (p.G150) Character portrayal (p. G155) Visual Link G1: The ‘New Woman’ Set and props (p. G160) Link to the world of music: Father and Son by Cat Stevens (p. G164) The Literary Background (p. G177) British Literature (p. G177) Pleces of the Past The Language of Politics (p. G180) Meanwhile, Elsewhere (p. G183) Pieces of th tt Global Poetry (p. G186) North American Literature (p. G188) Visual Link G1: The ‘New Woman’ Visual Link G2: Votes for Women Visual Link G3: The Changing Class System Visual Link G6: Dublin, 1916 Visual Links G7, G8, G9 and G10: The First World War Visual Link G20: Totalitarianism Visual Link G21: The Movies Visual Link G16: Urban America ‘and the Jazz Age Visual Link G17: Rural America ‘and the Depression Visual Link G4: The Exotic Visual Link GS: Cubism Visual Link G12: Dada and the End of Logic Visual Link G13: Mal de Vivre Visual Link G14: Women Artists {Link to French Literature: Marcel Proust (p. G183) ‘Cross-Curricular Link: War Poets (French, Italian, German poetry) (p.G192)1 1 iy , The Contemporary Age AUS William Golding Writers’ Galery, p. H9) Graham Greene Writes’ Galery, pH18) Muriel Spark (Witers” Gotery, p. H23) David Lodge (Wiers‘Gatery,p. H28) Angela Carter (Witers‘Catery, p. #35) lan McEwan, (Writers’ Gallery, p. 442) Roddy Doyle (rites Caley p. 49) Seamus Deane (Writers Gallery, p. H55) Jack Kerouac Writers’ Gallery, p. H62) Toni Morrison (Wrters’ Gallery, p. H68) Chinua Achebe (Whiters‘ Galery, p. H76) Nadine Gordimer (Writers' Galery, p. H85) Doris Lessing (Wrtes’ Gallery, p. H89) Michael Ondaatje (Witers’ Gallery, p. 197) Margaret Atwood (Witers’ Gallery, p. W102) Salman Rushdie (Writers Gatlery, p. W107) Philip Larkin Writers’ Gallery, p. 113) Stephen Spender (Whiters’ Gallery, . H116) RS. Thomas (Wrters’ Gollery, p. 119) Ted Hughes (Writers’ Gallery, p. H125) Seamus Heaney (Writers Galery, p. H132) Wendy Cope (Wirters’ Galery, p. 1134) Tony Harrison (Witers’ Galery, p. H138) Lord of the Flies (p. H2) ‘Our Man in Havana (p40) ‘The Prime of Miss Jean Brodie (p. 119) The British Museum is Falling down (p. 124) Wise Children (p. H29) Black Dogs (p. 36) The Snapper (p. 143) Reading in the Dark (p. 450) On the Road (p. HS6) Jazz (p. H64) Things Fall Apart (p. H69) None to Accompany Me (p.H78) ‘The Fifth Child (p. H86) ‘The English Patient (p. 190) Cat's Eye (p. H98) Midnight's Children (p. 1103) HI Have Seen the Boca 1) Hi ‘Vin Chie! (p. H6) H3 Sevcphine (p. H10) Ha An Imaginative Wter (p. HIS) 15 Putting ideos into My Girls" Heads (p. H19) H6 ‘Whos o Transvestite, Daddy?" (p. #24) H7 Your Lovely Daughters (p. H29) H8 The kind of Day Things Happen (p. 132) H9 ‘Coloured, invisible Light (p. H36) H1O A Revolution of the Inner tite (p. #39) HIT Who Was It? (p. H43) H12 Going to the Pictures (p. HS0) H13 Al the Golden Land's ahead of eu (p-H56) H14 The Source of Mankind (p. H60) HIS It Does Pump Desie(p. H64) H16 The Mon Wos Mad (p. H69) HI7 ‘What Do You Want here?" (p. H72 HIB Toke back Your Language (p. 473) H19 Empowerment for Our People (p. 482) H20 The Worst Year of Hart's Lite (p. 186) Hal ‘Keep Very Still (p. H90) H22 ‘If Writers Have Wings’ (p. H94) H23 Cordelia Is My Friend (p. 199) H24 The Seeds of o Future (p. H103) @H2S Nex, Please (p. H108) H26 Toads (p. H110) @H27 I Think Continually of Those whe Were Truly Great (p. H114) QH2E Afnity (p. 1117) H29 Thrushes (p. H120) @H30 Fingers (p. H123) H31 Bye-Child (p. 4126) @ H32 When All the Others (p. H129) @ H33 Field of Vision (p. H130) QH34 Advertisement (H133) @H35 The Moming Atter(p. H135)Fiction - novel Fiction - novel Fiction - comic novel Fiction ~ magic realism Fiction — novel Fiction - regional novel Fiction - initiation novel Fiction picaresque novel Fiction novel Fiction - regional novel Fiction - novel Fiction ~ novel Fiction ~ novel Fiction - novel of initiation Fiction - magic realism Poetry Poetry Poetry Poetry Poetry Poetry Poetry Poetry ~ sonnet Poetry Poetry Poetry peeeoets Spoiltchléren Dissimulation Education Embarrassment Parents and children Magic Fear/revelation evil Parents and children Adolescence Travelling Civilisation The city Colonialism Cross-culture Power and responsibilty Childhood/evil Love and war Love Bullying Superstition/supernatural Expectations Work Heroes Spirituality Single-mindedness Love Social ostracism ‘Mather and son Wisdom ‘Advertising War Table of Contents (eer Allegory (p. HB) Limited omniscient narrator (p.M13) Omniscient narrator (p. 22) Humour (p. 427) Magic reais (p. H32) Symbols (p. H41) Dialogue (p. #48) Fistperson narrators (p. H54) Spontaneous prose (p. H59) Syntax (p. H67) Rhythm (p. H74) Symbols (p. H62) Suspense (p. 188) Omniscient third-person narrator (9.496) The naive narrator (p. H101) Obtrusive narrator (p. H106) Truelimpertect rhyme (p. #112) Diction (p. 11122) Free verse (p. H128) Sound features (p. H137) Visual Link HY: 1945, Visual Link M6: The Cold War Visual Link HI6: Magic Realism Visual Link H18: Postmodernist Architecture Visual Link 5: Angry Young Men Link to the world of musle: Cortez the Kier by Neil Young (p. H75) Visual Link HI: The End of the Empire Visual Link H12: Multicultural Briain Visual Link H11: The End of the Empire Visual Link H11: The End of the Empire Visual Link H16: Magic Realism 9ae jo ©=- Table of Contents I UOLS Derek Walcott (Wtiters’ Galery, p. H144) 136 Love aller tove(p. 139) oH? Lives (@. H141) | #38 Miror (p. H145) | The Sylvia Plath is | ieee jomerip- ypetmarket in Colfomi Contemporary | jien cinsberg GUO A Supermorket in Clitmia py Age (Writers Gallery, p.H152) | HAO What Is Terible sto Hove (p. #1153) Us, Samuel Beckett Waiting for Godot iters’ Gallery, p. H162) | (p. 4153) aes cae PP Ha1 Weil Hang Ourselves Tomorray | (p.H157) John Osborne Looking Back in Anger 142 God, How I Hate Sundays! (py (Writers’ Gallery, p. H168) | (p. H163) Harold Pinter ‘The Careker (p. H169) GH43 We're Going to Do Something in (Wrters’ Gallery, p. H173) Your Brain (p. H169) Alan Bennett The Madness of H44 ‘Am the King’(p. H174) George Ill (p. H174) ‘The Beatification of Area HAS It's the Principle of the Thing Boy (p. H180) (p. H180) (Writers' Gallery, p. H179) Wole Soyinka Writers” Galery, p. H185) The Context (p. 11186) Historical and Social Background (p. H186) Britain 1950-The Present (p. H186) Pieces of the Past Multicultural Britain (p. H190) Main events: Britain 1950-The present (p. H191) North American History 1950-The present (p. H192) Pieces of the Past john Fitzgerald Kennedy (p. H193) Main events: North America 1950-The present (p. H195) Visual Links pp. F1-H22 Glossary of Literary Terms 7 LvLove | Race/violence Sprmbo!s(p. H143) Ageing Persona (p. Hi47) Values Allusion (p. H151) | Drama theatre of | Alienation Timing (p. H156) the absurd Alienation Drama-modem | Anger and disillusionment Social milieu (p. 167) tragedy Drama-modem | Alienation Lighting (p. H172) tragedy Drama-comedy | Madness Movements and positioning (#178) Drama Corruption post- Have a class discussion about relationships between mothers and n sons. Sons and Lovers by D.H. Lawrence » Read, understand and analyse two texts trom an early 20th-century novel Text GB (p.G32) » Analyse setting and the emotional bond between mother and child Text G9 (p. G35) » Analyse dialogue and the relationship between mother and son, ‘Out (p. G38) > Express your opinion on what happens in the text. Writers’ Gallery (p. G39) » Find out about the author’ if, Stage 2 ~ Material Assignments Lead in (p. G41) » Think of examples of what people do when th rey are infatuated. Araby by ames Joyce (Text G10, p. Gs) | » Read, understand and analyse a complet ery 20th cent shor so Writers’ Workshop (p. G47) > Understand what an epiphany is mt » Try torte an alternative epiphanic ending to the story, Writers’ Gallery (p. G52) » Find out about the author's life Literary Background (p. G181-182)_| » Extend your knowledge of what was happening in the field of fetion in this perodwe ON aca heatee ean B Modular Paths sroge 3 = ees Material Assignments The Wild Swans at Coole > Listen, read, understand and analyse an early 20th-century poem. WB. Yeats » Focus on what the swans symbolise. (Text G26, p.G113) ‘Out (p. G114) » Tell the class about a beautiful place you often return to. Writers’ Gallery (p. G115) > Find out about the author's life, Literary Background (p. G184-185) » Extend your knowledge of what was happening in the field of poetry in this period. Stoge4 Material Assignments Lead in (p. G54) > Reflect on the idea of introspection. To the Lighthouse by Virginia Woolf » Read, understand and analyse two texts from an early 20th-century novel. Text G12 (p. G54) » Analyse stream of consciousness and the character of the protagonist Text G13 (p. G58) » Analyse the theme of artistic creation. ‘Out (p. G59) >» Discuss your own creative urges. Writers’ Workshop (p. G57) > Understand what the intemal presentation of events i ‘Writers’ Gallery (p. G60) » Find out about the author's life. stage $ Material Assignments ‘Lead in (p. G124) > Write down a list of images from your daily routine. The Love Song of J. Alfred Prufrockby | » Read, understand and analyse a 20th-century poem. TS. Eliot » Look for allusions in the poem. (Text G30, p.G124) Out (p.. C129) » Give your awn opinion on the character of Prufrock. x pi Historical Background (p.G167-172)__| » Explore the historical background to the works you have studied Extensions: Meanwhile, Elsewhere (p. G183) » Analyse a short text by Marcel Proust. Visual Link GS, » Study an example of cubist art and see how it inks to with the literature of the time. GENRE APPROACH When you study a genre or sub-genre you learn how to recognise it and you get to know the techniques which are specific to it. You also see how the genre or sub-genre developed in different historical periods and you study a variety of texts that reflect the periods in which they were written, Plan of a module based on genre Topic: ‘The sonnet. Objectives: To learn what a sonnet is and what distinguishes a sonnet {rom other poetic forms. To reach an understanding of the contents of sonnets. To build up an appreciation of how form relates to content. To show how a fixed poetic form can be used to deal with widely different themes, To study sonnets from different periods. To discuss some of the issues raised in the sonnets. Basic level: Stages 1-3 Time: 8 hours Advanced level: Stages 1-5 Time: 12 hours Stage 1 Material ‘Assignments Module A * Lear about the sonnet form and recognise the rhyming scheme, ‘The Sonnet (p. A21) > Understand the central idea in the sonnet. ‘Shall | Compare Thee > Identify the main features ofthe sonnet. by Wiliam Shakespeare > Recognise how the sonnet form is suitable for love poetry. Extension: Visual Link C6 > Link the sonnet to other artistic forms of the period.© Read, understanel an analyse a 8 Listen to and recogni + Talk about how ta commiemorate peopl » Listen, Recognise the musicality in the sonnet, » Exchange signilicant childhood memories. > Read, understand and analyse a + Explain what each quate » Identify the rhyme scheme of the sonnet. % £61) ‘ +i Assignments ‘by John Donne » Find out the poet's attitude to God. D1, p- D2) » Identify opposites, enjambement, » Find conceits in songs and write your + Think about your owm attitude to discipline Extension: Meanwhile, Elsewhere (p. C62) + Analyse a sonnet by Petrarch, et written in the Romantic Age. Ihe musical aspects of the sonnet ead, understand and analyse a modern sonnet, » Work out the meaning of each part ofthe sonnet sonnet written in the Romantic Age, the final couplet of the sonnet mean. > Recognise how the sonnet form can be used to expres ‘out about famous people who died young. short hie. allery (p. £62) + Find out iow much Keats achieved in hi > Listen, read, analyse and understand a sonnet writen in the Puritan Age. > Appreciate the use of powerful, direct language. ternal thyme and broken rhythm. > Undeistand ancl examine conceits in the poem. cvs conceit 45 intense personal emotions. nd self-discipline. Ina module based on theme you study how o throughout the ages in Fiction, Poetry and Dra viewed the same issue at different times ite about the theme yoursell, Je based on a theme ices of love. y Plan of a mot Topic: ‘The many Objectives: To analyse To study how different authors dea ‘To examine the theme of love In songs To write and talk about issues related to the texts. 4 Time: 10 hours Adva Basic level: «of the universal themes in literature has been dealt with na, You have the chance to sce how gre: and in greatly differing contests. You will the theme of love in literature throughout the ages. alt with the theme of love In poetry, and compare songs to literary works. ed Level: vat writers have also be able to talk ant fiction and drama 5 Time: 15 hourstage 1 Material Modular Paths Assignments 15 He Wishes for the Cloths of Heaven by W.8. Yeats (ext G25, p. G11) Out (p. G12) Analyse the theme of pure, romantic love in a 20th-century poem. » Identify metaphor and references to light. Write down what you would give to a loved one, Extension: Link to the world of music (p. G112) Compare Eton John’s ‘Your Song’ to Yeats's poem, Stage 2 Material Assignments Lead in (p. C10) Romeo and Juliet bby William Shakespeare Text C2 (p. C10) | Text €3 (9. €13) Writers’ Workshop (p. C12) | out (p. C13) » Define what love is for you. » Read, analyse and understand two texts from a Renaissance play > Reflect on the intensity of the lovers’ passion » Trace how dramatic tension is built up in the text. » Think of examples of suspense in books, films ete > Focus on the theme of love and death, » Identity dramatic irony, personification and metaphor, » Talk about love between members of opposing groups. Extensions: Link to the world of music (p. C16) Visual Link €3 > Identity elements from the play in the Dire Straits song, ‘Romeo and Juliet’. » See how the theme has been dealt with in modern film versions. Writers’ Workshop (p. F31) Out (p. F31) Stage 3 Material Assignments Jane Eyre by Charlotte Bronté » Analyse the theme of love denied in a Victorian novel (Text FB, p.F29) » See how the protagonist’ characteris defined through dialogue. » Have a class discussion about acting on principle, Stage Material Assignments, Funeral Blues by W.H. Auden » Analyse the theme of love and bereavement in a 20th-century poem. (Text G31, p. G132) > Examine the images in the poem. » Listen to the poern and decide if t would make a good song. Stage S$ Material Assignments Lead in (p. 490) > Think of novels, films ete. where wartime romance isa theme, The English Patient » Read, analyse and understand two texts from a 20th-century novel, bby Michael Ondaatje Text H21 (p. H90) » Analyse the there of love and danger. Text H22 (p. H94) » Analyse the theme of love across time and distance. Out (p. 196) » Think and talk about the special bonds that exist between people who are in love.16 Modular Paths A module based on C Topic: CRITICAL/ANALYSIS: ical Analysis allows you to see literature from the You to examine the way great writers shape their thoughts into lang experimenting with some of the techniques they use in your own cr understanding of how literary texts work and a fuller appreciation of the art Plan of a module based on ¢ Narrators and Point of View. eespective. It encoyy 1ves you the opportun, ing. Walso gives you ay. i writing. ical analy Objectives: To learn terms such as first-person narrator, third-person narrator, omniscient narrator, obyy, narrator, fallible narrator. ‘To understand how the choice of narrator or point of view can influence the impact ofa, To recognise what type of narrator is employed in a text. To experiment with different types of narrators and points of view in your own creative writ, Basic level: stages 1-3 Time: 12 hours Advanced level: stages 1-5 Time: 20 hour, Stage 1 Material Assignments Module A — Narrators and Point > Learn important and useful terms relating to narrative technique. of View (p. AS6) > Leam key questions to ask when analysing narrative technique. Case study 22 (p. ASB) Case study 23 (p. AS9) » Examine examples of different types of narrators. > Examine an example of free indirect speech in a short story. Out (p. A61) > Adopt different points of view in everyday experience. Stage 2 Material Assignments Robinson Crusoe by Daniel Defoe (Text D10, p. D44) Writers’ Workshop (p. D47) » Read, analyse and understand a first-person narrative in an 18th-century novel > Link the first-person narrator to other forms of literature such as journals, travelogues > Experiment with first person point of view in your own creative writing, (Text F10, p. F37) Writers’ Workshop (p. F39) Stage 3 Material Assignments ‘Silas Marner by George » Analyse a third-person omniscient and obtrusive narrator in a Victorian novel > Identify narratorial intrusions in the text and understand their purpose. > Experiment with narrative technique by adding further narratorial intrusions toate Extension: Midnight's Children by Salman Rushdie (Text H24, p. H103) > Examine an obtrusive narrator in a contemporary novel. (Text D13, p. D59) Writers’ Workshop (p. D62) Stoge 4 Material Assignments Gulliver's Travels by Jonathan Swift » Analyse a fallible or unreliable narrator in an 18th-century novel. » Appreciate the role of the unreliable narrator in creating irony and satire. » Experiment with point of view in a text that contains an unreliable narrator. Stages ‘Material Assignments The Great Gatsby by F Scott Fitzgerald (Texts G16-G17, pp. G72-G75) Writers! Workshop (p.G78) > Explore the use of a minor character as a first-person narrator and the impacto" narratorial choice on the reader. » Contrast main character and minor character narrators. » Experiment with changing point of view in creative writing.THE VICTORIAN AGE © GINOHOYKKO~D 1837-1901 “Wandering between two worlds, One dead, the other powerless to be born.” From the Grand Chartreuse, Matthew ArnoldMyou were to write a short The following questions wil Victorian Fiction: ‘i David Copperfield by Charles Dickens account of your childhood, what would you include? help you. 1, What are your happiest memories of childhood? 2 What do you remember about your early years at school? 3. Were you particularly close to any adults as a child? ‘4 Were you afraid or intimidated by any adults as a child? 5 Can you remember any funny things that happened to you? INTRODUCTION © Charles Dickens and his works have become Many of his novels came out viewers today await the next episode of their favourite serial or lity to write gripping, sentimental stories filled novels are a det [CHARACTERS™ * David Copperfield Clara, his mut ther = Mr Murdstone, his stepfather * Miss Murdstone, Mr Murdstone’s sister + Dora, David's Jip, David and ‘Dora's dog > Visual Link FS —— cLossary parlour: sitting wife 2. slate: small board used to write on with, chalk casy-chair: st putt hale 1 steel bead tiny round. balls made of steel ontoa string been al pains: tried very hard sliding away disappearing by the by: by th way synonymous with Victorian England. instalments and were awaited by his readers as eagerly as soap-opera. His popularity lay in his abi- h memorable characters. On a more serious level, his montht led account of both the good and bad sides of Victorian life. Tue story Following the death of his ther, David's mother, Clara, remasries. She dies soon after, so David is left in the care of his cruel and tyrannical stepfather, Mr Murdstone, and his just as unpleasant sister, Miss Murdstone. (» Text F1). David runs away and starts to build a life for himself. He continues his studies in Canterbury and fins a job as a clerk in London. He does not like his job but he has a wile range of contacts and friends, among whom the most memorable are the impecunious but Jovable Mr Micawber, and the conniving, greedy Uriah Heep. He marries Dora (m Text ¥2), a pretty but silly gil, and launches out on a new career as @ writer, When Dora dies, he marries his lifelong friend, Agnes, and becomes a successful writer. om I Fall into Disgrace David remembers what his lessons used to be like when he studied at hom: presence of his mother, Clara, Mr Murdstone an N nthe ‘Murdstone, Let me remember how it used to be, and bring one morning back again. I come into the second-best parlour! after breakfast, with my books, and an exercise-book, and a slate. My mother is ready for me at her writing- desk, but not half so ready as Mr Murdstone in his easy-chair’ by the window (though he pretends to be reading a book), or as Miss Murdstone, sitting near my mother stringing steel beads*, The very sight of these two has such an influence over me, that I begin to feel the words I have a at infinite pains’ to get into my head, all sliding away®, and going | don’ know where. | wonder where they do go, by the by”? JDavid Copperfield - Charles Dickens | T hand the first book to my mother, Pethaps it is a grammar, pethaps a history, oF geography. I take a last drowning’ look at the page as I give it into her hand, and start off aloud at a racing pace while !have got it fresh. 1 trip over? a word. Mr Murdstone looks up. I trip over another Word. Miss Murdstone looks up. I redden, tumble over! haif-a-dozen words, and stop. | think my mother would show me the book if she dared, but she does not 20 dare, and she says softly: “Oh, Davy, Davy!" ‘Now, Clara,’ says Mr Murdstone, ‘be firm with the boy, Don't say, ‘Oh, Davy, Davy!’ That's childish, He knows his lesson, or he 25 does not know it.’ ‘He does not know it,’ Miss Murdstone interposes awfully. ‘Lam really afraid he does not,’ says my mother, 30 ‘Then, you see, Clara,’ returns Miss 3 e : “As to ony recreation wil Murdstone, ‘you should just give him the ooo emer book back, and make him know it,’ ‘Yes, certainly,’ says my mother; ‘that Thad very tle of that.” is what | intend to do, my dear Jane, Now, Davy, try once more, and don't on eesitaie oe be stupid.’ 38 Tobey the first clause of the injunction by trying once more, but am not so successful with the second, for lam very stupid. I tumble down"? before I get to the old place, at a point where I was all right before, and stop to think, But I can’t think about the lesson. | think of the number of yards of net in Miss Murdstone’s cap, or of the price of Mr Murdstone’s dressing- 40 gown'®, or any such ridiculous problem that I have no business with, and don’t want to have anything at all to do with, Mr Murdstone makes a movement of impatience which I have been expecting for a long time. Miss Murdstone does the same. My mother glances submissively at them, shuts the book, and lays it by" as an arrear!’ to be worked out when my 45 other tasks are done. ‘There is a pile of these arrears very soon, and it swells'® like a rolling snowball. The bigger it gets, the more stupid I get. The case is so hopeless, and | feel that Lam wallowing in such a bog!” of nonsense, that I give up all idea of getting out, and abandon myself to my fate. The despairing way so 8. drowning: desperate pat ofthe request 2 Sus aFTeORWOREAIN BUS 9. teip over hesitate in saying .tumbledown: get confused dome Totunticrversyins Atdrasinggownlngioose162NeS becomes Bigger and "conte wy ca won done bier 17. wallowing .. bog: rolling ‘over in 4 muddy pool clause of the injunction: H4.lays it by: puts it aside 3214) THE VICTORIAN AGE- Fiction \yis ‘Claray’ ising word 20.colours . faintly: ‘goes slightly red in the fe 21, boxes: hits 22. appalling sum: hateful maths probtem 23. pore over give all my attention to 2.vwretched, unfortunate 25.endure: tolerate 26.untasked: with nothing todo 22.rashly: foolishly 28. clapped down to; “obliged 10 do 29.swar 30for the Disciples: the Murdstones, who cre religious, believed that sl children were bad ‘even though there vas a child among Chis’ disciples in the bible evening, much gained but di of an appalling sum??, ‘his i by Mr Murdstone, and begins, 1 yo into a cheesemonger's shop, and buy five thousand double-Gloucester cheeses at fourpence-halfpenny each, present payment’ ~ at whi pore over”! these cheeses without ny result or dinnertime, when, having made a Mulatto of myself by getting the ditt of the slate into the pores of my skin, I havea slice of bread to help me out It seems to me, at this distance of t Benerally took this course, I could have done very well if | had been ut the influence of the Murdstones upon me was like the fascination of two snakes on a wretched?! young bird, Even when I did get through the morning with tolerable credit, there was not "; for Miss Murdstone never could endure to see 75 me untasked”’, and if | rashly?” made any show of being unemployed, called her brother's attention to me by saying, ‘Clara, my dear, there's nothing like work - give your boy clapped down to” some new labour, there and th with other children of my age, I had very little of that; for the gloomy #0 theology of the Murdstones made all children out to be a swarm”? of little vipers (though there was a child once set in the midst of the Disciples™), without the Murdstones; in which my mother and Hook at each other, as 1 blunder on stu melancholy. But the greatest effect in these miserable fessoms 1s when my ‘mother (thinking nobody is observing her) tries to give me the eue! the motion of her tips. At that instant, Miss Murdstone, who has beep "8 in wait for nothing else all along, says in a deep warning voice: « by My mother starts, colours, and smiles faintly. Mr Murdstone comes ut OF his chair, takes the book, throws it at me or boxes?! my ears with it, and turns me out of the room by th Even when the lessons are done, the worst is yet to happen, in the shape yy shoulders vented for me, and delivered to me orally 1 I sce Miss Murdstone secretly overjoyed, | Alightenment until — 4 with the cheeses, and am considered in disgrace for the rest of the ne, as if my unfortunate studies 1 exercise’; which caused me to be As to any recreation 31. held: believed L and held" that they contaminated one another. + ge ess — COMPREHENSION —-———— — eee 1 Who is present in the parlour while David recites his lesson? What elfect does this presence have on him? 2 What does Miss Murdstone suggest that David's ‘mother should do? 3 Is David more or less successful the second time he tries to recite his lesson? What does he think about instead of concentrating on the lesson? 4 How does David's mother try to help her son? 5 What isthe ‘appalling’ task that David faces when the lessons are over? 6 How, in David's opinion, might his studies have | been differenti the Murdstones had not been present | at his lessons? 7 Why did the Murdstones not approve of David playing with other children?David Copperfield - Charles Dickens ANALYSIS = seca 1 Inthe passage, a first-person narrator® is speaking about his younger self. Identify the sentences in the passage that underline the distance in time between the point of narration and the moment events took place. nthe 2 Which verb tense does the narrator use to describe the lessons he had as a child? What effect does this choice of verb tense have on the narration? BL It makes it more vivid and dramatic. It makes it seem more childish. | Understanding 6 Consider presented by Mr Mu’ represented by David's mot Does the passage suggest that th jane, and wo er ang Miss Murdst fatus ef men and It makes it seem as though it happened recently. women was equal in nineteenth-century Britain? 3 Find evidence in the text that David's mother is Justity your answer by referring to the text intimidated by Mr and Miss Murdstone. Is David Critical of his mother's behaviour? 4 Focus on the characters of Mr and Miss Murdstone, a. What striking similet suggests the evil and predatory nature of their behaviour? bb. Where is it suggested in the text that Miss Murdstone derives sadistic pleasure from | tormenting David? . What associations do you make with the name Murdstone? 1 Tanke ode Extended —_ Anextended metaphor or simile isa metaphor or simile which is sustained over several metaphor _ jines in a passage or throughout an entire passage ‘Awriter uses words or expressions literally denoting one kind of object, idea or action in place of another fo suggest Keness or analogy between the two. The use of extended metaphors and similes, like al figurative use of language, adds a further layer of intellectual and emotional significance work. DEE ZSTCINREEET Charles Dickens establishes an association between speaking and walking/running in the following sentence. How? “Take alot drowning ook at the page as I give it into her hand, and start off aloud ata racing pace while Have got i fresh (Lines 12-15) How isthe paralel between speaking and walking/running extended in the next three lines? EEREECEREIEN Select atopic of interest to you (dancing, Music reading, love, a person you know) and compare it to something else in an extended metaphor or simile 1 Fist establish the association: My cat Sheeba is like o bal of fire. 2 Extend the metaphor or simile by using associated terms to continue your description: Her coat is made of flomes and coals, She brings me litle dead birds to show her love. She sits motionless eyeing her prey ~a glowing ember ready to spark into life. Then when the moment is ight she dart like aflame along spilt petrol. Have you ever fel lke David? Do you fel nervous or even intimidated when you do an oral test? Have you ever been so nervous that you could not speak? Tell your classmates. aTHE VICTORIAN AGE - Fiction Our Housekeeping | SLOSSARY David tells us how his wife, Dora, tried to come to grips with houschiold managereny 1. Accontin consequently 2. tablets: sheets of Dora told me, shortly afterwards, that she was going to be a w nderful ‘wood for writing on housekeeper. Accordingly!, she polished the tablets", pointed the pencil, 3. stitched up... bought an immense account-book, carefully stitched up with a needle and Wreadesenalred By thread? all the leaves of the Cookery Book which Jip had torn, and made so ngsub | quite a desperate itle attempt ‘to be good’, as she called it. But the figuresé 5. laborious items: | had the old obstinate propensity ~ they would not add up. When she had ifficult entries 6. wagging: moving left and right 20 entered two or three lab ems? in the account-book, Jip would walk over the page, wagging" his tail, and smear” them all out. Her own little right-hand middle finger got steeped* to the very bone in ink; and | think that was the only decided result obtained. Sometimes, of an evening, when Iwas at home and at work - for L wrote a good deal” now, and was beginning in a small way to be known as a writer =I would lay down my pen, and watch my childavife trying to be good. First of all, she would bring out the immense account-book, and lay it down upon the table, with a deep sigh. Then she would open it at the place where Jip had made it illegible last night, and call Jip up, to look at his misdeeds. This would occasion a diversion in Jip's favour, and some inking of his nose, perhaps, as a penalty. Then she would tell Jip to lie down on the table instantly, ‘like a lion’ ~ which was one of his tricks, though I cannot say the likeness! 2» was striking - and, if he were in an obedient humour, he would obey. Then she would take up a pen, and begin to write, and find a hair in it. Then she would take? up another pen, and begin to write, and find that it spluttered”, Then she would take up another pen, and begin to write, and say in a low voice, ‘Oh, it’s a talking pen, and will disturb Doady! And then she would give it up as a bad job, and put the account-book away, after pretending to crush the lion with it. ANY Or, if she were in a very sedate MY and serious state of mind, she MTT would sit down with the tablets and a little basket of bills and | ar dlay | 8 steeped soe | angele | » 1O.likeness: resemblance 11. splattered: dripped ink Another scene from the film David Coppertield (1970).David Copperfield ~ Charles Dick! other documents, which looked more like curl-papers!? than anything else, and endeavour!’ to get some result out of them. After severely comparing one with another, and making entries on the tablets, and blotting’ them out, and counting all the fingers of her left hand over and over again, backwards and forwards, she would be so vexed! and discouraged, and would look so unhappy, that it gave ine pain to see her bright face clouded — and for me! - and I would go softly to her, and say: "what's the matter, Dora?” Dora would look up hopelessly, and reply, ‘They wont come right. They make my head ache so. And they won't do anything L want!” ‘Then [would say, ‘Now let us try together, Let ‘Then I would commence a practical demonstration, to which Dora would pay profound attention, perhaps for five minutes; when she would begin to be dreadfully" tired, and would lighten the subject!” by curling my air, or trying the effect of my face with my shirt-collar turned down. If tacitly checked this playfulness", and persisted, she would look so scared and disconsolate, ne more and more bewildered'”, that the remembrance of her natural gaiety when | first strayed into her path? and of her being my child-wife, would come reproachfully upon me” and [would lay the peneil down, and call for the guitar. Thad a great deal of work to do, and had many anxieties, but the same considerations made me keep them to myself. | am far from sure, now, that it was right to do this, but J did it for my child-wife’s sake. I search my breast?#, and | commit?! its secrets, if | know them, without any reservation to this paper. The old unhappy loss or want?* of something had, Lam conscious, some place in my heart; but not to the embitterment of my life®®, When [ walked alone in the fine weather, and thought of the Summer days when all the air had been filled with my boyish enchantment, | did miss something of the realization of my dreams; but | thought it was a softened glory of the Past, which nothing could have thrown upon the present time. I did feel, sometimes, fora litle while, that Teould have wished my wife had been my counsellor; had had more character and purpose”, to sustain me and improve me by; had been cndlowed with2® power to fill up the void which somewhere seemed 10 be about me”; but [felt as if this were an unearthly consummation of my happiness, that never had been meant to be, and never could have been ‘as to years. [had known the softening influence of 's than those recorded in these leaves. If | ich, {did it in mistaken love, and in I me nothing to 1¢ show you, Dora.” as she bee Twas a boyish husband no other sorrows of experience did any wrong, as I may have done mu iy want of wisdom. I weite the exact truth It would av fate it"! now: ‘Thus it was that | took upon myself the toils" and cares of our life, and had no partner in them. We lived much as before, scrambling” household arrangements; but | had got used to those, and Dorn Lwvas pleased to see ~ was seldom vexed now. She was bright and Cheerful in the old childish way, loved me dearly, and was happy with her old trifles"®. exten oo m0 85 ens 7 12.eur- papers: pieces of paper that are putin frat to make it curt endeavour make 28 ‘tion bs.ptoting: ebbing Isivexed: annoyed Tédeeadtlly: tesibly the subject te tess ious sietiecked ths flaytunes: bept er Flaytal mood! unde to, perildered: confused o-strayed into her paths met her 21.would come... upon tect would fel fuity about 2a.childewife’s sake: out clove Yor her asearch my breast: Seplore my hear 2a.commit: entst 28.wants lack 26. the embitterment of my ie tothe point ttmaking my ie mmverabie 27.purpose: objectives 28 had been endowed twit posened 29.vold me: the icling of emptiness that I felt 7 30.uncarthly: unnatural BUA aval fxtenuate Hi would beot no advantage to menow tomake the Situation fook better ian it acteliy was 2 tolls hard work in reference tras regan 34 rambling: confused 35 tier: ie timportant matters gor SSTHE VICTORIAN AGE - Fiction COMPREHENSION 1 What did Dora mean when going ‘to be good’? (Line 5) 2. How did fp interfere with Dora's work? How did She punish him? What did she tel him to do while she worked on the household accounts? she said that she was 3 Why did Dora become ‘vexed and discouraged’? (Lines 44-45) 4 How long did Dora concent Shqwred her how to do the accounts? What id she Start doing instead of paying attention? Why WA David reluctant to reproach her for her behaviour? rate while David ANALYSIS) 1 Focus on the character of Dora. «a, Which of the following adjectives would you choose to describe her? Immature Childish 1m Stubborn 1 Responsible 1B Self-confident Playful Arrogant Other: : ind evidence in the text of Dora's: — desire to please her husband. ~ fear of angering him. 2 David seems to be torn between wishing his wife were more mature and reproaching himself for Wanting to change her. Find evidence of both of these aspects of his personality in the text. would you define the relationship between 3 How David and Dora? BA partnership of equals. BA father/child relationship. BA master/servant relationship. 5 Did David's sense of “loss ot want of something’ his ife bitter? What quafities did he ine 64) make sometimes wish his wite had? td ever truly be happy i < pid he believe that he would ever AY ppyin 1 his wife helped him David feel thal this world? Did and tasks of daily life? with the concern: “4 Underline the expressions which suggest that there f omething missing in Davi's life, Has marriage to Dora filled the emptiness in his life? in the text does the narrator make a 5 At which point he reader's understanding and direct appeal for t sympathy? Rynich of the following adjectives would you choose to describe the style of the passage? 1 Objective 1 Confessional 1 Poetic 8 Scien Bi lronic 1 Other: 6 How would you describe the tone Bt Melancholic mLAngry Bi Humorous Bitter Other: ic of the passage? oog David is older than Dora and feels sy mpathy for her much in the same way as an adult feels sym pathy for a child Do you think that a big age difference matters in relationships? What do you feel is an acceptable age difference? Isa relationship between an older man ant between an older woman and younger man? 'd a younger woman looked on in the same way by society one Do you know of any famous couples where there is or was a big age difference?Hard Times - Charles Dickens Hard Times by Charles Dickens In Vietorian England, schools tended to be drab, dreary places where pupils studied limited cu regime of unbending and punitive discipline (> Visual Link F5) ‘The situation has greatly changed today, though hardly any educationafist would claim th perfection. In groups of three, say what your perfect school would be like with reference to you the following information: ir own Lyf riculum under @ at we have reached pe of school. Include Daily and weekly timetable = Didactic and recreational facilities = The school year ~ Assessment of pupils = Number of subjects ~ Assessment of teachers = Which subjects? = Discipline Tur story. - = — \WeHARACTERST! ‘Thomas Gradgrind Isa leading citizen of Coketown (> Text FA), am industrial city in Saas Giga the north of England, He believes that life shoutd only centze around practical matters a Teaing cizen of anid that the use of te imagination is a time-wasting distraction from the serious world Cokie af factual reality > Text F3). His efforts to bring up his children according to these Grote principles, however, meet with disaster. His daughter's manage much older man, + Me choakument a teacher Mr Bounderby, which he strongly encouraged, collapses, white his som leaves the country in disgrace having robbed the loca! bank. Gradgrint finally atmits that his theores on life and how to bring up cildren have been proved wrons. The One Thing Needful Mr Gralrin expound his theories om education tothe pupils in Coketown School Chapter I - Book the first - Sowing {NOW, what I want is, Facts. Teach these boys and girls nothing but Facts, Facts alone are wanted in life Plant nothing else, and root out? everything alse, You can only form the minds of reasoning animals upon Facts: noth- ing else will ever be of any service to them. This is the principle on which T bring up my ovin children, and this is the principle on which I bring up these children, Stick® to Facts, si!’ ‘The scene was a plain, bare’, monotonous vault! of a school-room, and the speakers square forefinger emphasized his observations by underscoring® every sentence with a line on the schoolmaster’ sleeve, The emphasis was helped by the speaker's square wall ofa forehead, which had his eyebrows 10 for its base, while his eyes found commodious cellarage® in two dark caves, overshadowed by the wall. The emphasis was helped by the speaker's mouth, which was wide, thin, and hard set”, The emphasis was helped by the speaker's voice, which was inflexible, dry, and dictatorial. The emphasis was helped by the speaker's hair, which bristled on the skirts’ of his bald 15 > visual Link FS. aise +———__ 1. root out: destroy 2, Stick: limit yourself 3. plain, bare: ugly and with little furnishing 4. vault: with a very high cetling 5. underscoring: ‘emphasising 6. commodious Text F6). ‘Thnesicross Grange ‘Nelly Dean, the housekeeper at Wuthering Heights lam Heathcliff Nelly is singing quietly while Heathcliff is sitting and maybe sleping in a darkened part of the room where he canmet be seen. Nelly is very angry because Catherine has recently insulted both herself and Edgar Linton Catherine comes in anal wants to talk to her. Chapter 9 (...) ‘Are you alone, Nelly?" “Yes, miss,’ replied. She entered and approached the hearth’ (...) I resumed my song, not having, GLOSSARY @——__— forgotten her recent behaviour. 1. hearth: fireplacelay, ~, trickle: fll flags: stone floor pursued: continued 5 sulkily: annoyed pledged: promised ‘chafing: rubbing, frowning: looking unhappy 10.sententiously: pompously L-coming there: that's a better answer sf THE VICTORIAN AGE - Fiction “Where's Heathcliff? she said, interrupting me. “About his work in the stable,’ was my answer. He did not contradict me; pethaps he had fallen into a doze®. There followed another long pause, during which I perceived a drop or two trickle’ from Catherine's cheek to the flags’. (...) ‘Oh dear!’ she cried at last, ‘I'm very unhappy!" +A pity,’ observed I. ‘You're hard to please. So many friends, and so few cares, and can’t make yourself content!” ‘Nelly, will you keep a secret for me?’ she pursued’, kneeling down by me (2). ‘Js it worth keeping” | inquired less sulkily®. “Yes, and it worries me, and I must let it out. | want to know what I should do. To-day Edgar Linton has asked! me to marry him, and I've given him an answer. (...) accepted him, Nelly. Be quick, and say whether I was wrong.’ “You accepted him! Then what good is it discussing the matter? You have pledged’ your word, and cannot retract.’ ‘But say whether I should have done so ~ do!” she exclaimed i tone, chafing* her hands together and frowning’. ‘There are many things to be considered before that question can be answered properly,’ I said sententiously"®. First and foremost, do you love Mr Edgar?” “Who can help it? Of course I do,’ she answered. (...) ‘Why do you love him, Miss Cathy?” ‘Nonsense; | do- that's sufficient.’ “By no means; you must say why’ “Well, because he is handsome and pleasant to be with.” ‘Bad was my commentary. ‘And because he is young and cheerful.’ ‘Bad still!” ‘And because he loves me, ‘Indifferent, coming there!” ‘And he will be rich, and | shall like to be the greatest woman of the neighbourhood, and I shall be proud of having such a husband.’ (...) “You love Mr Edgar because he is handsome, and young, and cheerful, and rich, and loves you. The last, however, goes for nothing: you would love him without that probably (...) And he won't always be handsome and young, and may not always be rich.’ ‘He is now; and | have only to do with the present. | wish you would speak rationally.’ ‘Well, that settles it. If you have only to do with the present, marry Mr Linton. ‘Idon't want your permission for that ~ I shall marry him; and yet you have not told me whether I'm right.’ ‘Perfectly right, if people be right to marry only for the present. And now, Jet us hear what you are unhappy about. (...) All seems smooth and easy: Where is the obstacle?" ted 2s uw % ” 6Wuthering Heig! ‘Here, and here!’ replied hand on her forehead and the o: breast; in whichever place the soul lives, in my soul and in my heart I'm convinces I'm wroag “That's very strange. I cannot make it out...) She seated herself by me again; her counte- ss nance!? grew sadder and graver, and her clasped" hands trembled, (..) ‘Af Lwere in heaven, Nelly, I should be extreme- ly miserable.’ ‘Because you are not fit to go there,’ Lanswered. «0 ‘All sinners would be miserable in heaven.” ‘But it is not for that. | dreamt once that | was there.’ ‘tell you I won't hearken to your dreams, Miss Catherine! I'l go to bed,’ interrupted again. 6s She laughed and held me down, for | made a motion to leave my chair. ‘This is nothing,” cried she. ‘I was only going to say that heaven did not seem to be my home, and I broke my heart with weeping!® to come back to earth; and the angels were so angry that they flung! me out into the middle of the heath" on the top of Wuthering Heights, where I woke sobbing" for joy. That will do to explain my secret as well as the other, I've no more business to marry Edgar Linton than I have to be in heaven; and if the wicked! man in there had not brought Heathcliff so low, I shouldn't have thought of it. It would degrade me to marry Heathcliff now, so he shall never know how I love him; and that, not because he's handsome, Nelly, but because he’s more myself than | am, Whatever our souls are made of, his and mine are the same; and Linton’s is as different as a moonbeam from lightning, or frost from fire.’ Fre® this speech ended I became sensible of Heathcliff's presence. Having noticed a slight movement, I turned my head and saw him rise from the bench?! and steal out noiselessly. He had listened till he heard Catherine say it would degrade her to marry him, and then he stayed t0 hear no fur- ther My companion, sitting on the ground, was prevented by the back of the settle22 from remarking”? his presence or departure; but 1 started” and bade her hush’. ‘Why? she asked, gazing nervously round. Joseph?® is here," I answered, catching” opportunely the roll of his cart- wheels? up the road; ‘and Heathelff will come in with him. Y'm not sure whether he were not at the door this moment.’ ‘Oh, he couldn't overhear me at the door!’ said she, ‘Give me Hareton, while you get the supper, and when it is ready ask me to sup with you. Iwant to cheat my uncomfortable conscience’, and be convinced that Heathcliff has no notion of these things. He has not, has he? He does not know what being in love is?” ne ‘in my soul and in my heart nes tmily toate SOA im convinced I'm wrong.” laurence Olivier and Merle 0 78 80 8s 90 Oberon in Wuthering Heights (1939). 12.countenance: face s.claspeds held together 14.hearken: listen 15. weeping: crying, 16.flung: threw Y7.eath: open land 18.sobbing: crying 19. wicked: evil 20, re: before 2 bench: seat 22,settle: seat with high ‘back and arms 23.remarking: noticing, 24.started: moved suddenly 25,bade her hush: told her to stay quiet 26.Joseph: an elderly servant 27.catching: hearing 28. roll of his cart- ‘wheels: the noise made by the wheels of the cart 29.cheat my ‘uncomfortable ‘conscience: convince myself of something. that my conscience 95 tells me is wrong,20 THE VICTORIAN AGE ~ 30.deserted: abandoned S1.pray: please tell me 32. They'll. Milor tl will die (Milo as a Greek atllete who was devoured hy wolves) sA.melt into nothing: disappeat 3.forsake: leave Mish wretel: tistical person 1s: people who ask for money in the soot Waid: help 34, pliable: flexible, ‘easily manipulated 39,q0hims: sudden wishes 40.for Falgar's sake: for Is good AL What were the use. contained here?: What meaning does my life have 1 i all confined (contained) only to my own body and soul (here)? 42.1'm well awar know 43.bencath: below 444, jerked: pulled 45.undertake: ake on 46.sicheds bad 47 eagerly: excitedly jection 41sec no reason that he should not know, as well as you,’ Freturned: “and if you are his choice, he will be the most unfortunate creatuse that ever was born! As soon as you become Mrs Linton, he loses friend, and love, and alll Have you considered how you'll bear the separation, and how he'll be deserted in the world? Hecause, Miss Catherine ated!" she exclaimed, with an accent of indig. nation, ‘Who Is to separate us, pray"? They'll meet the fate of Milo"! Not as long as Hive, Ellen: for no mortal creature, Every Linton en the face of the earth might melt into nothing", before f could consent to forsake Heathetiff, Ob, that’s not what [intend ~ that’s not what [meant f should. n't be Mrs Linton were such a price demanded! He'll be as much to meas he has been all his lifetime. Edgar must shake off his antipathy, and tolerate hhim, atleast, He will, when he learns my true feelings towards him, Nelly | see now, you think me a selfish wretch"; but did it never strike you that if Heathcliff and 1 married, we should be beggars'“? Whereas, If | marry Linton, 1 can aid" Heathcliff to rise, and place him out of my brother's power! ‘With your husband's money, Miss Catherine?’ asked. ‘You'll find him not so pliable" as you calculate upon: and, though I'm hardly a judge, | think ve given yet for being the wife of young ‘Hie quite deserted! We sep. that’s the worst motive you’ Linton.’ ‘It is not/ retorted she; my whims": and for Edgar's sake", too, to sal ‘of one who comprehends in his person my feelings to Edgar cannot express it; but surely you and everybody have a notion that there is or should be an existence of yours beyond you, What were the use of my creation, if I were entirely contained here?*! My great miseries in this world have been Heathcliff’s miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, verse would turn to a mighty stranger: | the ‘it is the best! The others were the satisfaction of isfy him. This is for the sake ind myself. 1 and he were annihilated, the should not seem a part of it, My love for Linton is like the foliag woods: time will change it, I'm well aware”, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath": a source of little visible delight, but necessary. Nelly, I am Heathcliff! He’s always, always in my mind: not as a pleasure, any more than Tam always a plea- sure to myself, but as my own being, So don’t talk of our separation again: it is impracticable; and ~' She paused, and hid her face in the folds of my gown; but I jerked" it forcibly away. | was out of patience with her folly! “If Lcan make any sense of your nonsense, miss,’ I said, ‘it only goes to convince me that you are ignorant of the duties you undertake’ in marry- ing; or else that you area wicked", unprincipled girl. But trouble me with no more secrets: I'll not promise to keep them.’ “You'll keep that?’ she asked eagerly”. ‘No, I'll not promise,’ | repeated. ° Is us 1» 135 10 wCOMPREHENSION — Put these statements into the correct chrenol 1 Netty tells Catherine that ner marriage t will separate her from Heathcliff. - 1 Catherine asks Nelly i she is by marrying Linton. 9 — [21 Catherine tells Nel of a dream, [5] Catherine tells Nelly that marrying Heath would degrade her. ms ‘aut 1 Nally asks Catherine if she loves tinten, Linton i catherine says Heathclit’s soul is made of the same substance as her own, ANALYSIS 1. Focus on the character of Nelly Dean. a. How would you define Nelly’s attitude towards Catherine in the opening lines of the text? (Lines 1-49) b. On two occasions Nelly lies to Catherine. What are they? Can you think of any justification for Nelly’s untruthfulness? c. In lines 25-36 Catherine says that she wishes Nelly, ‘would speak rationally’. Do you find the questions Nelly asks ‘irrational’? Would you ask similar questions in an analogous situation? 4. Does Nelly seem to side more with Catherine or Heathcliff? Does this shed any light on her decision. not to tell Catherine of his earlier presence in the room? e. Which of the following adjectives would you choose to describe Nelly's personality? mRealisic Rational = Helpful Affectionate Hi Spiteful__ i Dishonest Bi Deceitful Intelligent = Other: 2 Focus on the character of Catherine. How would you define Catherine’s reaction to Nelly’s questioning? (Lines 23-36) Nelly asks Catherine questions about her love for Edgar Linton. Catherine dismisses these questions as inappropriate and asks Nelly to ‘speak rationally’. ts Catherine's decision to marry Linton based on love (emotion) or practical necessity (reason)? b. Language seems to fail Catherine in her attempts to explain the source of her unhappiness. Find an example in the text where she uses gestures and an inrational analogy to explain how she feels. Like a tragic hero* Catherine seems torn between logical order. Wuthering Heights - Emily Bromté Catherine says that Heathcliff does not know what being in love is Nelly tells Catherine that Heathcliff is working in when in fact she knows he is in the room. nce between her love the stab) Catherine explains the differe for Linton and her love for Heathciif. Catherine says that nothing in the world could separate her from Heathclif Nelly says that Linton will never accept her plan. Nelly notices Heathcliff leaving the room but does ot tell Catherine. 4 = reason, which tells her to marry Linton and help Heathcliff to overcome his degradation; = passion, which tells her that Heathcliff is her soulmate and that they belong together. In your opinion, will marriage to Linton solve her problems or lead to her tragic downfall? | Focus on the theme* of love. In fines 77-78 Catherine tries to find words to express | her feelings for Heathcliff. Which expressions does she | use to suggest that she and Heathcliff are soulmates? In her attempt to explain her feelings for Linton and | Heathcliff, Catherine compares the two men in lines 78-79. Complete the following sentences referring to the text = Heathcliff is compared to ... and ... = Linton is compared to ... and What associations do you make with the natural . In lines 127-130 Catherine draws a second comparison between her love for Linton and her love for Heatheliff. Complete the following sentences referring to the text: Her love for Heathclif is compared to... and . = Her love for Linton is compared to ... and ‘The image which Catherine chooses to explain her love for Heathcliff is striking. What associations do you normally make with rock? | ‘What qualities does Catherine see in rock that makes it a suitable symboP of her love for Heathcliff? elements used in the siiles"? | | Btikden eternal Necessary | Esveng Enduring impervious | Bold” Bivemovableineploceable | Do you find this image effective? oog Nelly rejects Catherine’s declare 1 of love for Heathclif as Toy’. Do you think that such a love can exist between two pecple ors it simply the stuf that Books, films and songs are made of? 21——* GLossary 1. sexton: person in charge of a chute cemetery 2. coffin lid: cover of the hox where a dead person is placed 4. stie: move 4. struck .. loose ‘opened! ane sd the collin 5. soldered in tea placed ina coffin Sealed with soft heavy ‘metal so that it could not be opened 6. bribed: gave money. 7. slide mine eut too: ‘open one side of my colin 38 well 8, ase comfort y 9. a great d 10.11 blew bleak as ‘winter: it was. dark and windy d er up the dent pnts, desolate place 12.Ioase: not compact an tern 13, chills: makes me feel very col 14 spade: toa! used to ag earth 1s.delve: dig 16.seraped: scratched 17.cracking about: breaking around 18.attaining my object: aching my objective muttered: said in a very low voice 20.shavel: throw 2Lawwrenched: bvisted and pulled 22. displacing the sleet- laden wind: replacing the iey wind 23. discerned: seen 24.rellet: comfort 25.limb: arm oF leg 26.relinquished: stapped ‘THE VICTORIAN AGE - Fiction Her Presence Was with Me It is the day after the funeral of Edgar Linton, © since her own death, Heathcliff has beew to the graveyard and what Ite did there. Chapter 29 {--.) “Vl tell you what | did yesterday! | got the sexton!, who was digging Linton’s grave, to remove the earth off her coffin lid’, and I opened it I thought, once, I would have stayed there: when T saw her face again — it is hers yet ~ he had hard work to stir! me; but he said it would change if the air blew on it, and so I struck one side of the coffin loose’, and covered it up: not Linton’s side, damn him! Tiwish he'd been soldered in lead’, And | bribed? the sexton to pull it away when I'm laid there, and slide mine out too’; I'll have it made so: and then, by the time Linton gets to us, he'll not know which is which!’ cre very wicked, Mr Heathcliff’ | exclaimed, ‘were you not ashamed ‘You w to disturb the dead?" 41 disturbed nobody, Nelly,’ he replied; ‘and I gave some ease® to myself. 1 shall be a great deal” more comfortable now; and you'll have a better chance of keeping me underground, when | get there. Disturbed her? No! She has disturbed me, night and day, through eighteen years ~ incessantly ~ remorselessly ~ till yesternight; and yesternight 1 was tranquil.’ (...) ‘You know I was wild after she died; and eternally, from dawn to dawn, 1g her to return to me her spirit! | have a strong faith in ghosts: 1 a conviction that they can, and do, exist among us! The day she was buried there came a fall of snow. In the evening 1 went to the churchyard. It blew bleak as winter! ~ all round was solitary. I didn’t fear that her fool of a husband would wander up the den"! so late; and no one else had business to bring them there. Being alone, and conscious two yards of loose!? earth was the sole barrier hetween us, I said to myself ~ ‘Tl have her in my arms again! if she be cold, 1'll think it is this north wind that chills" me; and if she be motionless, it is sleep.’ I got a spade" from the tool-house, and began to delve!’ with all my might — it scraped'® the coffin; I fell to work with my hands; the wood commenced cracking about" the screws; | was on the point of attaining my object'’, when it seemed that I heard a sigh from someone above, close at the edge of the grave, and bending down. ‘If I can only get this off,’ | muttered!, ‘I wish they may shovel” in the earth over us both!’ and | wrenched?! at it more desperately still. There was another sigh, close at my car, | appeared to feel the warm breath of it displacing the sleet-laden wind, I knew no living thing in flesh and blood was by; but, as certainly as you perceive the approach to some substantial body in the dark, though it cannot be discerned™, so certainly | felt that Cathy was there: not under me, but on the earth. A sudden sense of relief™ flowed from my heart through every limb**. I relinquished?* my labour of agony, and turned consoled at once: iatherine’s husband, and eighteen years is explaining to Nelly 10 1s 20 28 0 8