Standard Grade - Close Reading Revision PowerPoint

Edited from this document from Calderside High School.

Standard grade close reading - revision - with tasks

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Higher Spellings

 Spellings from today's class...

1.                  Necessary

2.                  Embarrass

3.                  Benefited

4.                  Committed

5.                  Narrative

6.                  Emphasise

7.                  Literature

8.                  Definite

9.                  Privilege

10.      Intimidating

11.      Sentence

12.      Circumstances

13.      Relevant

14.      Occurring

15.      Disapproval

16.      Irrelevant

17.      Humorous

18.      Immediately

19.      Argument

20.      Possession

21.      Skilful

22.      Tragedy

23.      Emphasis

24.      Exciting

25.      Beginning

Why is this funny? Because it's humerus.

How to Write an Essay

The Crucible - Timed Essay - Planning

Cryptic crossword clues.

Tricks from S4 today...


(2) Blair and Brown possibly ignore Bush (10)
(3) Urge to get off drink, we hear (4)
(4) Matching paper (8)
(5) Go for an injection (4)
(6) State secret (8)
(7) A bar of soap (6,6)
(8) (4,3,3,1,4)
(9) HIJKLMNO (5)
(10) Burn 'em in boxes! (8)
 (11) Subjects encompassing river zones (7)
(12) Mistake that puts school children back (4,2)
(13) Tree begins autumn pruning, putting leaves everywhere (5)
(14) Accommodation that’s barred for flappers (4,4)
(15) Revolutionary line for jumpers (8,4)
(16) Gegs (9,4)
(17) More lice are found to contain what remains (5)
(18) Win over trick man (8)
(19) By the sound of it I’ll row (5)
(20) Unusually remote celestial body (6)

Tess at Stone Henge

I found this article while looking for a quote earlier today. Worth a read...

 

Tess' final journey is a symbolic one through the world of sounds, colours and lights. Hardy manages to create not a photograph of the landscape, but a certain mood of the characters, using different elements of nature: the night, the roads, the birds' songs, the beautiful colours of landscapes.

Here, Stonehenge, a collection of giant stones arranged in a circular form has special connotation for the novel, apart from its purpose to serve as an astrological calendar and a ceremonial place for religious or tribal worship. It draws Hardy's philosophy about the indifference of nature to suffering and it shows man's ephemeral character, civilization and human's vanity. But its main symbolism is that it represents death for the heroine who eventually accepts her destiny, that of a heathen and her rejection by the Christian religion as a sinner. This Temple of the Winds implies the idea of primitive religion, worshipping nature while performing rituals, being older than the centuries. Its symbolic shape and its location in a landscape not disturbed by man, represents both solitude and death, the Stone of Sacrifice: 'vast upward structure, close in his front, rising sheer'.

Tess and Angel stop in Stonehenge after they have traveled a long way and need rest. The stones are still warm from the sun, radiating heat all during the cool night. Tess realizes that her mother's family is from the area, "One of my mother's people was a shepherd hereabouts, now I think of it. And you used to say at Talbothays that I was a heathen. So now I am at home." Angel recognizes that Tess is "lying on an altar" - like a sacrifice to the ancient pagans who used to practice there. In a modern sense, Tess is sacrificed to the laws and morals of the nineteenth century.

Another important element is nature, which contributes to the final scene: the coming of light is the coming of death, the winds die out, the stones are still and the scene is now ready for the sacrifice: the sky was dense with cloud, some fragment of a moon'.

The physical props are suggested by vegetation and stone. The turf, the grass help her finding her way along to an open loneliness and black solitude, that one could both 'see' and 'feel'. Then, the stone is an obstacle, an interdiction 'rising sheer from the grass'; this shows the eternity of nature versus the Man's ephemeral character, the time immemorial and rituals: Stonehenge.

 

All in all, Tess's experience and nature elements present a very important connection, as they contribute to the solemnity and the tragedy of the moment when Tess is hanged.


Read more: http://articles.famouswhy.com/the_symbolism_of_stonehenge_and_the_nature_in_tess_by_thomas_hardy/#ixzz1pXzNRmkF

Red and White Symbolism in Tess

These two colors come up all over the place in Tess, frequently together. OK, having made that observation, let's look at a few examples, and think about why Hardy might have considered those colors to be so darned important. Red is often associated with sin and/or sexuality in Western art and literature (just think about "the woman in the red dress" in the Matrix), while white is usually associated with purity and chastity.

Hardy mixes these two colors so frequently that it's hard to ignore – in the very first scene in which we see her, Tess is wearing a white dress with a red ribbon in her hair – "the only one of the white company who could boast of such a pronounced adornment" (2.14). So Tess is wearing white (the color of purity), but is also the only woman in the group wearing a red ornament to off-set the white. This could be Hardy's way of waving a red flag (pun intended) at the reader, to show us that Tess 1) isn't like the other girls, and 2) is somehow going to trouble the traditional distinctions between purity and sexuality.

Let's look at one more example, from the very end of the novel: Mrs. Brooks, the landlady at the hotel where Alec and Tess have been staying, discovers that Alec has been murdered when she notices that "The oblong white ceiling, with this scarlet blot in the midst, had the appearance of a gigantic ace of hearts" (56.18). This example is a little more ambiguous. The white (representing purity or innocence?) is being stained with red (representing guilt or sin?). But the shape of the bloodstain is telling, too – it forms the shape of a heart. Tess has told Alec that he had broken her heart, and she stabbed him in the heart. Whose is the guilt represented by the bloodstain? It's not really clear. But the frequent mixing of red and white throughout the novel suggest that these are exactly the questions Hardy wants us to be asking.

Cow Symbolism in Tess.

There's an awful lot of loving attention to detail in the descriptions of the cows at Talbothays Dairy, don't you think? Not only are individual cows frequently referred to by name, we get these vivid descriptions of the shape, size, and color of their udders. Just look at this example: "The red and white herd nearest at hand […] now trooped towards the steading in the background, their great bags of milk swinging under them as they walked" (16.25).

OK, the udders are "great bags of milk" that "swing" heavily. Fine. If it were just this one description, we'd try to ignore it. But here's another, from the very next paragraph: "their large-veined udders hung ponderous as sandbags, the teats sticking out like the legs of a gipsy's crock; and as each animal lingered for her turn to arrive the milk oozed forth and fell in drops to the ground" (16.26).

Udders and breasts usually represent fullness of life and fertility – just look at images of earth goddesses from almost any culture. (Here's an image of the ancient Greek goddess Gaia, the goddess of the earth. Notice how prominent her breasts are?)

So the graphic descriptions of the cow udders in Tess probably have something to do with Hardy's interest in nature, or maybe even in the ancient worship of fertility goddesses that he references elsewhere.

The Crucible - Abigail and Proctor

The Crucible – Proctor and Abigail Quotations

Act One

My name is good in the village! Elizabeth Proctor is an envious, gossiping liar!  - Abigail

Shut up! All of you. We danced. That is all, and mark this, if anyone breathe a word or the edge of a word about the other things, I will come to you in the black of some terrible night, and I will bring with me a pointy reckoning that will shudder you! And you know I can do it. I saw Indians smash my dear parents' heads on the pillow next to mine. And I have seen some reddish work done at night. And I can make you wish you had never seen the sun go down! - Abigail

We were dancin’ in the woods last night… is all. - Abigail

Ah, you’re wicked yet, aren’t y’! - Proctor

I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew what pretence Salem was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men! And now you bid me tear the light out of my eyes? I will not, I cannot! You loved me, John Proctor, and whatever sin it is, you love me yet! — Abigail

Abby, I may think of you softly from time to time, but I will cut off my hand before I reach for you again. We never touched.  - Proctor

Act Two

Proctor: You will not judge me more, Elizabeth. I have good reason to think before I charge fraud on Abigail, and I will think on it. Let you look to your own improvement before you go to judge your husband any more. I have forgot Abigail, and —
Elizabeth: And I.
Proctor: Spare me! You forget nothin' and forgive nothin.' Learn charity, woman. I have gone tiptoe in this house all seven months since she is gone. I have not moved from there to here without I think to please you, and still an everlasting funeral marches round your heart. I cannot speak but I am doubted, every moment judged for lies, as though I come into a court when I come into this house!
Elizabeth: I do not judge you. The magistrate sits in your heart that judges you. I never thought you but a good man, John — only somewhat bewildered.
Proctor: Oh, Elizabeth, your justice would freeze beer!

You were alone with her?.. Then it is not as you told me. - Elizabeth

Rev. John Hale: You said that one twice, Sir.
John Proctor: Aye.
Elizabeth: Adultery, John.

I’ll tell you what’s walking Salem—vengeance is walking Salem. We are what we always were in Salem, but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law! This warrant’s vengeance! I’ll not give my wife to vengeance! — Proctor

Act Three

John Proctor: I have known her sir! I have known her.
Judge Danforth: In what time? What place?
John Proctor: In the proper place where my beasts are bedded.

A man may think God sleeps, but God sees everything, I know it now. I beg you, sir, I beg you- see her what she is . . . She thinks to dance with me on my wife’s grave! And well she might, for I thought of her softly. God help me, I lusted, and there is a promise in such sweat. But it is a whore’s vengeance. — Proctor

…my wife cannot lie. - Proctor

Judge Danforth: To your knowledge, has John Proctor committed the crime of lechery? Answer my question. Is your husband an adulterer?
Elizabeth: No sir.
Judge Danforth: Remove her.
John Proctor: Elizabeth, I've confessed it.
Elizabeth: Oh, God.

You bring down heaven and raise up a whore! – Proctor

Act Four

It needs a cold wife to prompt lechery. - Elizabeth

I speak my own sins; I can not judge another. - Proctor

Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name! — Proctor

[PROCTOR tears the paper and crumples it, and he is weeping in fury, but erect.]

Playing God

The documentary from class today...

New Vocabulary

1.abjure

2.acumen

3.auspicious

4.belie

5.bellicose

6.bowdlerize

7.chicanery

8.churlish

9.deleterious

10.           epiphany

11.           facetious

12.           fatuous

13.           feckless

14.           gauche

15.           gerrymander

16.           hegemony

17.           jejune

18.           lexicon

19.           loquacious

20.           lugubrious

21.           nihilism

22.           nomenclature

23.           obsequious

24.           omnipotent

25.           parabola

26.           paradigm

27.           pecuniary

28.           quotidian

29.           reciprocal

30.           reparation

31.           respiration

32.           sanguine

33.           soliloquy

34.           subjugate

35.           suffragist

36.           supercilious

37.           tautology  

38.           tempestuous

39.           totalitarian

40.           unctuous

41.           usurp

42.           vacuous

43.           vehement

44.           vortex

45.           winnow

46.           wrought

47.           xenophobia

48.           yeoman

49.                  ziggurat