She Walks in Beauty PDF

“She walks in beauty "by Lord Byron Byron and Nature: To Byron Nature is a great metaphor, rich source of inspiration which has helped him to interpret many of his ideas and feelings. Byron went to nature to seek refuge from human society. For him Nature is a refuge, a place of shelter, where he ca...

“She walks in beauty "by Lord Byron Byron and Nature: To Byron Nature is a great metaphor, rich source of inspiration which has helped him to interpret many of his ideas and feelings. Byron went to nature to seek refuge from human society. For him Nature is a refuge, a place of shelter, where he can hide himself from the weariness, and worries of the world. As a result, much of his work shows an admiration for the natural world, and expresses a desire to move closer to nature, which Romantics associated with human purity, or innocence.  She Walks in Beauty She walks in beauty, like the night Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies. One shade the more, one ray the less, Had half impaired the nameless grace Which waves in every raven tress, Or softly lightens o’er her face; Where thoughts serenely sweet express, How pure, how dear their dwelling-place. And on that cheek, and o’er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow, But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent!  Byron talks about the perfect balance of the shade and ray present on her face. The term, ‘The nameless grace’ expresses the perfection that cannot be described in words. The hair, ‘raven tress’ that falls on her face makes her appear more gracious. According to the poet, her face is: “Where thoughts serenely sweet express,” How pure, how dear their dwelling-place. The face reflects innocence, tenderness, simplicity and calmness. The tint and glow of the outward charm is enhanced by the sweetness of her thought. The woman in Byron’s poem is a picture of perfect and true beauty. In fact, the purity of mind and thought makes her appear extraordinarily attractive.  Figure of speech: Simile: In the first stanza of Byron's poem, it found some similes in lines 1, 2, 7, 8, 9 and 10. Lines 1, 2: She walks in beauty, like the night Of cloudless climes and starry skies; In lines 1 and 2, Byron compares the beauty of a woman with “the night”. In the nighttime, the situation is depicted by a cloudless sky that looks shady and starry. This atmosphere gives a deeper meaning to women. “Cloudless climate” is defined as a radiant facial expression wrapped in a cute smile and “starry sky” is a representation of her sparkling eyes. She gives a sign. She always trying to show everyone that she is fine. Lines 7-10: One shade the more, one ray the less, Had half impaired the nameless grace Which waves in every raven tress, Or softly lightens o’er her face; Other similes are found in the lines above. Byron compares a perfect balance of the beauty of a woman with the light. They complement each other and a true balance is created. This stanza is still related to the previous stanza. The word “light” means that her beauty is balance and is clearly visible on her beautiful face. Metaphor: The metaphor found in lines 8-12. Line 8: Had half impaired the nameless grace “Nameless grace” is a metaphor used by Byron to implying the beauty of the woman. Her beauty is perfect in the right proportion. There is nothing that must be eliminated and nothing that must be added. In other words, Byron explains her beauty is so perfect. There is no name could represent it. Lines 9, 10: Which waves in every raven tress, Or softly lightens o'er her face The lines above still related with the previous stanza. “Raven trees” is a metaphor of dark hair. Dark hair here is linked with a lightened face. The black hair here is associated with a bright face. Her beauty is very proportional because there is a mixture of dark and light. Metaphor: Lines 11, 12: Where thoughts serenely sweet express, How pure, how dear, their dwelling-place. Through the eleventh and the twelfth line of third line above, we can say that the metaphor which is implying the thoughts (serenely sweet express) of the woman (dwelling-place). Byron express that her thoughts are serene, pure and sweet. She is beautiful into herself as much as she is outwardly. Personification Lines 15, 16: The smiles that win, the tints that glow, But tell of days in goodness spent, In this line, “the smiles that win, the tints that glow” means that the glowing smile reflects happiness, and it is brilliant, as the tints, and these things tell us about happy days and goodness days. She spends her time doing good to others. Alliteration Alliteration occurs frequently to enhance the appeal of the poem to the ear. There are many alliterations in Byron's poem: Line 2:...cloudless climes; starry skies; Line 6:...day denies Line 8:...Had half Line 9:...Which waves Line 11:...serenely sweet Line 14:...So soft, so Byron uses the repetition of the consonant sound in his poem to enhance each line. He want to make the readers always remember the words on each line. Synecdoche: Synecdoche found in line 18. Line 18: A heart whose love is innocent! In this line, the "heart" is a part of someone used to signify the entire person. It shows the woman’s “heart” which loves with innocent rather than the woman herself. Sonnet 18 “Shall I Compare thee to a summer’s day?” by William Shakespeare And summer’s lease hath all too short a date; b Sometime too hot the eye of heaven shines, c And often is his gold complexion dimm’d; d And every fair from fair sometime declines, c By chance or nature’s changing course untrimm’d; d But thy eternal summer shall not fade, e Nor lose possession of that fair thou ow’st; f Nor shall death brag thou wander’st in his shade,e When in eternal lines to time thou grow’st: f So long as men can breathe or eyes can see, g So long lives this, and this gives life to thee. g Shall I compare thee to a summer’s day? a Thou art more lovely and more temperate: b Rough winds do shake the darling buds of May, a And summer’s lease hath all too short a date; b Sometime too hot the eye of heaven shines, c And often is his gold complexion dimm’d; d And every fair from fair sometime declines c But thy eternal summer shall not fade, e Nor lose possession of that fair thou ow’st; f Nor shall death brag thou wander’st in his shade, e When in eternal lines to time thou grow’st: f So long as men can breathe or eyes can see, g So long lives this, and this gives life to thee. g Structure: Sonnet 18 is a typical Shakespearean sonnet, having 14 lines of iambic pentameter: three quatrains followed by a couplet. 8 lines (octave) and six lines ( sestet) It also has the characteristic rhyme scheme: ABAB CDCD EFEF GG. The poem starts with a rhetorical question which the speaker answers throughout the lines. It also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain.( the 8ᵗʰ line introduce the shift or the problem- the 9ᵗʰ-12ᵗʰ discuss the problem) The last rhyming couplet (line 13-14= introduce the resolution to the problem). Rhythm scheme : The couple’s first line exemplifies a regular iambic pentameter rhythm lines. × / × / × / × / × / So long as men can breathe or eyes can see (18 13) **Rhythm is measured in small groups of syllables called "feet". "Iambic" refers to the type of foot used, here the iamb, which in English indicates an unstressed syllable followed by a stressed syllable (as in a-bove). "Pentameter" indicates a line of five "feet". The poem is divided into 3 quatrains ( each 4 lines together) + a couplet (2 lines) In the first quatrain; the question is asked and answered In the second quatrain; the theme of the beauty is asserted In the third quatrain; the shift to the eternity idea The closing couplet ; the preceded lines are summarized and explained Shakespeare has used some literary devices whose analysis is as follows. 1. Assonance: Assonance is the repetition of vowel sounds in the same line such as the sound of /o/ in “Nor lose possession of that fair thou ow’st” and the sound of /e/ in “Sometime too hot the eye of heaven shines.” 2. Alliteration: Alliteration is the repetition of consonant sounds in the initials of two successive words such as the sound of /l/ in “So long lives this” and /t/ sound in “to Time thou grow’st.” 3. Consonance: Consonance is the repetition of consonant sounds in the same line such as the sound of /r/ in “Nor shall death brag thou wand’rest in his shade” and the sound of /s/ in “So long lives this, and this gives life to thee.” 1. Imagery: Imagery is used to make readers perceive things involving their five senses. Shakespeare has used imagery in this poem such as, “Rough winds do shake the darling buds of May” and “But thy eternal summer shall not fade.” 2. Personification: Personification is to give human qualities to inanimate objects. Shakespeare has used this device in the third line where it is stated as; “Rough winds do shake the darling buds of May.” 3. Metaphor: It is a figure of speech in which an implied comparison is made between the objects that are different in nature. Shakespeare has used metaphors in this poem such as “Shall I compare thee to a summer’s day?” though it is somewhat interrogative. Themes: Love, and eternal beauty, Nature- Art- Passage of time. Subject matter: The poem discusses the love and beauty of the beloved It also addresses the idea of reaching eternal life through the written word. Shakespeare, in his sonnet 18, continues the tradition of his time by comparing the speakers' love/mistress to the summer time of the year. Figures of speech: Repetition of the following words: Summer: the speaker puts an emphasis on his idea of comparing his beloved to the summer, and that his lover will own the eternal beauty of summer through the speaker’s poem. “they eternal summer shall not fade”: He will immortalizes her in his poetry where not even the hand of time cannot change her beauty. “fade” and “shade” It adds to the musicality of the lines and put emphasis on the theme of time. Also, it hints to conditions of light or loss of light which suggests passage of time. Imagery: Simile: The comparison between the beloved and the summer , the sun Metaphors: the eye of heaven is a metaphor of the sun gold complexion= the sun became dimmer by the clouds while the speaker’s beloved is more beautiful than the sun. “the nature..un trimmed”= with the passage of time, trees lose their leaves, winter comes, beauty starts changing. the imagery of the light is continued which refers both to declines of beauty and the changing course of nature. Personification : “gold complexion dimmed” the sun is personified as a person who has a face. “death brag “: the poet personifies death as a proud person who brags about his powers and ability.  Writing a paragraph about the use of figure of speech in Sonnet 18: The poet uses two metaphors in the poem. First, he compares his beloved’s to a summer’s day. Then, he compares her shining beauty to the sun. But, the speaker says that sometimes the sun in the summer gets hot. This means that the beloved is superior to nature. The speaker in "the eye of heaven," claims that sun is inferior to his beloved in that her eyes are more beautiful. In line six of the poem, the idea of the sun being imperfect is further enhanced by phrase "gold complexion dimmed”. It implies that the sun sometimes is dimmed by clouds while the beauty of his beloved is shining all the time. Here, the speaker stresses that his beloved is flawless, and her beauty is never changed, remaining "gold" like.  Although, beauty is temporary and fades with the passage of time, the speaker asserts that the beauty of his lover will outlives nature and death. This idea is supported by personifying death as a bragging person. The speaker assures that even death will not put an end to your beauty, because it will be preserved in his verse. So, summer will come and go every year, but the beloved will always be beautiful - Introduction to Literature ( Features of Drama Drama [ I ]) What is Drama ? - Drama: Drama is a story written to be performed by actors. Although a drama is meant to be performed, one can also read the script, or written version, and imagine the action. Main elements of a play: - Playwright – Dramatist: a writer of plays. Script: characters, dialogue, Title, stage direction, cast, setting, The written text of a play. Main elements of a - Performers: Actors- actresses Director: Is responsible for the artistic and technical aspects of a dramatic production. Producer: Is in charge of all the administrative matters. Main elements of a play: - Audience, spectators: a person who watches the play. Acts and scenes: a long play divided into acts and long acts are divided into scenes. Closet drama: suitable for reading rather than performing Features of Drama Dialogue Stage Characters Plot Theme Setting Conflict Accessories 1- Dialogue: Dialogue is a conversation between two or more characters. In plays the dialogue be either in: verse (poetry) used by important people in serious situation Prose used by less important people or in ordinary situation 1- Dialogue: - Types of dialogue in plays: Monologue: A speech presented by a single character, most often to express their mental thoughts aloud. An aside: Is a speech by one character directed to the audience or to another character, while other characters can not hear what is said. 1- Dialogue: Soliloquy: A speech by a character while there are no other characters. Stage direction: An instruction written by the playwright in the script for the actors and the producer, indicating stage actions, movements of performers, or production requirements. 2- Stage Stage is a part of a theatre, stage refers to the raised area or platform in a theatre where actors perform their parts or roles. Parts of stage: Upstage: Refers to the back part of the stage Downstage: Refers to the front part of the stage Offstage: Is the invisible part of the stage to audience where actors/actresses wait for their turns. Where prompter sits to remind actors of lines or passages. 2- Stage Theatrical properties: All movable items of furniture needed for staging a play. A backdrop or backcloth: Is hung at the back of a stage. 3- Characters: - A character is one of the imaginary people whose story is given in the text of a play and acted on stage. Actor/Actress: An actor (or actress for female) is a person who is employed to represent one of the characters on stage. Refers to who portrays a character in a performance. Choragus: The leader of a dramatic chorus  -Characters division according to their importance in a play: Main characters: Main character in a novel, play, movie, etc. : an important person who is involved in a competition, conflict, or cause. 3- Characters: major characters usually have a lot to say and appear frequently throughout the play Minor characters: They have a brief or modest role in a story. minor characters have less presence or appear only marginally 3- Characters: - Characters division according to their changes/development in a play: Round characters: Round characters experience some noticeable changes. Flat characters: Nothing important happens to them. They don’t change throughout the plot  4- Plot: -Plot refers to the sequence of events inside a story which affect other events through the principle of cause and effect. -Parts of plot: 1) Exposition: Exposition is a literary device used to introduce important information about a story's setting, the characters and the initial conflict of the plot. In plays, dramatic exposition is usually found in the opening scenes and can be expressed through character dialogue, flashbacks, thoughts or the narrator giving background 4- Plot: Climax: Is the point at which a conflict or crisis reaches its peak that calls for a resolution or denouement (conclusion). Denouement: Last part of a play, facts are revealed and discoveries are made and problem is resolved 4- Plot: - Types of plots: 1) Single plot: Short and concentrates on the fortunes and misfortunes of the main characters -2) Multiple plot: Main plot dealt with main characters and sub-plot deals with the other characters. 5- Theme: A theme is defined as a main idea or an underlying meaning or the message or lesson of a literary work that may be stated directly or indirectly. Theme carrier: Characters /setting /style ….  - The setting of a play is the time and place in which a play takes place. - Types of setting: 6- Setting: Temporal setting: When? Spatial setting: Where? 6- Setting: Unity of time: The action in a play should occur over a period of no more than 24 hours. Unity of place: A play should exist in a single physical space and should not attempt to compress geography, nor should the stage represent more than one place. 7- Conflict: A conflict is the result of having opposed ideas, attitudes, principles, morals, preferences, or dispositions. Types of conflicts: Internal conflict: A struggle takes a place inside a character’s mind. 7- Conflict: External conflict: A struggle between a character and an outside force or another character. 8- Accessories: - Accessories are element to help convey, clarify, and deepen the message of the play. Such as, songs, dance, sound effects, and lighting. Literary Devices and Figures of speech What is the difference between… Literal and Figurative language? Literal language means: The actual, dictionary meaning of a word language that means what it appears to mean. In other words, It means exactly what it says: a word for word. Example One: The U.S. is a large country. What does it mean? Exactly what it says! Example Two: The weather is beautiful today. What does it mean? Exactly what it says!  Figurative means Language that goes beyond the normal meaning of the words used. It is based on or making use of figures of speech. It means that there is a deeper meaning hidden in the words. Example: Fragrance always stays in the hand that gives the rose. -Hada Bejar Does it mean you have a smelly hand? NO! What does it mean? Giving to others is kind and the good feeling of giving stays with you.  Simile A FIGURE OF SPEECH in which a comparison is made between unlike or dissimilar objects using the words like or as. Example: “Life is like a box of chocolates.” Explanation: Life is like a box of chocolates because of the many choices one has to make. The soldier was brave as a Lion. Metaphor: A figure of speech in which a comparison is drawn between two dissimilar or unlike things without the use of like or as. for ex., You are a rose. You are my sunshine. Life is a battlefield. Personification A figure of speech in which animals, ideas, or objects are given human characteristics or form. Hyperbole A figure of speech in which an exaggeration or overstatement is made to illustrate a point. Metonymy vs Synecdoche Metonymy a figure of speech that consists of the use of the name of one object or concept for that of another to which it is related “Let me give you a hand.” (Hand means help.) We have 40 swords against their 30 swords. Swords refer to soldiers.  Examples om Synecdoche - There are ten mouths to feed. A mouth is part of the person and cannot exist alone. - Check out my new wheel ( Check my new car ) Symbol: A figure of speech where an object, person, or situation has another meaning other than its literal meaning.  Irony Irony implies a distance between what is said and what is meant. Based on the context, the reader is able to see the implied meaning in spite of the contradiction. Example - I posted a video on YouTube about how boring and useless YouTube is. - The name of Lisa’s huge dog was “Tiny”. Imagery: Elements of a poem that invoke any of the five senses to create a set of mental images. Specifically, using vivid or figurative language to represent ideas, objects, or actions. Imagery It was dark and dim in the forest. The words “dark” and “dim” are visual images. The children were screaming and shouting in the fields. “Screaming” and “shouting” appeal to our sense of hearing, or auditory sense. The fresh and juicy orange is very cold and sweet. “Juicy” and “sweet” – when associated with oranges – have an effect on our sense of taste, or gustatory sense.  Oxymoron A figure of speech in which two opposite ideas are joined to create an effect. The common oxymoron phrase is a combination of an adjective proceeded by a noun with contrasting meanings. Example: Living death Bright smoke, cold fire, sick health! Paradox A paradox is a statement that contradicts itself and still seems true somehow. Example: - I am nobody. - “What a pity that youth must be wasted on the young.” Onomatopoeia The meaning of ONOMATOPOEIA is the naming of a thing or action by a vocal imitation of the sound associated with it (such as buzz, hiss). Diction Diction can be defined as style of speaking or writing, determined by the choice of words by a speaker or a writer. Example: - “I would be delighted!” Vs. “Sure, why not?”  Macbeth Characters analysis : lady Macbeth – Macbeth Lady Macbeth Macbeth's wife is one of the most powerful female characters in literature. Unlike her husband, she lacks all humanity, as the audience see in her opening scene, where she calls upon the "Spirits that tend on mortal thoughts" to deprive her of her feminine instinct to care. Lady Macbeth persistently taunts her husband for his lack of courage, even though he was a skilful fighter and fearless knight on the battlefield. But in public, she is able to act as the consummate hostess, enticing her victim, the king, into her castle. When she faints immediately after the murder of Duncan, the audience is left wondering whether this, too, is part of her act. Lady Macbeth She becomes mentally instable, a mere shadow of her former self, in Act V, Scene 1 as she "confesses" her part in the murder. Her death is the event that causes Macbeth to think over for one last time on the nature of time and mortality in the speech "Tomorrow and tomorrow and tomorrow" (Act V, Scene 5). Macbeth Character : Macbeth is introduced in the play as a warrior hero, whose fame on the battlefield wins him great honor from the king. Essentially, though, he is a human being whose private ambitions are made clear to the audience through his asides and soliloquies (solo speeches). Despite his fearless character in battle, Macbeth is concerned by the prophecies of the Witches, and his thoughts remain confused, both before, during, and after his murder of King Duncan. When Duncan announces that he intends the kingdom to pass to his son Malcolm, Macbeth appears frustrated. When he is about to commit the murder, he undergoes terrible pangs of conscience. Macbeth is at his most human and sympathetic when his manliness is mocked and demeaned by his wife (see in particular Act I, Scene 7). Macbeth Character : However, by Act III, Scene 2, Macbeth has resolved himself into a far more stereotypical villain and asserts his manliness over that of his wife. His ambition now begins to push him toward further terrible deeds, and he starts to disregard and even to challenge Fate and Fortune. Each successive murder reduces his human characteristics still further. Nevertheless, the new-found resolve, which causes Macbeth to "wade" onward into his self- created river of blood (Act III, Scene 4), is persistently alarmed by supernatural events. The appearance of Banquo's ghost, in particular, causes him to swing from one state of mind to another until he is no longer sure of what is and "what is not" (I:3,142).  Macbeth By William Shakespeare Plot summary Act 1, Scene 1: The witches plan their meeting with Macbeth. They mention some prophesies Act 1, Scene 2: A sergeant tells of the heroic deeds of Macbeth. King Duncan announces that Macbeth will be given the title of Thane of Cawdor. Act 1, Scene 3: The witches prophesy that Macbeth shall be king and Banquo shall be father of kings.... Ross and Angus tell Macbeth he has been given the title of Thane of Cawdor.... Macbeth muses on the possibility of killing the King in order to be king. Act 1, Scene 4: King Duncan is told of the execution of the rebel Thane of Cawdor.... King Duncan thanks Macbeth for his heroic service, then announces that Malcolm is heir to the throne. Act 1, Scene 5: Lady Macbeth reads Macbeth's letter about what the weird sisters said, and works herself up to work him up to murder.... When Macbeth arrives, Lady Macbeth tells him to look innocent and follow her lead. Act 1, Scene 6: King Duncan arrives at Macbeth's castle and is greeted by Lady Macbeth. Act 1, Scene 7: Macbeth almost talks himself out of killing the King.... Lady Macbeth gives her husband a tongue- lashing that makes him commit to their plan to murder the King.  Act 2, Scene 1: Past midnight, Macbeth tells Banquo that they'll speak of the witches another time, and bids him goodnight.... Macbeth sees "a dagger of the mind," hears his wife's bell, and goes to kill King Act 2, Scene 2: Lady Macbeth waits for Macbeth to come with the news that he has killed the King.... Macbeth is so shaken by the murder that he brings the bloody daggers with him, and Lady Macbeth takes them from him, to place them with the sleeping grooms.... A knocking at the castle gate frightens Macbeth, and his wife comes to lead him away, so that they can wash the blood from their hands. Act 2, Scene 3: The Porter pretends that he is hell's gatekeeper, then lets in Macduff and Lennox.... Macduff discovers King Duncan's body.... Macbeth, in pretended fury, kills the King's grooms.... Malcolm and Donalbain, fearing that they will be murdered next, flee. Act 2, Scene 4: Ross and an Old Man discuss what an unnatural night it has been.... Ross and Macduff doubtfully discuss the news that Malcolm and Donalbain are responsible for their father's murder.... Ross heads for Scone, to see Macbeth crowned King of Scotland, but Macduff is going to stay home. Act 3, Scene 1: Banquo expresses his suspicion of Macbeth, and wonders if the witches' predictions will come true for himself, as they have for Macbeth.... Macbeth questions Banquo about the ride he's taking and insists he return in time for a banquet that night.... Macbeth persuades two Murderers that Banquo is their enemy, then sends them out to kill Banquo and his son, Fleance. Act 3, Scene 3: Banquo is killed, but Fleance escapes. Act 3, Scene 4: Macbeth and Lady Macbeth welcome the guests to their banquet.... Macbeth hears from First Murderer that Banquo is dead, but Fleance has escaped.... The bloody Ghost of Banquo -- which only Macbeth can see -- appears among the guests.... When his guests are gone, Macbeth tells his wife he's going to find out why Macduff didn't attend their banquet. Then he hints that he may have to shed more blood, and decides he will speak to the witches again. Act 3, Scene 5: The three Witches appear with Hecate, who scolds them for having dealings with Macbeth without including her. Hecate tells them that Macbeth is coming to see them the next morning, and then they will show him some magic that will mislead him to his own destruction. Act 3, Scene 6: Lennox and another Lord have a conversation which shows that they have seen through Macbeth's lies and know that he is responsible for the murder of Banquo and King Duncan. They also wish Macduff well, because he has gone to England for help in freeing Scotland from the tyrant Macbeth. Act 4, Scene 1: The witches call up apparitions which give Macbeth warnings, promises, and prophecies: beware Macduff, fear "none of woman born," fear nothing until Birnam wood come to Dunsinane, Banquo's issue shall be kings.... Macbeth orders the murder of Macduff's wife and children.  Macduff seeks Act 4, Scene 3: Malcolm's support for a war against Macbeth. Speaking to Malcolm and Macduff, Ross tells of Scotland's suffering under Macbeth and of the slaughter of Macduff's wife and children. Everyone is now ready to make war against Macbeth. Act 5, Scene 1: Lady Macbeth's waiting- gentlewoman tells a doctor of the Lady's sleep-walking.... Lady Macbeth walks and talks in her sleep, revealing guilty secrets. Act 5, Scene 2: The Scottish forces arrayed against Macbeth are on the march. Act 5, Scene 3: Macbeth hears that his thanes are abandoning him, that the English army is approaching, and that his wife is soul-sick, but he tries to convince himself that he has nothing to fear, and prepares to fight. Act 5, Scene 4: The forces opposed to Macbeth enter Birnam wood, and Malcolm gives the order for every soldier to cut a tree branch and hold it before him Act 5, Scene 5: Macbeth expresses his defiance of the forces marching against him, then hears a cry of women and receives the news of his wife's death.... A messenger reports that Birnam woods is coming to Dunsinane; Macbeth goes out to meet his fate. Act 5, Scene 6: The English and Scottish forces, led by Malcolm, begin their attack upon Dunsinane. Act 5, Scene 7: Macbeth fights Young Siward and kills him.... Macduff seeks Macbeth.... Malcolm and Siward take possession of Dunsinane. Act 5, Scene 8: Macduff and Macbeth do battle. Macbeth boasts that he cannot be harmed by "one of woman born," but Macduff replies that he was "from his mother's womb / Untimely ripp'd." They fight on and Macduff kills Macbeth.... Malcolm, Siward and the rest enter. Siward receives the news of his son's heroic death.... Macduff enters with the head of Macbeth. Malcolm is hailed king of Scotland, whereupon he rewards his followers and invites all to see him crowned. Introduction to literature Lecture1  Introduction: In this course you are expected to analyze Analysis means breaking the passage down literary works and to explain some of into its various elements and then asking questions such as WHY, HOW, FOR their feature. Analyzing literary works WHAT REASON in order to reach some means taking a paragraph or more of the conclusions of your own. You are required literary work and studying it closely using to figure out what meaning is the text literary devices for the analysis. trying to convey. What is Literature ? i i f ii l d k f ( l Importance of Literature: 1. Expanding horizons First and foremost, literature opens our eyes and makes us see more than just what the front door shows. It helps us realize the wide world outside, surrounding us. With this, we begin to learn, ask questions, and build our intuitions and instincts. We expand our minds. 2. Building critical thinking skills When we read, we learn to look between the lines. We are taught to find symbols, make connections, find themes, and learn about characters. Reading expands these skills, and we begin to look at a sentence with a larger sense of detail and depth and realize the importance of hidden meanings so that we may come to a conclusion. 3. A leap into the past History and literature are entwined with each other. History is not just about power struggles, wars, names, and dates. It is about people who are products of their time, with their own lives. Today the world is nothing like it was in the 15th century; people have changed largely. Without literature, we would not know about our past, our families, people who came before and walked on the same ground as us.  Reading about history, anthropology, or religious studies provides a method of 4. Appreciation for other learning about cultures and beliefs other cultures and beliefs than our own. It allows you to understand 5. Better writing skills and experience these other systems of 6. Addressing humanity living and other worlds. We get a view of the inside looking out, a personal view and insight into the minds and reasoning of someone else. We can learn, understand, and appreciate it.  What is literature? What is the importance of writing and studying literature? Literature is an art It is studied within Literature is Its language is with the medium of content and not imaginary. connotative. language. separately.  The Epic: Homer was the 1ˢᵗ European writer of Epics. The Epic is a long narrative poem that excludes drama and lyrics. It contains details of heroic deeds, has rhyming scheme, rhythm and the style Development should be lofty and high in nature. of Literature: The Odyssey tells the life of Odysseus The Iliad tells the life of Achilles Both examples had supernatural powers who had Gods as parents. In Epics, wise choice of diction is made.  Examples: - Epic, Sonnets, Ballad, and Free Verse Elements of Poetry: It is written in lines (Verses). It is also written in stanzas, and it can be any length. Most poems have a rhyme scheme. This is in addition to the figurative language, imagery, rhythm, theme, symbolism, as well as, the sound devices such as alliteration and assonance. Poetry:  Lyrical Poetry The sonnet: The Petrarchan sonnet and the Shakespearean Sonnet Sonnet 18 by William Shakespeare “I wondered Lonely as a Cloud” by William Wordsworth “Invictus”by William Ernest Henley Dramatic Monologue : “Porphyria’s Lover” by Robert Browning Blank Verse:.Plays used to be written in Blank verse Macbeth By William Shakespeare Analysis of Poetry: The analysis of a poem goes through 5 stages: Paraphrase Main theme Content: talk about how the poem is held together (organic unity, images, contrast, irregularities, tone, symbols, imagery etc..) Form: meter, rhyme, how the poem is composed? Stanzas or quatrains or lines, interpret or link any irregularities in the form. Evaluation: was it successful or unsuccessful and why. 2- Drama Drama is a literary work written in dialogue and intended presentation by actors on stage. Dryden defined a play as a “ just and lively image of human nature, representing its passions and humors, and the changes of fortune to which it is subject for the delight and instruction of mankind”. Elements of Drama: Basic elements of drama include: theme(s), plot, characters, dialogue, setting, as well as the conflict. Examples: - Tragedy, Comedy, Tragi-comedy Greek Drama: Euripides : Medea Elizabethan Drama: Shakespeare’s Macbeth 3- Fiction (Prose) Fiction is a term that describes any work that deals with information or events that are not real. It is an imaginary work base on the author’s imagination. The term fiction often refers to novels and short stories. The opposite of fiction is non-fiction, which deals with facts and or factual descriptions or events. Elements of Prose: Like drama, the basic elements of fiction include: theme(s), well-constructed plot, characters, setting and the point of view. Examples: Novels, Novella, Short stories and Biographies Novella ex. Daisy Miller by Henry James Novel : Pride and Prejudice by Jane Austen Pride and Prejudice By Jane Auston What Are the Four Narrative Voices? 1. First-Person Narrative Voice The first-person narrator tells their own story since only they can see and experience it. This means they can provide us with limited insights into what’s going on in their world. We only get to witness the events of this novel through the eyes of the speaker “narrator 2. Second-Person Narrative Voice The second-person narrative voice is an unusual one in fiction and is more commonly found in non-fiction, particularly in self-help books where the author wants to reach out to you. Examples of the second-person POV in fiction can be found in Spill Simmer Falter Wither by Sara Baume, The Book of Rapture by Nikki Gemmel, and Bright Lights, Big City by Jay McInerney. Here’s an example: “You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy.” Bright Lights, Big City, Jay McInerney 3. Third-Person Narrative Voice A third-person narrative voice can also be called a limited omniscient or “close” third-person POV. This is the most common POV in modern fiction. Here the narrative voice adheres to a single character to tell a story from their point of view. This means that what you learn in the course of the story is based only on this character’s experience of the world around them—hence the term “limited ”  Narrative Technique Jane Austen uses the following narrative techniques in her novel "Pride and Prejudice" : 1.The Third Person Omniscient Author Technique: In this method of narration, the author Jane Austen is in complete control of the narration of the story. Whatever she says we have to accept unquestioningly and wherever she leads us we have to follow. The opening remark of the novel is a good example of this narrative method: "Itis a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife." This method of narration sometimes entails the novelist to directly address the readers. This is known as Authorial Intrusion. In Ch.61 Jane Austen directly 'intrudes'into the action remarking "I wish I could say." Elizabeth’s character analysis*  A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF J A N E AU S T E N ’ S PRIDE AND PREJUDICE by NANCY POSEY S E R I E S E D I T O R S : JEANNE M. McGLINN and JAMES E. McGLINN both at UNIVERSITY OF NORTH CAROLINA AT ASHEVILLE 2 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice TABLE OF CONTENTS Introduction............................................................................................................3 List of Characters....................................................................................................3 Synopsis of the Novel..............................................................................................4 Pre-Reading Activities.............................................................................................6 I. Building Background Knowledge................................................................6 II. Genre Study............................................................................................10 III. Initial Exploration of Themes..................................................................11 During Reading Activities.....................................................................................13 I. Noting Initial Reactions............................................................................13 II. Reader Response.......................................................................................14 III. Focusing on the Literary Elements.........................................................15 IV. Discussion Questions...............................................................................18 V. Vocabulary Development...........................................................................21 After Reading Activities.........................................................................................22 I. Analysis of Initial Reactions........................................................................22 II. Deepening Understanding........................................................................23 III. Individual and Group Projects.................................................................24 More Resources for Teachers................................................................................30 About the Author of This Guide...........................................................................30 About the Editors of This Guide...........................................................................30 Free Teacher’s Guides............................................................................................31 Copyright © 2009 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email [email protected] or write to: PENGUIN GROUP (USA) INC. In Canada, write to: Academic Marketing Department PENGUIN BOOKS CANADA LTD. 375 Hudson Street Academic Sales New York, NY 10014-3657 90 Eglinton Ave. East, Ste. 700 http://www.penguin.com/academic Toronto, Ontario Canada M4P 2Y3 Printed in the United States of America A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 3 INTRODUCTION For a young woman living a presumably insular life in Regency England, Jane Austen produced an impressive body of works that has continued to grow in popularity. She was born in 1775 in Hampshire, England to a parson’s family, and she left home only for five years to attend boarding school and for occasional visits to siblings. Surrounded by books all of her life, she found an eager audience for her writing among her close-knit family. Although she never married and had only one serious romance, her novels of courtship and marriage have remained favorites. Austen completed the first draft of Pride and Prejudice, which she titled First Impressions, in 1797, but it was not published until after she had rewritten it nearly sixteen years later. Of her six complete novels, Pride and Prejudice seems to have been her favorite. In a letter to her sister Cassandra she referred to the book as her “darling child” and called her protagonist Elizabeth Bennet “as delightful a character as ever appeared in print.” Jane Austen’s work seems little touched by political events in her world or by major literary trends of her day. She focuses instead on themes of social class, middle class manners, gender issues, courtship and marriage, all of which come together in Pride and Prejudice. Perhaps it is these timeless themes that draw readers back again and again to this novel. This guide aims to assist teachers in planning to teach the novel in ways that will make it accessible to the range of readers in contemporary classrooms. To this end there are suggestions for preparing students to read the novel with sensitivity to Austen’s setting and themes. During-reading activities are included that will facilitate students’ reading the novel actively with comprehension. The post-reading activities are aimed at encouraging a deeper exploration of the content of the novel and making connections with other literary works. The variety of activities presented here can be used selectively by teachers in addressing their goals for teaching the novel and responding to the needs of their students. LIST OF CHARACTERS THE BENNET FAMILY AND FRIENDS Elizabeth Bennet—protagonist, the second of five daughters; pragmatic and independent; her father’s favorite Miss Jane Bennet—Elizabeth’s older sister; wants to see the best in everyone; Mary Bennett—the plain, bookish middle sister Miss Catherine (Kitty) Bennett—easily led and shallow fourth daughter Lydia Bennet—the youngest sister, flirty and undisciplined Mr. Bennet—their father, cynical and permissive Mrs. Bennet—their mother, whose main goal is to find husbands for her daughters Charlotte Lucas—Elizabeth’s best friend Sir William and Mrs. Lucas—The Bennets’ neighbors 4 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice Mr. Collins—the Bennet girls’ overbearing cousin, a priggish clergyman who stands to inherit Longbourn, the Bennets’ entailed estate The Gardiners—Mrs. Bennet’s brother and sister-in-law who live in London George Wickham—an attractive militia officer stationed near the Bennets THE BINGLEY FAMILY AND FRIENDS Mr. Charles Bingley—unmarried, wealthy young man who has leased nearby Netherfield Miss Caroline Bingley—Mr. Bingley’s sister Mrs. Hurst—Bingley’s married sister Mr. Hurst—Bingley’s brother-in-law Mr. Fitzwilliam Darcy—Bingley’s prideful, wealthy friend Miss Darcy—Darcy’s sister Col. Fitzwilliam—a relation of Darcy whose status as second son leaves him with little wealth Lady Catherine de Bourgh—a condescending wealthy snob; patron of Collins; aunt of Darcy SYNOPSIS OF THE NOVEL VOLUME I CHAPTER 1-6 MEETING THE BENNETS AND THEIR NEIGHBORS The narrator introduces the Bennet family and Mrs. Bennet’s interest in their new neighbor, Mr. Bingley, “a single man of large fortune,” who has just rented Netherfield Park. After several dinners and visits, it is obvious that Bingley is attentive to Jane. However, his friend Darcy snubs the group, particularly Elizabeth, and is judged critically by the locals. The two men are contrasted—their personalities as well as their circumstances—as are Jane and Elizabeth and their judgments. Visiting their neighbors the Lucas’s, Mrs. Bennet and the girls have a chance to discuss Bingley and Darcy at length. Jane withholds her feelings, while Charlotte Lucas has a more pragmatic view of marriage. Readers learn that Darcy has taken an interest, against his will, in Elizabeth. CHAPTER 7-12 VISIT TO NETHERFIELD Jane is invited to Netherfield by Bingley’s sisters, and, caught in the rain on her way, comes down with a bad cold. Elizabeth goes to check on her and is invited to stay as well. She is able to observe the others’ true colors without Jane’s presence. Mrs. Bennet and Lydia come to Netherfield to check on Jane, and Elizabeth is caught between embarrassment for her mother and family loyalty. Elizabeth and Darcy engage in a battle of wits. When Jane’s health improves, the girls return home. A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 5 CHAPTER 13-22 MR. COLLINS VISITS LONGBOURN Mr. Bennet receives a letter from Mr. Collins, the male heir in line to inherit the family’s entailed estate (since there are no sons). He proves to be a silly man, easily impressed by wealth and status. During his visit, the group encounters Wickham, a member of the militia stationed at Meryton for the winter. It is clear that he and Darcy are not on friendly terms. All the neighborhood eagerly anticipates a ball at Netherfield, hosted by Bingley. Elizabeth is dismayed by Collins’ interest in her, Wickham’s absence, and the behavior of her family. She and Darcy dance and verbally spar. The next day, Collins proposes marriage to Elizabeth and is surprised by her refusal. Mrs. Bennet presses for the match, though her husband does not. Spurned by Elizabeth, Collins instead proposes to Charlotte Lucas, who accepts but not out of love. Jane learns that the Netherfield party has returned to London with no plans to return. Bingley’s departure and the prospect of Charlotte as mistress of Longbourn displease Mrs. Bennet. VOLUME II CHAPTER 1-3 CHANGING IMPRESSIONS A letter from Miss Bingley to Jane, which suggests that Charles Bingley is courting Miss Darcy, ends her hopes that he will return. Meanwhile Collins makes preparations for his marriage, and the Gardiners, Mrs. Bennet’s brother and his wife, invite Jane for a visit to London. She accepts with some hope perhaps of seeing Bingley. Jane’s letters to Elizabeth indicate she now sees Miss Bingley for what she is. Elizabeth is no longer involved with Wickham. CHAPTER 4-14 ELIZABETH AND THE GARDINERS VISIT THE COLLINS Elizabeth visits her aunt and uncle, traveling with them to visit Charlotte and Mr. Collins at their home in Hansford. They find Collins little changed, but Charlotte quite content. They are invited to Rosings, where they get a clear view of the imperial Lady Catherine and her mousy daughter. During their stay, Darcy arrives with his cousin Col. Fitzwilliam. Elizabeth and Darcy continue their verbal jousting. Elizabeth encounters Darcy often—at Rosings and on her walks. She learns from Fitzwilliams Darcy’s role in separating Bingley and Jane. Darcy catches Elizabeth off guard with his proposal of marriage, an offer she turns down cold. Darcy later approaches her and gives her a letter explaining his behavior toward Wickham, Jane, and Bingley. She re-reads the letter until she finally sees the truth and her feelings begin to waver. CHAPTER 15-19 JANE AND ELIZABETH RETURN HOME Jane and Elizabeth return home where they find Lydia and Kitty still infatuated by the soldiers who will soon be leaving for Brighton. Elizabeth reveals to Jane secrets of Darcy’s proposal and Wickham’s true character but withholds the truth about Bingley’s feelings. Lydia receives an invitation to visit Brighton with the Forsters, leaving Kitty dejected, Elizabeth worried, and Mrs. Bennet ecstatic. Elizabeth learns that a proposed trip to the Lake Country is cancelled, but instead she and her aunt and uncle will visit Derbyshire— and particularly Lambton, Mrs. Gardiner’s girlhood home. 6 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice VOLUME III CHAPTER 1-3 VISIT TO PEMBERLEY When the Gardiners wish to view Pemberley House, Elizabeth goes along reluctantly after reassurances that Darcy is away from home. However, he surprises them by an early return. She is embarrassed but surprised by his civility and his wish that she meet his sister. He calls on Elizabeth and the Gardiners with his sister and Bingley, inviting them to dinner. The Gardiners take note of Darcy’s behavior toward Elizabeth. CHAPTER 4-11 LYDIA’S ELOPEMENT Elizabeth receives letters revealing Lydia’s elopement with Wickham and the party immediately returns to Longbourn. Here they learn that the two have not married. Mrs. Bennet takes to her bed, and their father joins Gardiner to search for the couple. Meanwhile, the rest of the family waits for mail. Mr. Bennet returns, unsuccessful and full of self-reproach. Gardiner notifies the family that the couple has been found. Upon receiving a modest monetary settlement, Wickham agrees to marry Lydia. Bennet suspects he is indebted to his brother-in-law for the settlement and for arranging Wickham’s transfer to the North. After the ceremony, the new couple is allowed to visit Longbourn, where Lydia and Wickham are completely shameless. Mrs. Bennet is thrilled to have a married daughter. CHAPTER 12-19 MARRIAGE PROPOSALS Bingley and Darcy return to Netherfield and call on the Bennets. Bingley displays genuine affection to Jane and asks for her hand. Darcy remains distant until his aunt, Lady Catherine, visits the Bennets and demands that Elizabeth disavow any connection between her and Darcy. Elizabeth’s refusal gives Darcy hope and he soon proposes. His proposal surprises her family, but the marriage takes place with the family’s blessings. PRE-READING ACTIVITIES These activities are designed to build students’ background knowledge about the plot, characters, and themes. Choose the activities that best fit the themes you plan to teach or your goals for students’ learning. I. BUILDING BACKGROUND KNOWLEDGE PROBLEM SITUATIONS Following are three brief situations to help students think about conflicts based on class, family, and character. Choose one or more for students to read and respond to. The students can share their answers with a partner and discuss them with the class. While attending a school dance, you hear one of the more popular students mocking you and your group of friends. How do you act when you are placed on a school committee with him or her? A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 7 Every time you are with your friends and their families, your mother says and does things that embarrass you in front of others. She doesn’t seem aware that she is humiliating you or that others are laughing at her behavior (and perhaps at you because of her). What do you do at the time? What, if anything, do you say to her about her actions afterwards? You are given information that one of the new students who is well-liked by other students and well-respected by your teachers is actually dishonest, deliberately misleading others. Should you reveal the truth or just wait for others to discover what you know already? ANTICIPATION GUIDE Students should first respond to the following statements under the Pre heading (for pre- reading). Then conduct a class survey to see how students responded and ask why. Or you can ask students to identify the statement that elicited the most response in them, either positive or negative, and free write about their reactions. This will lead to an interesting class discussion in which students share their beliefs and expectations. After reading the novel, have students indicate how the author would have answered the questions. Also have them mark their own post-reading responses. Follow up with a class discussion to see if students changed their answers to any of the questions and why. (You may also encourage students to share how they think the different characters would respond.) Pre Author Post n n n 1. First impressions are often wrong. n n n 2. Children are rarely justified in being embarrassed by their parents. n n n 3. Parents should have some say about whom their children marry. n n n 4. Families should be concerned with what others think. n n n 5. Love at first sight is a common occurrence. n n n 6. People communicate more effectively in the twenty-first century than they did during the nineteenth century. n n n 7. “Happiness in marriage is entirely a matter of chance” (Charlotte, 21). n n n 8. Playing “hard to get” is useful in attracting members of the opposite sex. n n n 9. People are happiest when they marry within their own social class. EXPECTATIONS AND PREDICTIONS 1. Before beginning to read the novel, ask students: Who has read the novel? Who has seen the movie? What expectations—if any—do they have about the novel? List the ideas that are generated in this discussion on a class chart and post. During reading, go back to this chart from time to time to see if students wish to revise and/or add to the ideas. 8 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 2. To anticipate some of the plot and themes of the novel, begin by showing a film clip of the ball scene in which Darcy insults Elizabeth—the “first impression.” You may also choose to read the parallel passage from page 9 (“An invitation to dinner was soon...”) to the last full paragraph on page 11 (which begins “Mr. Bingley followed his advice”). Then ask students to record their predictions: What romances will develop? What clues help you to predict a happy ending? What conflicts seem obvious? 3. Read the first chapter (pages 3-5) aloud to students or have them read it themselves. Ask the students to record their answers to the following questions: What are your first impressions of Mr. Bennet and Mrs. Bennet? On what do you base those impressions? Whose viewpoint does the opening sentence seem to reflect? JANE AUSTEN’S WORLD 1. Have students conduct a preliminary investigation of Jane Austen’s world, particularly around the time in which the novel is written and is set. You may have them work in groups to research the following topics in order to create drawings, models, or other visual presentations of their findings to share with the class. As an option, you can have the students post their findings to a class website, wiki, or Google document to use as a reference throughout the reading. What is the Regency Period? Who is in power in England? (Regent, George III) How is Austen’s world affected by such international developments as the Napoleonic War, the American Revolution, and the French Revolution? What elements of popular culture mark this period? Research styles of dress, art, music, dance, and games. Suggested Resources: http://www.erasofelegance.com/history/regency.html http://janeaustensworld.wordpress.com/ http://www.pemberley.com As students share their findings, have them: Predict the influence these historical events and cultural elements will have on the novel. Use their research to compare the activities of young people in the late 18th century to the lives of teens today. These comparisons may be a starting point for a discussion of the lasting popularity of Pride and Prejudice (and other Austen novels). In a whole class discussion, chart the similarities and the differences between 18th century and 21st century lives. Culminate with a journal-writing activity, asking students to use the findings to discuss which differences are positive and which are negative. For example, parlor games of Austen’s day may have afforded more opportunities for socializing and communicating with others, while video games today may encourage quick thinking and motor skills. 2. Compare the culture of the Bennets (and Jane Austen) to culture today. Ask students in small groups to list in order of priority the forms of communication they use today. Which of these communication methods were available to Austen and to her A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 9 characters? What is the students’ primary means of communication? What do they gain or lose by using this method? In what way was the communication of Austen’s day richer? How might the people of the day have been affected by the lapse of time between writing and reading letters? 3. On a map of England, have students locate the sites mentioned in the novel, as well as those important to Austen’s life (Bath, Winchester, Brighton, London, Herefordshire, Derbyshire, the Lake District, Kent, Lambton, Steventon). The following links provide detailed maps of real and fictional places related to Austen: http://www.pemberley.com/images/landt/maps/pp/Cary-1812-Eng-map.html http://www.jasna.org/info/maps.html Display the maps in the classroom for reference while reading the novel. You may ask students to mark actual locations with one color and fictional locations with another. Discuss the effectiveness of Austen’s using real locations as well as fictional places in order to bring her setting to life for readers. PROPERTY AND STATUS IN 18TH-CENTURY ENGLAND An introduction to some concepts of British society will help readers recognize the limitations imposed on many of the characters. Direct the students to conduct an internet research to learn about the following: primogeniture, entailment, preferment. Useful resources are the following: http://www.huffenglish.com/?p=562 http://www.pemberley.com/janeinfo/austen-l.html#collinsbennet During reading, assign small groups of students one of the families in the novel so they can use this research to determine life options for the children in each family: Georgiana Darcy, Miss Bingley, Col. Fitzwilliam, Maria Lucas (Charlotte’s sister), Anne de Bourgh (Lady Catherine’s daughter), and the Gardiners’ four children. Discuss with the students the options available to an unmarried woman or a second (or subsequent) son. Students may remember the concept of entailment from reading To Kill a Mockingbird. Ask students if they recall Scout’s classmate Walter Cunningham and the discussion about how Atticus was helping his father deal with an entailment. What would happen to members of a family as a result of an entailment? How would they be limited? What is the purpose of entailments? How do they protect the wealth of a family, especially if the main source of wealth is the land? For more information, see the following lesson plan site for an activity on social class in the early nineteenth century and detailed student assignments: http://edsitement.neh.gov/view_lesson_plan.asp?id=776#01 JANE AUSTEN’S BIOGRAPHY There is no shortage of information on Jane Austen and her works that will provide additional insights to students as they read the novel. Assign students to read several online biographies of Austen’s life, focusing on the following questions: What is known about the life of Jane Austen—her family’s status, siblings, personal experiences? Why did she become a writer? How was she supported in her writing? How popular were her novels? 10 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice Following are some useful web sites: Jane Austen’s World http://janeaustensworld.wordpress.com The Republic of Pemberley http://www.pemberley.com/ Jane Austen Society of North America http://www.jasna.org/index.html During reading ask students to compare and contrast what they have learned about Austen’s life and characteristics to those of her protagonist Elizabeth Bennet. Students could note these comparisons in a reading journal, paying attention to the following topics: family members, social status, courtship and marriage, education, and travels. Encourage students to note details about Austen’s life that are not a part of the characterization of Elizabeth. For example, Austen is the daughter of a minister, but the novel has no mention of religion or Elizabeth’s father’s work. CROSS-CURRICULAR CONNECTIONS As students begin the novel, explore the culture of the period. In preparation for follow- up research, you may assign students to explore areas of particular interest. They can look at the topics broadly at first and then narrow to a more specific focus as they prepare a follow-up essay or presentation of information. Classical Music—for example, Beethoven, Rossini, Schubert, Liszt and Mendelssohn Dance—Shift in popularity from country dances to the waltz which was considered controversial during Austen’s day Art—David, Turner, Constable History—Napoleonic Wars, French Revolution, American Revolution (Note that Austen makes no reference to military actions in this novel, although this was a period of great change through war.) Science—Industrial Revolution, steam locomotion Religion—the Evangelical movement, mysticism and other trends in religion during the late 18th and early 19th century Other areas—architecture, fashion, food, sports Resources: http://www.erasofelegance.com/history/regencyarts.html This site covers dance, art, music, religion, literature, science and technology of the period. http://www.pemberley.com/janeinfo/rgnclfil.html#famport This site provides several excellent examples of art/ illustrations of life in the period. II. GENRE STUDY THE NOVEL IN 18TH-CENTURY ENGLAND Jane Austen follows in the footsteps of earlier writers of the novel, a genre which came into popularity in the late 17th and early 18th centuries. Review with students the names of earlier novelists. What do they recall about their novels? Use the following sites to create A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 11 a timeline of the history of the novel, placing Austen and Pride and Prejudice in context: http://www.nvcc.edu/home/ataormina/novels/history/default.htm The power point found at this online location provides a broad history of the novel: http://faculty.mccfl.edu/Jonesj/JanesPPT/LIT2012/NovelOL.ppt Discuss with students: Shifting popularity of poetry and fiction. Why is one considered more respectable than the other at different points in time? Rising acceptability of female writers. Why, according to family reports, did Austen hide her writing when outsiders entered the room? Why did many female writers, such as the Bronte sisters, use masculine pseudonyms? THE ROMANCE Assign students to read pages 372-374 of the “Afterword” by Eloisa James. Note how the meaning of the term “romance” when applied to literature has changed over time. Have students research the definition of romance, historical romance, and romantic comedy in their literature textbook or a handbook of literary terms. Discuss with students: How do literary definitions of the romance vary from general associations? Why would Eloisa James’ family have “banned” romance in their home? SATIRE Austen’s novels are often identified as “novels of manners” because she critiques social customs, conventions, and behaviors of a particular social class at a specific time and place. Introduce the concept of satire by making connections to satirical books and cultural forms with which the students are familiar—from Huck Finn to Saturday Night Live. Ask students to name examples of satire in their own culture. You may bring in examples from political cartoons, clips from The Simpsons or SNL before asking students to collect and share their own examples. Resource: http://politicalhumor.about.com Ask students to brainstorm elements of their own society and culture that could be criticized. Discuss how these elements of society might be satirized in fiction. Then have students freewrite, satirizing an aspect of contemporary society. Share in pairs and then with the whole class. III. INITIAL EXPLORATION OF THEMES Prepare the students to read the novel at a deeper level by exploring several key themes before they read the novel. These explorations create an atmosphere of inquiry, encouraging students to discuss openly their responses and attempts to develop understanding. PRIDE, PREJUDICE, AND FIRST IMPRESSIONS 1. Have students work with a partner to create a list of qualities on which people judge others. Ask them to go through their lists and determine whether the judgment based on each quality is justified or not. As the pairs share, compile the list of qualities on the board. Ask students to share their opinions concerning the justification of 12 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice judging persons based on each quality. What can one know for certain about a person based on first impressions? What factors lead to wrong conclusions? You might provide students with an example by discussing how we often judge persons by their appearance. What can we truly tell about a person by their dress (perhaps age, gender, neatness)? Can you tell for certain if someone is wealthy or poor, good or evil, honest or dishonest? What can we infer from someone’s appearance? As a variation, you could present this list and ask students to label them as justified or not: physical appearance, age, gender, race, ethnicity, dress, religious orientation or pious behavior, intelligence, manners or lack of manners, wealth, place of residence. Discuss with students: What dangers does a person risk by stereotyping or judging others? In what ways are these distinctions useful? What is “profiling”? Why is it dangerous? Is it needed? Students are probably most aware of post-911 profiling. 2. Bring in photographs of a variety of people cut from magazines or other print sources, numbering each. Ideally, you should have the same number of pictures as students. Seat the students in a circle. Ask them to number a paper to correspond with the number of pictures you will circulate. Give one picture to each student. Allow about 30-60 second for them to look at the picture and write a brief description of the person, then together pass to the right and continue until each student has responded to each picture. Collect the photographs from the students and one-by-one display them, calling out the number and having students share their description of the person pictured. Discuss with students: How similar or different were their responses? On what traits and features did they base their opinions? To which people pictured did they respond most positively? Negatively? Why? Which of their descriptions can be supported? Which ones involved speculation? What causes varying opinions? What does this suggest about the way we judge individuals? COURTSHIP AND MARRIAGE Divide the students into an even number of groups. Give each a large sheet of paper with one of the following headings: Dating or Marriage. Ask members of each group to brainstorm and list the ideal qualities of a DATE or a MATE. Call the students back together, post the charts, and compare or contrast the qualities they have listed. Which qualities show up on both charts? Which qualities are not listed on both charts? How do they explain the disparities? Another option for this activity is to have students create a Venn Diagram to identify the qualities for each category and for both. Discuss with students how and why their lists might differ from those their parents and grandparents might make. CIVILITY, MANNERS, AND SOCIAL CLASS Direct students to print or online sources to investigate social conventions—either written or understood—about the following social situations: Rules for addressing individuals, based on age, birth order, gender and marital status Rules for visiting neighbors Rules for entering society (“coming out”) Rules governing dances (dance cards, etc.) A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 13 Following their research assign students to create a page of an etiquette guide for a young woman of the period, describing behavior when visiting or attending a party, or write a news story account of a ball or other fancy party, describing the interactions of the guests. Suggested resources for the Regency period: http://www.huffenglish.com/?p=599 http://janeaustensworld.wordpress.com/social-customs-and-the-regency-world/ Here are some sites for current rules of etiquette for students to compare and contrast with those of the Regency Period: http://www.emilypost.com/everyday/index.htm http://lifestyle.msn.com/Relationships/Article.aspx?cp-documentid=8318975 DURING READING ACTIVITIES The reader response prompts and discussion questions that follow will elicit students’ initial responses and lead to more in-depth analysis of the themes and ideas explored in the pre-reading activities. Other activities are designed to help students develop vocabulary and analyze the art of the novel. I. NOTING INITIAL REACTIONS THE READING JOURNAL 1. Point out that Austen’s original title of the novel was First Impressions. After reading the first four chapters, have students record in a reading journal their first impressions of Mr. Bennet, Mrs. Bennet, Jane, Elizabeth, Bingley, and Darcy, and at least three others of their choice, selecting specific passages to support that impression. Have them leave space to note subsequent changes in those impressions as they continue to read the novel. By dedicating a separate journal page to each character under scrutiny, readers may trace their responses and any changes from first impressions. Here is an example of how to organize the Reading Journal: Character Vol/Ch/Pg Personal Response Darcy I/3/10-11 His cutting comments, especially about Elizabeth make me understand why the local citizens dislike him almost at once. Darcy I/6/21-22 By revealing Darcy’s increasing interest in Elizabeth after first dismissing her, Austen hints that something more may develop. Darcy isn’t any warmer than before, but he seems more human. During reading, discuss with students how their impressions change or do not change. Are there certain characters that remain “flat”? Why? For example, the first impression of Collins holds up much better than that of Wickham. Why? 2. Direct students to record in their reading journals references to “pride” and 14 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice “prejudice” in the novel, noting the character to whom the reference is made and the character making the observation, if applicable, and their interpretation of the connotation of the words as they are used. Here is an example: Darcy “was the proudest, most disagreeable man in the world, and everybody hoped that he would never come there again” (Vol 1, Ch. 3, p. 10). Connotation: Darcy’s arrogance offends the local citizens he snubs. 3. Ask students to conduct a close reading of the first three chapters, paying particular attention not only to dialogue but to the words of the narrator as they reveal assumptions about the culture in which the story is set. Ask students to distinguish between verifiable facts and assumptions and to note these in their reading journals. Introduce the first sentence as an example: “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” Is the narrator correct in assuming that all wealthy single men need to find a wife? Why or why not? Does the narrator believe this statement? By contrast, how can the characterization of Mrs. Bennet at the end of the first chapter (“The business of her life was to get her daughters married...”) be supported by the woman’s word and actions? Discuss with students: To what extent does the narrator reflect the general attitudes of most people living in the Bennets’ community? Is it credible that after the ball, “everybody hoped that [Darcy] would never come there again” (10). How important is public opinion in the setting of the novel, and how does this compare with the effect of public opinion on students’ lives? II. READER RESPONSE 1. Give students a chance to explore their initial reactions to the reading by asking open-ended questions or letting them choose a particular element of the story they wish to explore. Here are some possible prompts: What conversation do you find entertaining? Why? With which character do you most identify and why? Which character do you find most unlikable? Explain your response. Select a scene that made you feel discomfort for the character(s) involved and explain your response. 2. The following quotations may lead to rich responses or you may instead ask students to select quotations they judge as significant. Quotes can be used for free writing, journal entries, or discussion starters. “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” (3) “She is tolerable; but not handsome enough to tempt me....” (11) “Happiness in marriage is entirely a matter of chance.” (21) “I am all astonishment. How long has she has she been such a favorite?— and pray, when am I to wish you joy?” (25) “I wonder who first discovered the efficacy of poetry in driving away love!” (41) A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 15 “I had not thought Mr. Darcy so bad as this—though I have never liked him...” (77) “Why should they try to influence him? [Mr. Bingley] They can only wish for his happiness, and if he is attached to me, no other woman can secure it.” (132) “Is not general incivility the very essence of love?” (137) “...what is the difference in matrimonial affairs between the mercenary and the prudent motive? Where does discretion end, and avarice begin?” (148) “What are men to rocks and mountains?” (149) “You must allow me to tell you how ardently I admire and love you.” (181) “But disguise of every sort is my abhorrence.” (184) “Till this moment I never knew myself.” (199) “This will not do,” said Elizabeth. “You will never be able to make both of them good for anything. Take your choice, but you must be satisfied with only one.” (213) “... this was not the best method of recommending herself; but angry people are not always wise....” (258) “Is it possible!” cried Elizabeth....”Can it be possible that he will marry her?” (288) “’Tis too much!” she added, “by far too much. I do not deserve it. Oh! why is not everybody as happy?” (330) “You are too generous to trifle with me. If your feelings are still what they were last April, tell me so at once.” (348) “Think only of the past as its remembrance gives you pleasure.” (351) “Perhaps I did not always love him so well as I do now. But in such cases as these, a good memory is unpardonable.” (355) “If any young men come for Mary or Kitty, send them in, for I am quite at leisure.” (359) III. FOCUSING ON THE LITERARY ELEMENTS SETTING 1. Austen sketches the settings of the novel very briefly, leaving it to readers to visualize the places in which the events occur. Divide the class into groups, assigning each group one specific location in the novel. Have groups collect details from the text as they read so the group can produce visual representations, such as drawings or models. Netherfield Park, Bingley’s residence Pemberley House, Darcy’s estate The Derbyshire countryside Rosings, the home of Lady Catherine 16 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice Other settings students may select include Longbourn, Hansford, and Meryton. Afterwards, you may want to show clips from a film adaptation of the novel to allow students to compare their models or drawings to the representation of the setting in the film. Discuss: How do the film representations differ from those the students produced? What details are significant in both? How do the details of setting give a sense of the characters that inhabit them? As an alternative to film, you may use the following link to photographs of places used as models for the settings or as settings for film adaptations: http://www.pemberley.com/jasites/jasites.html. 2. Have students locate details from the novel that place the story firmly in 18th century England and provide hints about cultural values different from their own. For example, Miss Bingley derides Elizabeth’s “brown and coarse” complexion (257). Note that at this time ladies protected their skin from the sun, so working class women were often more easily distinguishable by their complexion. Discuss how such details provide important information about class difference, such as the difference between the Bennets’ lifestyle and the lifestyle of more wealthy families, such as the Bingleys. What details convey a lifestyle of leisure? Consider how little mention is made of work (even by Mr. Bennet) and how much time is spent in leisure-time activities, such as playing games and musical instruments? Which of the cultural differences between the Regency Period of the novel and today seem merely superficial? Which point to significant differences of values and lifestyle? POINT OF VIEW 1. As students begin to read the novel, review the different choices authors can make concerning point of view, such as first or third person, objective or editorial, and total or limited omniscience. Ask students to locate evidence of Austen’s choice of point of view for this story. 2. During the close reading of the first four chapters, ask students to locate the passage at which they pinpoint the protagonist (or heroine) of the story. Discuss with students: How does Austen shift the focus to Elizabeth? (10) Why does the author wait to introduce Elizabeth herself until the second chapter? What clues in earlier dialogue hinted at Elizabeth’s importance in the story? 3. This novel is told in third person with limited omniscience, and readers are most often presented with Elizabeth’s perspective and experiences. As they read, ask students to note in their journals examples of the occasional shifts from Elizabeth’s perspective to brief insights into Darcy’s thoughts and feelings. In pairs, have students locate examples of passages that clearly present Elizabeth’s point of view through third-person narration and passages that present Darcy’s perspective. You may model this activity using the passage on page 22, as Elizabeth remains unaware that Darcy’s perception of her is changing, or page 25, as the narrator shifts from observations made through Elizabeth’s eyes to those involving Darcy’s thoughts, as well as his conversation with Miss Bingley after Elizabeth’s departure. In their reading journals, ask students to discuss the effect the author produces by allowing readers, but not Elizabeth, an early glimpse into Darcy’s abrupt change of feelings toward her. A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 17 CHARACTERIZATION 1. Austen provides few details of the characters’ physical characteristics. Elizabeth, notes Darcy at first, is “tolerable; but not handsome enough to tempt me” (11), and only later does he remark on her “pair of fine eyes in the face of a pretty woman” (25). Darcy is described as a “fine, tall person, handsome features, noble mien” (10). Instead, the characters become real through their dialogue, thoughts, and actions. Assign one of the characters (such as Elizabeth, Jane, Darcy, Mrs. Bennet, Lydia, Wickham, Collins, Charlotte Lucas, Lady Catherine de Bourgh) to groups of three or four students and have them build a character sketch based on the character’s actions, words, thoughts, the responses of others to the character, and the narrator’s description. You may suggest they use a graphic organizer, filling in the different kinds of details posted in separate quadrants: What the character says What the character thinks What the character does What other characters say about the character 2. Divide students into groups of 3-4 and assign each group one of the pairs of couples in the novel: Jane and Mr. Bingley, Elizabeth and Mr. Darcy, Elizabeth and Wickham, Charlotte Lucas and Mr. Collins, Mr. and Mrs. Bennet, and Lydia and Wickham. Ask students to collect details about the relationship of the couple and how it develops and changes over time. Students can create and post a chart for the class representing the stages in each couple’s relationship. These charts can provide useful review and opportunities for anticipation questions as the class continues to read the novel. TONE The ability of readers to recognize tone is central to understanding a novel. Choose one or more passages from the selection assigned to make students aware of clues to the tone of the speaker or the narrator. Possible examples for whole-class discussion: Mr. Bennet’s reaction to Elizabeth’s refusal to marry Collins (107). Collins’ preparation for meeting Lady Catherine (155). The exchange between Lady Catherine and Elizabeth concerning the possibility of an engagement (336-338). In their journals, ask students to identify and record lines of dialogue that produce an effect, intentional or not, on the audience. They should describe the impact of the conversation, note passages that seem to have an intended meaning that differs from the literal meaning of the words, describe the effects the words have on the characters, and describe the effects of the words’ meaning on readers’ understanding of the characters. For example, Mr. Bennet tells his daughter, “An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents—Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do” (107). Rather than presenting her with a dilemma, he is actually surprising his wife and relieving Elizabeth by making clear his distaste for such a marriage. Elizabeth 18 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice smiles at her father’s agreement with her decision, but her mother is “excessively disappointed.” These lines remind the reader that Mr. Bennet often takes his daughter’s side in disagreements against his wife. He supports her rejection of the proposal, preferring Elizabeth’s happiness to a miserable security. Have students reword selected passages, transforming the scene to a modern situation without changing the tone. Here is one example: “And is this all?” cried Elizabeth. “I expected at least that the pigs were got into the garden, and here is nothing but Lady Catherine and her daughter!” (153). “Is that what all the fuss is about?”cried Elizabeth. “I expected to find the house was on fire, not just Mrs. de Bourgh and her daughter.” After discussing the selected passages, you may wish to show clips of the scene from the film version of the novel to compare student interpretation to the actors’ interpretation. IV. DISCUSSION QUESTIONS The goal of discussions is to enable students to deepen their understanding of the characters and themes of the novel. Below are some thought-provoking questions, organized by the sections identified in the Synopsis of the Novel. VOLUME I CHAPTERS 1 AND 2 1. What is the relationship between Mr. and Mrs. Bennet? How does Austen convey the tone Mr. Bennet uses with his wife? 2. Why is Mrs. Bennet so interested in the young man’s arrival? CHAPTERS 3 -6 1. Despite Bingley’s appearance as a most eligible bachelor, what is revealed about his family, his age, and his inexperience? 2. How is Elizabeth’s fun at Darcy’s expense different from his own behavior toward her and her friends and family? 3. Do you agree with Mrs. Lucas’s distinction between pride and vanity and her conclusion that Darcy has a right to feel proud? 4. Why might Miss Bingley be eager to criticize the Bennet girls and their mother? 5. What is revealed about the characters of Mary and Elizabeth by their piano performance? 6. What effect does Elizabeth’s teasing have on Darcy? Is Elizabeth intentionally trying to provoke Darcy’s attention? Note his continued attraction, despite her “inferiority.” A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 19 CHAPTERS 7 -12 1. What influences Elizabeth’s opinion of the Bingleys? 2. What does Darcy consider an accomplished woman? What does this reveal about him? 3. How does Darcy react to Miss Bingley’s comments about the Bennets? 4. How does Darcy characterize his own faults? (How does he reveal more about himself?) CHAPTERS 13-16 1. How do the members of the Bennet family respond differently to Collins’ letter announcing his intention to visit Longbourn? 2. What is meaningful about Mr. Bennet’s attention to Collins’ “talent of flattering with delicacy”? How does Mr. Bennet seem to toy with the younger man, playing on his ego? 3. What motivates Collins to seek a wife from among the Bennet girls? 4. How does Wickham differ from Collins in his self estimation? 5. Why is Wickham’s candor concerning his situation and his relationship with Darcy surprising? Are his revelations appropriate? Why or why not? What keeps him from talking even more openly? CHAPTERS 17- 22 1. How does Jane’s desire to see the good in everyone differ from Elizabeth’s judgments? 2. In what way does Elizabeth’s family embarrass her at the ball? Is she justified in her reactions? 3. Why might Elizabeth be the “least dear” daughter to her mother? Could her father’s preference have provoked this response? 4. How might Collins’ reasons for marriage be judged today? Why does he have trouble taking Elizabeth’s rejection seriously? What does he purport to offer her? 5. Why would the Lucases’ reaction to their daughter’s engagement be considered socially inappropriate? 6. Why does Charlotte accept Collins’ proposal? What motivates her? Is this a worthy motive or not? VOLUME II CHAPTERS 1-3 1. Does Elizabeth apply the same careful judgment to Wickham as she does to Darcy? Why or why not? 2. How does Mrs. Gardiner give advice in such a way that it is not resented? How is Mrs. Gardiner’s approach different from Mrs. Bennet’s? 3. How does Elizabeth know she was never actually in love with Wickham? What influences his change of affection? 20 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice CHAPTERS 4-9 1. What is Collins’ motive in showing off what he has to Elizabeth? 2. Why does Lady Catherine de Bourgh “condescend” to spend so much time with those she considers beneath her? 3. How does Darcy compare his social skills to Elizabeth’s piano skills? What does Elizabeth’s response say about her? CHAPTERS 10-14 1. If Elizabeth dislikes Darcy so strongly, why does she weep after turning down his proposal? 2. How does Darcy’s letter make her reconsider her own behavior and judgments? CHAPTERS 15-19 1. How do Elizabeth’s comments about Darcy at dinner cause Wickham concern? 2. What does the author reveal in Chapter 19 about the nature of the Bennet marriage? VOLUME III CHAPTERS 1-3 1. What accounts for Darcy’s civil behavior toward Elizabeth and the Gardiners? 2. How does this affect Elizabeth? CHAPTERS 4-6 1. What does Lydia risk by eloping with Wickham? Would society today still compel Lydia and Wickham to marry? 2. How might Mr. Bennet’s earlier actions have prevented this scandal? Is Mr. Bennet responsible for his youngest daughter’s behavior? In what ways? CHAPTERS 7-11 1. Why does Gardiner remain silent about the financial agreements with Wickham? 2. Why would Darcy attend a wedding he must find deplorable? 3. How would Mr. Bennet’s feelings change if he knew who was actually responsible for the marriage arrangements? CHAPTERS 12-19 1. How do Elizabeth’s character traits assist in her conversation with Lady Catherine? 2. In what way are the character traits for which Lady Catherine prides herself, sincerity and frankness, more negative than positive? 3. In Chapter 16, during the conversation that marks the turning point in their relationship, how do Elizabeth and Darcy explain to one another (and themselves) A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice 21 their changes of heart after their first impression and after Darcy’s awkward first profession of affection for Lizzie? V. VOCABULARY DEVELOPMENT Students appreciation for language can be enhanced through focus on words in their reading. BRITISH/AMERICAN DIFFERENCES In a mini-lesson, discuss British words and their American English counterparts (honour/ honor; connexion/connection). Students may be familiar with some of these variations from reading the Harry Potter novels, although many were edited out of the American publication. Resource: http://www.uta.fi/FAST/US1/REF/usgbintr.html. Have students note word variations as they read and post these words to a chart for review and discussion. ARCHAIC WORDS In a mini-lesson in conjunction with discussion of the Regency period and its culture, identify words that are outdated (time periods: fortnight; sennight; pastimes: quadrille; whist; vint-et-un). Discuss parallel terms used today which have replaced these words. Discuss with students why they think these words have fallen out of use. MULTIPLE MEANINGS Misreadings sometimes occur when students apply a familiar definition to a word that has other meanings. Such is the case with the following terms: mean (5), capital (23), settled (34), approbation (48), wonderful (78), inmate (129), artful (136), want (179-180). Being able to recognize the possibility of other meanings in context proves a useful skill in reading comprehension. Give the students this list and have them do the following: Write the definition with which they are most familiar Locate the passage in which the following words are used Use context clues to predict other possible meanings Use dictionaries to fine various definitions and choose the one that seems to fit in context Write a sentence using the word correctly to convey the same meaning Ex. Mean most often is used today to describe a person whose actions are malicious or hurtful. On page 5, Mrs. Bennet is described as “a woman of mean understanding, little information, and uncertain temper.” In this sentence the word is used as an adjective to describe her understanding. Since the Merriam-Webster Online Dictionary provides a number of definitions, students will need to choose the one that best fits the context. http://www.merriam-webster.com/dictionary/mean DESCRIPTIVE WORDS Some of Austen’s descriptive words shed light on particular characters. Give students the following list of words and the page numbers where they are found. Ask them to record the passage in which each word occurs; develop a definition based on context in which it is used; compare the dictionary definition to their own; use each of the words correctly 22 A Teacher’s Guide to the Signet Classics Edition of Jane Austen’s Pride and Prejudice in a sentence of their own, providing context clues, to describe the characters. fastidious (11) Mr. Darcy ductility (15) Mr. Bingley supercilious (17, 19) Mr. Collins impertinent (22) Mr. Darcy and Elizabeth pedantic (23) Miss Mary Bennet insipidity (25) The Bennets (from Miss