Lesson One: the Introduction

Unit Plan: Jane Eyre

Prepared by: Lindsey Parsons For Professor Robert Peters EDU 631 Due Thursday June 2nd, 2005 Subject: English Literature Topic: Charlotte Bronte’s Jane Eyre Duration: 20 classes @ 75 minutes each Grade Level: Twelve University Preparation Number of Students: 28

Goal: This Unit will take the form of an in-depth study of Charlotte Bronte’s Jane Eyre. Students will acquire skills for analyzing literature that they can take with them as they enter post-secondary studies. Students will engage with the text through a number of written activities that will highlight major themes and literary conventions of the novel. They will expand students’ ability to interpret, analyze, and write about classic literature.

Objectives: By the end of this unit, students will be able to 1. Read, understand, and answer questions about the novel. 2. Show their analyzing skills in the form of a class debate about an issue from the novel. 3. Demonstrate their knowledge of the novel by writing a persuasive letter to the director of the movie comparing it to the novel. 4. Identify major themes and literary devices from the novel and organize them in a chart. 5. Evaluate the perspective presented in the novel and create new points of view from a variety of characters. 6. Assess the different types of genre the novel represents and gain an understanding of components of different genres. 7. Demonstrate knowledge of complicated vocabulary words from the text. 8. Integrate their comprehension of the context of the novel and create their own autobiographies based on this exercise. 9. Work in groups to recreate a scene from the novel and present it in front of the class 10. Use persuasive language to write a letter convincing a 19th century publisher to publish Jane Eyre.

Materials:  Blackboard and chalk or a white board and dry erase markers  Overheat projector and the ability to create overheads  28 copies of Jane Eyre  28 copies of the following handouts  Appendix 1: Women of Victorian England  Appendix 2: A Historical View of the Victorian Governess  Appendix 3: Section Summary (5 per student =140 total)  Appendix 4: Major Themes in Jane Eyre  Appendix 5: Literary Devices in Jane Eyre  Appendix 6: Jean Rhys’ Wide Sargasso Sea  Appendix 7: Charlotte Bronte in Jane Eyre  Appendix 10: Genre and Jane Eyre  Appendix 12: Vocabulary  Appendix 13: It Would Never Suit the Circulating Libraries  Appendix 14: Unit Test: Jane Eyre  The following should be transferred onto an overhead sheet  Appendix 8: How to Write an Autobiography  Appendix 9: Elements of Bildungsroman, Gothic Fiction, Romance  Appendix 11: Quotations

Activities:  Chapter Summaries: The novel will be divided into 8 sections: Gateshead, Lowood, Thornfield Part I, Thornfield Part II, Thornfield Part II, Moor House Part I, Moor House Part II, and Ferndean. For each section the teacher will write 4 questions (provided below) for each section on the blackboard for students to complete. They will also fill out a Section Summary for each of the 5 major sections. These will be for personal study use and students will not have to hand these in. Students will be assessed on their participation in class discussions on these questions and summaries.  Debate: A class debate will be held during the Thornfield section of study. Students will debate whether Jane should have left Thornfield or not, and the teacher will write their ideas on the board in pro and con sections. Students will be marked on their participation and the quality of their arguments.  Letter to the Director: Students will write a letter to the Franco Zeffirelli after watching the movie, commenting on the accuracy or inaccuracy of his movie. Students will be asked to hand this assignment in the following class and will be marked according to the rubric included (Appendix 16).  Theme Chart: In groups, students will fill in the chart (Appendix 4) and then the class will discuss the charts together. This will not be evaluated but students will be assessed on their participation.  Literary Devices Chart: Students will fill in this chart (Appendix 5) using the novel. The chart will then be discussed and completed as a class. They may work alone or in groups, but they will only be evaluated on their class participation.  Multiple Perspectives: After learning about Jean Rhys’ Wide Sargasso Sea, studnets will write a story from the perspective of a character from Jane Eyre other than Jane or Bertha. This will be handed in the next class and evaluated according to the rubric included (Appendix 16).  Autobiography: Students will write their autobiography typed and double-spaced on one page and answer the question, “Is Jane Eyre Charlotte Bronte’s autobiography?” on the other side of the page, doubled spaced and typed. This will be evaluated according to Appendix 16 rubric.  Genre: Students will fill in a Genre chart (Appendix 10). This will not be evaluated.  Vocabulary: Students will fill in Appendix 12 Vocabulary Sheet, using the book and a dictionary. This will not be evaluated.  Alternative Assessment: Students will be placed into random groups and will present their interpretation of a scene from the novel or the movie in the form of a skit. Students will be allowed to choose their own scene. They will be marked on their accuracy to the text, their creativity, and their overall performance.  Persuasive Letter: After reading Daniel Pool’s Article, “It Would Never Suit the Circulating Libraries”, students will have one class (75 minutes) to write a letter to a 19th century publisher persuading or dissuading them to publish Jane Eyre.  Unit Assessment: Student will write a Unit Test (Appendix 14).

Lesson One: “The Introduction”  This is the introductory lesson for the novel study on Charlotte Bronte’s Jane Eyre. The lesson will begin with a warning to students that the reading will be quite heavy and time consuming at the beginning of the course. This is intended to prepare the students for a heavy workload in university.  Essential Question: Write this question on the board and leave it there until the end of the unit… “Does true love exist?” Ask students to voice their opinion in the form of a class discussion.  History Lesson: Distribute the handout titled “Women of Victorian England” (Appendix 1) and have students read it aloud to the class. Explain to students that Jane Eyre was written in 1847. This part of the lesson should provide students with context.  On the blackboard construct a social pyramid, in order to illustrate the class system to the students.

 The Governess: Distribute the handout titled “A Historical View of the Victorian Governess” (Appendix 2) and have the class read it orally. Ask the students what they think it would be like to be a governess.  Explain to students that the book will be divided into 5 major sections: Gateshead, Lowood, Thornfield, Moor House, Ferndean, with some subsections for longer sections. There will be assigned chapters for each night to be read at home, questions assigned to be completed for the next day, and a “Section Summary” (Appendix 3) to be filled out in order to keep organized.  For Homework assign students to read Chapters 1-4, the Gateshead Section, fill out questions provided and Section Summary.  Questions for Gateshead Section Ch 1-4: 1. What is the tone of these chapters? 2. What is the significance of the red-room? 3. What promise did Mrs. Reed make to Mr. Reed on his death bed? 4. What do we learn about Jane when she defends herself against her Aunt’s accusations to Mr. Brocklehurst?  Read aloud from Ch 1-4 as a class until the end of the period. Lesson Two: “Gateshead to Lowood”  As a class, discuss the answers to the questions assigned the day before for Chapters 1-4.  As a class, on the blackboard, fill in appropriate sections in the Sections Summary so that all students have a complete summary to use for studying for the unit assessment.  Discuss any questions about the chapters.  Assign the class Chapters 5-10, titled the Lowood Section, to be read for the next class, as well as the questions provided and have them fill out a Section Summary for the Lowood Section.  Questions for Lowood Section Ch 5-10 1.Describe the conditions at Lowood. 2. How does Mr. Brocklehurst’s religious thought differ from Helen Burns’? 3. How are Helen and Jane alike? How are they different? 4.Besides Helen, who befriends Jane at Lowood and why?  Begin reading Chapters 5-10 aloud in class until the end of the period.

Lesson Three: “Lowood to Thornfield”  Begin the class by discussing the questions from the prior class, as a class.  On the blackboard, fill in the Lowood Section Summary as a class.  Answer any questions about the section.  Assign the next section, Thornfield, which will be read in 3 parts, due to its length. Only one Section Summary will be prepared, but there will be three sets of questions.  The first section of Thornfield that will be assigned for homework to read is Chapters 11-16.  Assign questions provided and have students begin and Section Summary for this section which will be added to over the 3 parts.  Questions for Thornfield Section Part I Ch 11-16 1. Name some supernatural elements that Jane encounters when she arrives at Thornfield. 2. When Jane is watching the moon rise, what does it remind her of from her past? 3. Why does Rochester take Adele to England? 4. Who sets Rochester’s curtains on fire?  The class will read aloud from Chapters 11-16 until the end of the period.

Lesson Four: “Thornfield Part II”  Begin the class by discussing the questions from the prior class, as a class  On the blackboard, fill in the Thornfield Section Part I Summary as a class.  Answer any questions about the section.  Assign Part 2 of the Thornfield Section, Chapters 17-21, to be read for homework.  Assign questions provided and have students add to the Section Summary for Thornfield that they have already begun.  Questions for Thornfield Part 2 Ch 17-21 1. How does Jane feel when she learns that Rochester has left Thornfield and may not come back? 2. Why is Blanche upset after she talks to the gypsy woman? 3. How is Blanche similar to Jane? How is she different? 4. Why does Aunt Reed not give John Eyre’s letter to Jane?  The class will read aloud from Chapters 17-21 until the end of the period.

Lesson Five: “Thornfield Part III”  Begin the class by discussing the questions from the prior class, as a class  On the blackboard, fill in the Thornfield Part II Summary as a class.  Answer any questions about the section.  Assign Part 3 of the Thornfield Section, Chapters 22-27, to be read for homework.  Assign questions provided and have students add to the Section Summary for Thornfield that they have already begun.  Questions for Part 3 of the Thornfield Section Ch 22-27 1. What are the strangers in the churchyard doing when Jane sees them before her wedding? 2. Why is Jane worried about her forthcoming marriage? 3. Why can’t Rochester marry Jane? 4. Why does Jane leave Thornfield and decide not to be Rochester’s mistress?  The class will read aloud from Chapters 22-27 until the end of the period.

Lesson Six: “Thornfield to Moor House”  Begin the class by discussing the questions from the prior class, as a class  On the blackboard, fill in the Thornfield Part III Summary as a class.  Answer any questions about the section.  Now the class will be asked to debate whether Jane should have left Thornfield or not, citing reasons that the teacher will compile on the black board in two lists: pro and con.  Assign the Moor House Section Part I, Chapters 28-32, to be read for homework. There will be two parts to the Moor House Section. Assign a Section Summary to be filled out for this section and the questions.  Questions for Moor House Section Part I Ch 28-32 1. Why are Diana and Mary at Moor House and not at their governess jobs? 2. Why does Jane gain a sense of belonging that she never had before when she is at Moor House? 3. Why does St. John rip the corner off of Jane’s drawing? 4. What book of poetry does St. John give Jane?  The class will read aloud from Chapters 28-32 until the end of the period.

Lesson Seven: “Moor House Part II”  Begin the class by discussing the questions from the prior class, as a class  On the blackboard, fill in the Moor House Part I Summary as a class.  Answer any questions about the section.  Assign the Moor House Section Part II, Chapters 33-35, to be read for homework. Have students complete the Moor House Section Summary and questions.  Questions for Moor House Part II Ch 33-35 1. How does St. John figure out who Jane really is? 2. Why does St. John ask Jane to learn Hindustani instead of German? 3. What model of religion does St. John represent? 4. Why does Jane decide to look for Rochester?  The class will read aloud from Chapters 33-35 until the end of the period.

Lesson Eight: “It’s almost over!!! Ferndean”  Begin the class by discussing the questions from the prior class, as a class  On the blackboard, fill in the Moore House Part II Summary as a class.  Answer any questions about the section.  Assign the final section, Ferndean, Chapters 36-38, to be read for homework. Have students fill in the Ferndean Section Summary and the questions provided.  Questions for Ferdean Section Ch 36-38 1. What happened to Thornfield? 2. Who witnesses Jane and Rochester’s wedding? 3. Why does Jane now want to marry Rochester? 4. How does Bronte end the novel?  The class will read aloud from Chapters 36-38 until the end of the period.

Lesson Nine: “The End and a Reward!”  Discuss the questions from the previous class, as a class.  On the blackboard, fill in the Ferndean Section Summary as a class.  Answer any questions about the section.  Discuss the effectiveness of the ending as a class. What does Bronte suggest by having a happy ending where the female characters are only fulfilled by marriage?  Reward: Show the movie version of Jane Eyre, directed by Franco Zeffirelli in 1996. This movie is approximately 116 mins long, so start the movie today and continue it during Lesson Ten. Lesson Ten: “The Movie”  Finish the class viewing of Zeffirelli’s Jane Eyre.  When the movie is over, ask the students to write a letter to the Director, Franco Zeffirelli, commenting on the accuracy of the film, as compared to the novel. Students will be given the remained of the class to work on their letter and will be required to hand it in the next class. The expectation will be a minimum of one page, typed and double-spaced. Lesson Eleven: “Major Themes”  As a class, discuss the major themes and where each is present in the novel.  The Teacher will provide students with 6 major themes, in the form of a chart (Appendix 4)  Students will be placed in groups of 4 and asked to fill in their chart with examples from the text.  The class will then come back together to discuss the charts.

Lesson Twelve: “Literary Devices”  This class will serve to enrich students’ ability to find literary devices from the text and understand their meaning.  The students will be given a chart (Appendix 5) with the Literary Devices provided. Their task is to find examples of these devices in the text. They may work alone or in groups and answers will later be shared with the class.

Lesson Thirteen: “There are Two Sides to Every Story”  This lesson will be about multiple perspectives.  The teacher should begin with a discussion of the first person narration in Jane Eyre. Students should be able to recognize the one- sidedness of a first person narrative.  The teacher will give a brief synopsis of Jean Rhys’ Wide Sargasso Sea (Appendix 6) and explain how it provides a different view of Jane Eyre.  The students will then be asked to write a 1000 word story or diary entry from the perspective of a character in Jane Eyre (not Jane or Bertha). Their story should chronicle the past of this character and give their version of the events they are part of in Jane Eyre.

Lesson Fourteen: “Portrait of the Author”  The teacher will write the following quote on the board: “Everyman’s work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself.” –Samuel Butler (1612-80)  The teacher will provide students with a handout titled “Charlotte Bronte in Jane Eyre” (Appendix 7) which highlights the similarities Bronte’s novel and Bronte’s life. The students will take turns reading the articles aloud.  Autobiography: Make Appendix 8 into an overhead to show students the element of an autobiography.  Assignment: Students will write their own autobiography on one page, typed and double spaced and answer the following question: “Is Jane Eyre Charlotte Bronte’s autobiography? Why or why not? Use examples from the text to justify your answer.” This assignment will be due the following class. Lesson Fifteen: “Genre”  This lesson will discuss the three different genres of Jane Eyre.  Put Appendix 9 onto an overhead and show it to the class. This note shows the elements of the Bildungsroman, Romance, and Gothic genres.  Now hand a copy of Appendix 10 to each student and, in groups, have them fill in examples from the text that highlight each type of genre.  Then come together as a class and share examples.

Lesson Sixteen: “Vocab, Quotes, Family Tree”  Copy the quotations from Appendix 11 to an overhead and discuss the significance of each as a class.  Hand a copy of Appendix 12 to each student and allow them to look through to novel to find a definition for each word. Allow student 10 minutes to attempt this and then give them a dictionary to use to complete the sheet.  To finish the lesson and as a fun extra for students, copy the family tree (Appendix 15) on the blackboard. This will make the familial relationships clear to the students.  At the end of class the teacher should notify students that there will be a Unit Test on Jane Eyre that will be taken during class on Lesson Twenty.

Lesson Seventeen: “Characterization and Relationships”  Names in Jane Eyre: the teacher should lead a class discussion of each character name by writing the name on the blackboard and providing the explanation provided below as well as students’ input:  Jane: plainness, contrasts to upper class names like Georgiana and Rosamond, therefore shows her status  Eyre: associated with air, Jane is described to have air-like qualities, it means nesting place in french and Jane is also described as a bird, also could related to heir because she inherits money  Gateshead: the beginning, open the gates  Lowood: a lowly place, dark and plain  Thornfield: Jane faces trials and tribulations, like thorns  Moor House: Jane can finally run free, open spaces like the Moors  Ferndean: Jane and Rochester’s love grows like a tree  Relationships between characters: the teacher should ask the class to name some relationships that occur in the novel and explain their nature. Some ideas:  Jane and Helen  Helen and Mr. Brocklehurst (foils)  Jane and Blanche Ingram (foils)  Jane and Rochester  Jane and St. John  Rochester and St. John (foils)  Alternative Assessment: In order to show comprehension of characterization, students will be placed in randomly chosen groups and will be asked to choose a scene from the novel or from the movie that they would like to act out. They will be given the rest of the period to prepare their 5 minute skit to present during the next class.

Lesson Eighteen: “Class Presentations”  Students will be given 20 minutes at the beginning of the lesson to prepare their scene to present to the class.  Each group will be given 5 minutes in which to perform their scene to the class. They will be marked on their accuracy, their creativity, and their overall performance.  At the end of the class, the teacher will hand out a copy of Daniel Pool’s article “It Would Never Suit the Circulating Libraries” (Appendix 13) to each student and assign students the task of having the entire article read the next day as they will be using it the next class for an activity.

Lesson Nineteen: “Letter to the Publisher”  Based on the article assigned at the last class, students will be asked to write a one page letter, hand written to a publisher, persuading them to publish, or not to publish, Jane Eyre.  Students will be given the rest of the class to work on the assignment and will have to hand it in at the end of the class.

Lesson Twenty: “Unit Assessment”  Distribute a copy of Appendix 14 to each student.  They will have one 75 minute period to complete the test.  Included as a bonus question on the test will be the essential question that was asked during Lesson One: “Does true love exist”.

Formative Evaluation: Throughout the unit, students will be evaluated through ongoing observation from interaction with the teacher. Assessing student’s answers to questions will assist the teacher in measuring how well the unit is proceeding. The unit will also be successful if there are stimulating class discussion and if students appear to be engaged. Student participation in oral reading will provide a means of assessing reading ability and writing assignments will gauge writing abilities.

Summative Evaluation: Class Participation and Homework Completeness 15% Letter to Director 15% Multiple Perspectives Assignment 15% Alternative Assessments: Skits 15% Persuasive Letter 15% Unit Test 25% Total 100% Appendix 1 Women of Victorian England

Two hundred years ago, the barriers of the Victorian class system rigidly defined the role of a woman. Divided into four distinct classes, Nobility and Gentry, Middle Class, "Upper" Working Class, and "Lower" Working class, these women each had their own specific standards and roles. They were expected to adhere to these standards alone, and it was considered a high offense to adopt to the standards of another.

The highest class was the Nobility and Gentry, who inherited their land, titles, and wealth. To the outsider, it might seem as if women of this class did very little--but their work was very important and sometimes very hard, as they were expected to manage the home and the household. As Etty Raverat, who was a young women in the late 1800s, said, "Ladies were ladies in those days; they did not do things themselves, they told others what to do and how to do it" (Harrison and Ford, 226).

However, this lifestyle left ample time for leisure. Social parties and balls were held often. Dancing was a favorite pastime among most upper-class women and men. An evening party often would end with a few sets among the four or five couples present. Unmarried women spent a great deal of time with other unmarried women. However, once a woman was married her role was considered manager of the household, and she had much less time than before to walk and talk with former friends.

Though the life of an upper class woman might seem easier and more secure than that of a lower class woman, it was not always so. Land, titles, and money were inherited by the closest male relative--typically the older son, but if there was no older son then it would go to a more distant relation. Only the small amount of money set aside as a woman’s marriage dowry went to an unmarried woman after the death of her father. As a result, many mothers and daughters were left extremely poor after the death of their husband and father (Mitchell, 107).

The next-highest class was the middle class. Women of this class were much like women of the upper class, though their lands were not so extensive nor their way of life so grand as that of the aristocracy and landed gentry. People of the middle class associated with their peers and sometimes with those in the upper class. Women of the middle class depended heavily on marrying "up" into the upper classes, therefore gaining social prestige as well as a great deal more worldly goods.

The middle class itself was a much broader area of people than the upper class. It included everyone between the working classes and the lower gentry. It depended mostly not on how much money one had, but on how this money was obtained (Mitchell, 20). Because of this, the singular roles of middle class women varied greatly from family to family. Some unmarried women might have a place in the family shop, while others might live very much as a genteel woman would, with little work and much leisure.

The third class was the "Upper" working class. This included any who were employed in jobs that took skill or thought, as opposed to physical labor. Women of the "Upper" working class often found positions in shops, as bookkeepers, or teachers. The unique women in this class were the former upper class women, who had fallen into poverty through the death of a father or some other tragedy. A great many of these women became governesses, relaying their own high-class tutoring to upper class children. This position was a deplorable one, as the governess was found a worthy scapegoat in the eyes of everyone, from the master and mistress to the house-maid (Allingham, 1).

The fourth and last of these classes was the "Lower" working class. This included the desperately poor, typically single women of the Victorian Era. Most women were pronounced "able-bodied" under the New Poor Act and sent to work alongside "Lower" working class men in the factories and other places offering jobs of taxing physical labor. Poor women, like men, were expected to work hard to support themselves (Levine-Clark, p. 1).

Another popular employment for "Lower" working class women was domestic service. Even the lowliest middle class family had at least one or two servants, and several had many more than that. Domestic service, though not as physically draining or demoralizing as factory work, had its own hardships. The life of a domestic servant was very lonely, while factory workers were allowed to socialize as they performed their tasks. Domestic servants worked seven days a week, twelve hours at least each day, while factory workers worked only six days and ten hours (Landow, p. 1).

Because of the restraint placed upon them, most women welcomed the suffrage movement when it came at the end of the Victorian period. Women of today may not realize how much they benefit from living in a time where such a class system no longer exists. The rigid division between classes in the late 18th and early 19th centuries defined a woman’s role, giving her no other alternative than what was placed before her. Modern women are fortunate that they are not subject to such restraints and that they may chose whatever occupation they would like.

Bibliography Page

1. Allingham, Phillip V. "The Figure of the Governess: Based on Ronald Pearsall’s Night’s Black Angels." The Victorian Web. Online. 21 Apr. 2002. 2. Ashford, Viola. "Regency Dances". Britain Express. Online. 21 Apr. 2002. 3. Burnett, John. "What Kind of Staff Would a Victorian Household Have?". The Victorian Web. Online. 21 Apr. 2002. 4. Ford, Colin and Harrison, Brian. A Hundred Years Ago: Britain in the 1880s in Words and Photographs. Cambridge: Harvard Univ., 1983. 5. Landow, George P. "Domestic Service: The ‘Mute and Forgotten Occupation’". The Victorian Web. Online. 21 Apr. 2002. 6. Levine-Clark, Marjorie. "ENGENDERING RELIEF: Women, Ablebodiness, and the New Poor Law in Victorian England." Journal of Women’s History v. 11 i. 4 (1991): 107. 7. Mitchell, Sally. Daily Life in Victorian England. Westport: Greenwood, 1996. 8. Wojtczak, Helena. "The ‘Lower’ Working Class". "Women of the Aristocracy and Gentry in Victorian Hastings." "Domestic Servants." "The ‘Upper’ Working Class". Women of Hastings and St. Leanords: An Illustrated Historical Miscellany. Online. 23 Apr. 2002. Appendix 2 A Historical View of the Victorian Governess By: Carissa Cluesman Although the governess serves as the heroine in Jane Eyre, she was not a popular figure in Victorian England. The governess did not have a social position worthy of attention (Peterson 4). Aristocratic and middle-class Victorians were not even sure how to treat the governess. She was from the same class, but her lack of financial stability made them view her as their inferior. Perhaps the clearest definition of the governess was stated by Lady Elizabeth Eastlake in the Quarterly Review: The real definition of a governess in the English sense, is a being who is our equal in birth, manners, and education, but our inferior in worldly wealth. Take a lady in every meaning of the word, born and bred and let her father pass through the gazette (bankruptcy), and she wants nothing more to suit our highest beau ideal of a guide and instructress to our children. (qtd. in Peterson 10) The only time a woman of birth and education was justified in seeking employment was if she found herself in financial distress, and had no relatives to give her support (Peterson 6). The position of governess was especially appropriate for a lady who sought employment because of the death of her father, or his financial ruin. It was considered appropriate because, while it was paid work, it was in the home. The governess avoided the immodest and unladylike position of public occupation. The position of governess would not cause a lady to loose her social position (Peterson 6). The employment of a gentle woman in a Victorian middle-class family served to reinforce certain values (Peterson 4). The governess was to teach the female children skills that would be attractive in marriage such as fluency in a foreign language. The governess served the purpose of indicating the extent to which a man’s wife was truly a lady of leisure. Victorian parents sought a woman who had the ability to teach their daughters the genteel accomplishments. This was the aim of female education. The ideal woman was one of leisure, who preformed no housework, and whose husband could support their unproductive habits (Peterson 5).

The Victorians had a peculiar interest in the governess. It went beyond entertainment or economic analysis. The governess was the subject of many charitable endeavors. At least one appeal shows the sense that the dilemma of the governess was a problem that would touch donors personally. It was believed by the Victorians that "There is probably no one who has not some relative or cherished friend either actually engaged in teaching, or having formerly been so engaged" (Peterson 3).

The governess most likely suffered from "status incongruity," which means she is neither a servant nor thought of as full member of the employer’s class (Bell 3). Bell described the governess "As a girl of meager means who is neither servant nor the master class, the governess was positioned precariously on the divide between, nostalgic for the lost security of her family and her social position, in danger of falling into working-class slavery or even pauperism" (3).

Because of her "status incongruity" the governess took on one of two behaviors. She either behaved with self pity, and an appeal for the pity of those around her, or she presented herself to the world with an over-supply of pride to compensate for the fear of slight or rebuff which she felt (Peterson 13). In her essay on the governess Peterson quotes one observer who claimed that "the real discomfort of a governess’s position in the private family arises from the fact that it is undefined. She is not a relation, not a guest, not a mistress, not a servant--but something made up of all. No one knows exactly how to treat her" (qtd. in Peterson 9-10). Governesses had a way of coping with status incongruity. This most often took place in a form of escape. With the governess this might take the form of day-today isolation from the family circle, either by her choice or theirs. This allowed her to avoid the moment of stresses of conflicting roles (Peterson 16).

The governess was stereotyped by the upper-class. In ways the situation of the governess differed very little from that of the domestic servant. The stereotype of the down-trodden, pathetic governess, however, stands in sharp distinction to the warm, jolly nanny. The nanny won not only the affection of her charges, but the sincere regard of her employers (Peterson 9). The ideal governess came to be a homely, severe, unfeminine type of woman (Peterson 15). This denial of a governess’s womanliness, and her sexuality was another way of reducing conflict that could arise from jealous wives or mothers. The sexual dimension of the relationship of a governess and men in the home are rarely mentioned in literature (Peterson 14).

Perhaps the relationship of a governess and a man are rarely mentioned, because between a governess, and a gentleman there was no easy courtesy, attraction, or flirtation, because she was not his social equal. The pattern of relationships between gentlemen and their female domestics could not fit either, because a governess was not entirely inferior (Peterson 13). While the governess’s class tended to be the same as her employer, her financial status made her to be considered unequal socially. The relation of the governess between men and women was strained by her position. The reason for this strain was, perhaps, the fear the lady harbored of losing her husband or son. Middle-class men had a tendency to stay at home until they married at the age of thirty. Unprotected by her own family the governess was vulnerable to sexual approaches (Hughes 119). Peterson used this quotation from Governess Life to clarify this fear: Frightful instances have been discovered in which she, to whom the care of the young has been entrusted, instead of guarding their minds in innocence and purity, has become their corrupter-she has been the first to lead and to initiate into sin, to suggest and carry on intrigues, and finally to be the instrument of destroying families. (qtd. in Peterson 14) The governess was accused of using flattery to gain favor, and again Peterson uses a quote from Governess Life to bring this accusation to light: In some instances again, the love of admiration has led the governess to try and make herself necessary to the comfort of the father of the family in which she resided, and by delicate and unnoticed flattery gradually gain her point, to the disparagement of the mother and destruction of mutual happiness. When the latter was homely, or occupied with domestic cares, opportunity was found to bring forward attractive accomplishments, or by sedulous attentions to supply her lack of them; or the sons were in some instances objects of notice and flirtation, or when the occasion offered, visitors at the house. (qtd. in Peterson 15) Women saw the governess as a threat to their happiness. Because of the threat the governess aroused in the home, an attractive one was usually not employed (Peterson 15). Foreign governesses posed less of a threat; therefore, they were preferred to the English governess. The foreign governess was sought after because her place in society was not easily determined. The foreign governess also offered the opportunity of acquiring fluency in a foreign language (Hughes 105).

In the mid 1800s several organizations were established to find better employment for governesses. These organizations also provided temporary housing, insurance, and annuities for the aging governess. As for the life of a governess, perhaps Bronte described it best when she wrote to a friend regarding his daughter. She claimed as a governess his daughter would never be happy (Bronte, "On the Requirements" 274).

Works Cited

Bell, Millicent. "Jane Eyre: The Tale of the Governess." American Scholar 65 (1996): 263-8.

Bronte, Charlotte. Jane Eyre. Ed. Beth Newman. Boston: Bedford, 1996.

---. "On the Requirements of a Governess." Strong Minded Women & Other Lost Voices from Nineteenth-Century England. Ed. Janet Murray. New York: Pantheon, 1982.

Hughes, Kathryn. The Victorian Governess. London: Hambledon, 1993.

Peterson, Jeanne. "The Victorian Governess." Suffer and Be Still. Ed. Martha Vicinus. Bloomington: Indiana UP, 1972. Appendix 3 (students must fill out for each of the 5 sections of the novel)

Section Summary Section Name:

Chapters: Setting:

Major Plot Developments:

New Characters and Qualities of Each:

Themes:

Foreshadowing:

Symbols:

Motifs:

Conflicts: Devices:

Notes: Appendix 4 Major Themes in Jane Eyre

Themes Examples from the Text Pg #’s Love vs Freedom

Different Modes of Religious Thought

Social Class

Gender differences

Reason vs Passion

Imprisonment Confinement

Mind and Body Connections Appendix 5 Literary Devices in Jane Eyre

Devices Examples from the Text Pg #’s Foreshadowing

-John Eyre and Jane’s inheritance

-Bertha in the attic Motifs:

-fire and ice

-substitute mothers

-supernatural Symbols:

-Bertha Mason

-the red room Simile Metaphor: -the moon -fire and burning the chestnut tree Personification

Setting:

Tense:

Type of Narration:

Conflicts: Appendix 6 Jean Rhys’ Wide Sargasso Sea In 1966 Jean Rhys reemerged after a long silence with a novel called Wide Sargasso Sea. Rhys had enjoyed minor literary success in the 1920s and '30s with a series of evocative novels featuring women protagonists adrift in Europe, verging on poverty, hoping to be saved by men. By the '40s, however, her work was out of fashion, too sad for a world at war. And Rhys herself was often too sad for the world--she was suicidal, alcoholic, troubled by a vast loneliness. She was also a great writer, despite her powerful self-destructive impulses. Wide Sargasso Sea is the story of Antoinette Cosway, a Creole heiress who grew up in the West Indies on a decaying plantation. When she comes of age she is married off to an Englishman, and he takes her away from the only place she has known--a house with a garden where "the paths were overgrown and a smell of dead flowers mixed with the fresh living smell. Underneath the tree ferns, tall as forest tree ferns, the light was green. Orchids flourished out of reach or for some reason not to be touched." The novel is Rhys's answer to Jane Eyre. Charlotte Brontë's book had long haunted her, mostly for the story it did not tell--that of the madwoman in the attic, Rochester's terrible secret. Antoinette is Rhys's imagining of that locked-up woman, who in the end burns up the house and herself. Wide Sargasso Sea follows her voyage into the dark, both from her point of view and Rochester's. It is a voyage charged with soul-destroying lust. "I watched her die many times," observes the new husband. "In my way, not in hers. In sunlight, in shadow, by moonlight, by candlelight. In the long afternoons when the house was empty." Rhys struggled over the book, enduring rejections and revisions, wrestling to bring this ruined woman out of the ashes. The slim volume was finally published when she was 70 years old. The critical adulation that followed, she said, "has come too late." Jean Rhys died a few years later, but with Wide Sargasso Sea she left behind a great legacy, a work of strange, scary loveliness. There has not been a book like it before or since. Believe me, I've been searching. --Emily White Appendix 7 Charlotte Bronte in Jane Eyre

Introspection, half-belief in the supernatural, conflicting emotions, gushing description appear throughout Jane Eyre. Rochester's mention of prescience -- both foreshadowing and premonition -- come up again and again throughout the work. "I knew. . . you would do me good in some way . . . I saw it in your eyes when I first beheld you," Rochester tells Jane. Both he and she believe implicitly the things they read in eyes, in nature, in dreams. Jane has dreams which she considers unlucky, and sure enough, ill fortune befalls her or her kin. When she is in a garden which seems "Eden-like" and laden with "honey-dew", the love of her life proposes to her. However, that very night the old horse-chestnut tree at the bottom of the garden is struck by lightning and split in half, hinting at the difficulties that lie in store for the couple.

The turbulent exploration of Jane's emotions so characteristic of the text reveals some of Brontë's most prevalent ideas -- that judgment must always "warn passion," and that the sweet "hills of Beulah" are found within oneself.

As Jane grows throughout the book, one of the most important things she learns is to rule her heart with her mind. When a child at Gateshead she becomes entirely swept up in an emotional tantrum, which proves to be the most painful memory of her childhood. At the pivotal point in the plot when Jane decides to leave Rochester, she puts her love for him second to the knowledge that she cannot ethically remain with him - the "counteracting breeze" once again preventing her from reaching paradise. Only when Rochester has become worthy of her, and judgment and passion move toward the same end, can she marry him and achieve complete happiness./

Charlotte Brontë, like her heroine, traveled to wondrous lands within the confines of her own head. While Jane, engrossed in Bewick's History of British Birds, was mentally traversing "solitary rocks and promontories", her creator might have been calling to mind memories of her own sojourns in imagined lands. By the time she was a teacher at the Roe Head school, Charlotte and her brother Branwell had been writing stories and poems about an African kingdom called Angria for many years. While she was away at the school, the fate of the inhabitants of the country lay in Branwell's hands, which made her very nervous, as he was given to intrigue and violence. She was unhappy with her situation, loathing the available company and describing herself as "chained to this chair prisoned within these four bare walls," and so her happiest hours were spent in the wild landscapes of her mind. "What I imagined grew morbidly vivid," she says, and indeed her visions of Angria are almost more real to her than what is actually happening around her. "All this day I have been in a dream, half miserable and half ecstatic: miserable because I could not follow it out uninterruptedly; ecstatic because it shewed almost in the vivid light of reality the ongoings of the infernal world. (She sometimes referred to Angria as"infernal" or below.") When pupils or fellow teachers interrupt her reveries she is furious, saying once, "But just then a dolt came up with a lesson. I thought I should have vomited."

About 1839 Brontë finally left Angria, saying 'still, I long to quit for a while that burning clime where we have sojourned too long . . . The mind would cease from excitement and turn now to a cooler region, where the dawn breaks grey and sober and the coming day, for a time at least, is subdued in clouds " (all materials from the Norton critical edition of Jane Eyre). Though she did at last consent to leave her imaginary world behind, it played such a large part in her child and early adulthood that there is no doubt her recollections of time spent there affected Jane's experience. http://www.victorianweb.org/authors/bronte/cbronte/61brnt6.html Appendix 9 Elements of Bildungsroman

 A Bildungsroman is, most generally, the story of a single individual’s growth and development within the context of a defined social order. The growth process, at its roots a quest story, has been described as both “an apprenticeship to life” and a “search for meaningful existence within society”.

 To spur the hero or heroine on their journey, some form of loss or discontent must jar them at an early stage away from home or a family setting.

 The process of maturity is long, arduous, and gradual, consisting of repeated clashes between the protagonist’s needs and desires and the views and judgements enforced by an unbending social order.

 Eventually, the spirit and values of the social order become manifest in accommodated into society. The novel ends with an assessment by the protagonist of himself and his new place in that society. Elements of Gothic Fiction Gothic elements include the following: 1. Setting in a castle. The action takes place in and around an old castle, sometimes seemingly abandoned, sometimes occupied. The castle often contains secret passages, trap doors, secret rooms, dark or hidden staircases, and possibly ruined sections. The castle may be near or connected to caves, which lend their own haunting flavor with their branchings, claustrophobia, and mystery. 2. An atmosphere of mystery and suspense. The work is pervaded by a threatening feeling, a fear enhanced by the unknown. Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. Elements 3, 4, and 5 below contribute to this atmosphere. 3. An ancient prophecy is connected with the castle or its inhabitants (either former or present). The prophecy is usually obscure, partial, or confusing. "What could it mean?" In more watered down modern examples, this may amount to merely a legend: "It's said that the ghost of old man Krebs still wanders these halls." 4. Omens, portents, visions. A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death. 5. Supernatural or otherwise inexplicable events. Dramatic, amazing events occur, such as ghosts or giants walking, or inanimate objects (such as a suit of armor or painting) coming to life. In some works, the events are ultimately given a natural explanation, while in others the events are truly supernatural. 6. High, even overwrought emotion. The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. 7. Women in distress. As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. 8. Women threatened by a powerful, impulsive, tyrannical male. One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime. 9. The metonymy of gloom and horror. Metonymy is a subtype of metaphor, in which something (like rain) is used to stand for something else (like sorrow). For example, the film industry likes to use metonymy as a quick shorthand, so we often notice that it is raining in funeral scenes. Note that the following metonymies for "doom and gloom" all suggest some element of mystery, danger, or the supernatural. Elements of Romance In addition to the standard gothic machinery above, many gothic novels contain elements of romance as well. Elements of romance include these:

1. Powerful love. Heart stirring, often sudden, emotions create a life or death commitment.

2. Uncertainty of reciprocation. What is the beloved thinking? Is the lover's love returned or not?

3. Unreturned love. Someone loves in vain (at least temporarily). Later, the love may be returned.

4. Tension between true love and father's control, disapproval, or choice. Most often, the father of the woman disapproves of the man she loves.

5. Lovers parted. Some obstacle arises and separates the lovers, geographically or in some other way.

6. Illicit love or lust threatens the virtuous one. The young woman becomes a target of some evil man's desires and schemes.

7. Rival lovers or multiple suitors. One of the lovers (or even both) can have more than one person vying for affection. Appendix 10 Genre and Jane Eyre

Genre Examples from the Text Pg #’s

Bildungsroman

Gothic

Romance Appendix 8 HOW TO WRITE AN AUTOBIOGRAPHY

When writing an autobiography, you focus on three major things: who you are in life, what life means to you and what your outlook on the future is. "Autobiographies have been written since A.D. 400 when an early Christian leader, Saint Augustine, wrote his." An autobiography is information about one's own life written by that one person. In it, it tells what that person's life is all about. When writing your own autobiography, use interesting facts to explain as much about yourself as you can. The first thing you do when writing an autobiography is start off with a lot of facts about your life; for example, when and where you were born, where you live (city and state), where you go to school and who you live with. You have to give a lot of information so your reader can clearly understand what is going on. Once you have written this introduction, you are ready to start your first paragraph of the autobiography. Who you are in life? The best way to start an autobiography is to state your name. When you are writing this paragraph, you usually explain the type of person you are; use facts about yourself such as: have you won any awards? What types of awards have you won? Did you finish school? Do you plan on going to college? What life means to you? This is now your second paragraph. In this paragraph you should state how you see life--what does life mean to you. Are you happy or sad? Do you have a lot of friends or just a few? How do you make your school days go by? Do you have a boyfriend/girlfriend? What are your favorite places to go on dates? How long have you been dating? If you are involved in a relationship, do you think it will last forever? What is your outlook on the future? In this paragraph you should explain what you think the future will be like. Pick a year and explain how it will be but explain it through your eyes. Where will you be? How will you be living? Will you be married? Will there be any kids? Who will you be married to? What is he/she like? How long will you have been together? Conclusion The conclusion is the last paragraph of your autobiography and an important one, too. In the conclusion you usually try to re-word the introduction and add some type of closure to bring the whole autobiography together. Appendix 11 Quotations 1) "I resisted all the way: a new thing for me…" (Chapter 2). Jane says this as Bessie is taking her to be locked in the red-room after she had fought back when John Reed struck her. For the first time Jane is asserting her rights, and this action leads to her eventually being sent to Lowood School.

2) "That night, on going to bed, I forgot to prepare in imagination the Barmecide supper, of hot roast potatoes, or white bread and new milk, with which I was wont to amuse my inward cravings. I feasted instead on the spectacle of ideal drawings, which I saw in the dark – all the work of my own hands…" (Chapter 8). Jane writes of this after she has become comfortable and has excelled at Lowood. She is no longer dwelling on the lack of food or other material things, but is more concerned with her expanding mind and what she can do.

3) "While I paced softly on, the last sound I expected to hear in so still a region, a laugh, struck my ears. It was a curious laugh – distinct, formal, mirthless. I stopped" (Chapter 11). Jane hears this laugh on her first full day at Thornfield Hall. It is her first indication that something is going on there that she does not know about.

4) "Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags" (Chapter 12). Jane thinks this as she looks out of the third story at the view from Thornfield, wishing she could see and interact with more of the world.

5) "The ease of his manner freed me from painful restraint; the friendly frankness, as correct as cordial, with which he treated me, drew me to him" (Chapter 15). Jane says this after Rochester has become friendlier with her after he has told her the story of Adele's mother. She is soon in love with him and goes on to say, "And was Mr. Rochester now ugly in my eyes? No, reader: gratitude and many associates, all pleasurable and genial, made his face the object I best liked to see; his presence in a room was more cheering than the brightest fire" (Chapter 15).

6) "I knew," he continued, "you would do me good in some way, at some time: I saw it in your eyes when I first beheld you; their expression and smile did not…strike delight to my inmost heart so for nothing" (Chapter 15) After the fire Rochester tries to get Jane to stay with him longer and he says this to her. This is one of the reasons that Jane feels he fancies her.

7) "I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected; and now, at the first renewed view of him, they spontaneously revived, great and strong! He made me love him without looking at me" (Chapter 17). Jane says this when she sees Rochester again after his absence. She had tried to talk herself out of loving him, but it was impossible. This is also an example of one of the times that Jane addresses the reader.

8) "In the deep shade, at the farther end of the room, a figure ran backwards and forwards. What it was, whether beast or human being, one could not, at first sight tell: it groveled, seemingly on all fours: it snatched and growled like some strange wild animal: but it was covered with clothing and a quantity of dark, grizzled hair wild as a mane, hid its head and face" (Chapter 26). This is what Rochester, Mason, and Jane see when they return from the stopped wedding and go up to the third story. This is the first time Jane really sees Rochester's wife.

9) "Gentle reader, may you never feel what I then felt? May your eyes never shed such stormy, scalding, heart-wrung tears as poured from mine. May you never appeal to Heaven in prayers so hopeless and so agonized as in that hour left my lips; for never may you, like me, dread to be the instrument of evil to what you wholly love" (Chapter 27). Jane says this as she is quietly leaving Thornfield in the early morning. She knows that she is bringing grief upon herself and Rochester, but she knows she must leave. 10) "Reader, I married him." This quote, the first sentence in the last chapter, shows another example of Jane addressing the reader, and ties up the end of the story. Jane is matter-of-fact in telling how things turned out. Appendix 12 Vocabulary

vignette: paroxysm: pique: charlatan: indomitable: chastisement: rookery: ignominy: smote: insipid: fervid: ire: usurious: mastiff: gossamer: solecism: prurience: infliction: complacent: obliterate: propitious: anathema: vivacity: lassitude: feign: succor: stile: priggish: debauchery: garb: exultation: akin: embittered: Appendix 14 /55 Name:

Date: Unit Test: Jane Eyre

To write this test you will need a pencil or pen and one piece of lined 8 1/2” X 11” paper on which to write Part F. All other answers will be written on the test, in the space provided.

You will have approximately 70 minutes to complete the entire test. Each section is given a time limit for you to follow. The mark value for each question is provided in the directions for each section. There are 6 sections, for a total of 55 marks. You must complete all questions. Read directions carefully! Good Luck.

Part A: Multiple Choice Select the correct answer for each question. Each question is worth one mark for a total of 5 marks for Part A. You should spend approximately 10 minutes on Part A.

1. The word that best describes Rochester’s demeanor is a) happy b) funny c) dark d) sad

2. When Mrs. Fairfax hears the news of Jane and Rochester’s engagement, she is a) joyful b) concerned c) jealous d) angry

3. The line, “Reader, I married him.” is an example of a) metafiction b) imagery c) simile d) personification

4. Jane goes to see Mrs. Reed as she is dying because a) she needs to get away from Thornfield b) she want to get her inheritance c) she will miss her aunt d) she feels obligated 5. When Rochester describes Jane as a “reed”, he is drawing attention to her a) passionate soul b) strong spirit c) aunt’s name d) weakness

/5 Part B: True or False Assess the following statements and if you think the statement is true, write the word “TRUE” in the blank provided. If the statement is false, write the word “FALSE” is the blank and correct the underlined word or phrase. If you answer the true or false statement correctly, you will receive one mark each for a total of 5 marks. You will receive an additional 5 marks if you correct the false statements and leave the true statements as they are. This section is work a total of 10 marks, and should take you 10 minutes.

# Statement: write your corrections in the box below each statement True/False? 1. Charlotte Bronte had to use the pseudonym Currer Bell because she was a criminal.

Correction:

2. Jane cannot marry St. John because her life would be void of passion.

Correction:

3. Bronte makes Jane a governess in order to comment on society’s class prejudice.

Correction:

4. Rochester pretends to be a fortune teller so he can talk to Mr. Mason.

Correction:

5. Bertha stabs Mr. Mason because he attacks her.

Correction:

/10 Part C: Fill in the Blanks Fill in the blank answer for each statement in the space provided. You will be given one mark for each correct statement, for a total of 5 marks for this part. This section should take 10 minutes.

1. Jane thinks that is the one who is drinking in the attic.

2. Mrs. Reed locks Jane in the room at Gateshead when she misbehaves.

3. The title of the book that Jane if reading in the Gateshead library is . 4. When Jane see Rochester at the end of the novel, she does not care that he is .

5. Bertha is from the .

Part D: Short Answer Answer the following questions in the space provided. You may list your answers of write them in sentence for. Each question is worth 3 marks, for a total of 15 marks for this section. You should spend approximately 20 minutes on this part of the test.

1. List the names of Jane’s cousins who she lives with at Gateshead.

2. What is the familial relationship between Rochester and Mrs. Fairfax?

3. Why does Jane leave Thornfield after her almost-wedding?

4. Why does Jane forgive Rochester and marry him in the end?

5. The chestnut tree symbolizes Jane and Rochester’s relationship because

Part E: Matching Select the response from column B that fits the character listed in column A. Write the letter from column B in the corresponding space provided beside column A. This section is worth 5 marks and should take 10 minutes to complete.

Column A Column B

1. Mr. Lloyd A. a nurse at Thornfield

2. Sophie B. a guest at Jane and Rochester’s wedding

3. Bessie C. in love with St. John

4. Rosamond D. sings to Jane

5. Mr. Briggs E. suggests that Jane should attend school

Part F: Essay Choose one from the following 5 questions and on an 81/2” X 11” lined sheet of paper, write an approximately one page essay in response. Use full sentences in your essay. You will be marked on the quality of your ideas and your spelling and grammar. Be specific in your answer.

This section should take you approximately 20 minutes and is worth 10 marks.

1. Throughout Jane’s life she searches for a mother figure. Agree or disagree, using example from the text to justify your answer.

2. St. John Rivers serves as a foil to Mr. Rochester in Jane Eyre. Agree or disagree using examples from the text to justify your answer.

3. Jane Eyre takes the form of a bildungsroman, a gothic novel, and a romantic novel. Agree ot disagree with this statement by using examples from the novel to justify your answer.

4. Bronte includes the character of Bertha as a comment on the ills of British imperialism. Agree or disagree, using examples from the test to justify your answer. 5. Bronte is unsuccessful in her attempt to undermine the Victorian class system because Jane married Rochester only after she is a part of his class. Agree of disagree with this statement, using examples from the story to justify.

Bonus Question: For 5 Bonus Marks: Does true love exist? Use examples from the text to support your answer. Total Marks /55

Appendix 16 Rubric

Quality 6 5 4 3 2 1 Meaning: the -reveals and in- -conveys a -conveys a basic -conveys a basic -conveys a -provides extent to which depth analysis of thorough understanding of understanding of confused or minimal or no the response the text understanding of the text the text inaccurate evidence of exhibits sound -makes insightful the text -make implicit -make few or understanding of understanding of understanding, connections -make clear and connections superficial the text the text interpretation, between explicit between info and connections -alludes to the -makes no and analysis of information and connections ideas between info and text, but unclear connections the task and text. ideas between info and ideas connections between text and ideas task Development: -develops ideas -develops ideas -develops some -develops ideas -are incomplete -are minimal, the extent to clearly and fully, clearly and ideas more than briefly using or largely with no evidence which ideas are making use of a consistently, others, making some ideas from undeveloped, of development elaborated using wide range of making use of use of relevant the text hinting at ideas, specific and relevant and relevant and and specific reference to relevant evidence specific details specific details details from the documents are from the from the text from the text text vague, unjustified documents. Organization: -maintains a clear - maintains a - maintains a -establishes, but -lack of -shows no focus the extent to and appropriate clear and clear and fails to maintain appropriate or organzation which the focus appropriate focus appropriate focus an appropriate focus, but response exhibits -exhibit a logical -exhibit a logical -exhibit a logical focus suggests some direction, shape, and coherent sequence of ideas sequence of ideas -exhibit a organization, or and coherence. structure through through skillful but may lack rudimentary suggests a lack of skillful use of use of internal structure, but organization, but appropriate appropriate consistency includes some some focus devices devices inconsistencies Language Use: -are stylistically -use language - use language -rely on basic -use language -are minimal the extent to sophisticated, that is fluent and that is fluent and vocabulary, with that is imprecise -use language which the using language original, with original, with little awareness for audience and that is response reveals that is precise and evident some awareness of audience or purpose predominately and awareness of engaging, with a awareness of of audience and purpose -reveal little incoherent, audience and notable sense of audience and purpose -exhibit some awareness of how inappropriate, or purpose through voice and purpose -occasionally attempt to vary to use sentences copied directly effective use of awareness of -vary structure make use of sentence structure to achieve effect from the text words, sentence audience and and length of sentence structure or length for structure, and purpose sentences to or length effect, but with sentence variety. -vary structure control rhythm uneven success and length of and pacing sentences to enhance meaning Conventions: the -demonstrate - demonstrate -demonstrate -demonstrate -demonstrate a -are minimal, extent to which control of the control of the partial control, emerging control, lack of control, making the response conventions with conventions with occasional errors occasional errors frequent errors assessment of exhibits essentially no occasional errors, that do not hinder that hinder that make conventions conventional errors, even with only when using comprehension comprehension comprehension unreliable spelling, sophisticated sophisticated difficult -may be illegible punctuation, language language or unrecognizable paragraphing, as English capitalization, grammar, and usage.