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Emma by Jane Austen

Emma by Jane Austen

A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF BY

BY LAURA REIS MAYER TEACHER’S GUIDE TEACHER’S 2 A Teacher’s Guide to Emma by Jane Austen

TABLE OF CONTENTS INTRODUCTION ...... 3 LIST OF CHARACTERS ...... 3 SYNOPSIS OF THE NOVEL ...... 4 PREREADING ACTIVITIES ...... 6 I. BUILDING BACKGROUND KNOWLEDGE IN HISTORY, CULTURE, AND LITERATURE ...... 6 II. BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES ...... 8 DURING READING ACTIVITIES...... 11 I. ANALYZING THROUGH GROUP RESPONSE ...... 11 II. ANALYZING THROUGH INDIVIDUAL RESPONSE ...... 14 AFTER READING ACTIVITIES ...... 17 I. TOPICS FOR DISCUSSION AND WRITING ...... 17 II. GROUP AND INDIVIDUAL PROJECTS ...... 18 III. EXTENDED READING ...... 21 ABOUT THE AUTHOR OF THIS GUIDE ...... 22 ABOUT THE EDITORS OF THIS GUIDE ...... 22

Copyright © 2012 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

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INTRODUCTION

In 2004, People Magazine declared that we instead on the love lives of her friends and are living in a “Jane Austen Moment.” Almost neighbors. ough she is somewhat of a a decade later, that moment is still very much blind Cupid with her misplaced matchmak- alive. Visit any of her many fan pages and ing, Emma’s wit and wisdom reveal her to be you’ll see (according to t-shirts, bumper a deeply introspective social observer. stickers, and buttons) that “Jane Austen rough her, the reader is invited into the Rocks!” Evidently, the world agrees. Austen everyday yet extraordinary lives of the inhab- wrote only six novels before her death at age itants of , . 42, yet she is more popular today than ever In the classroom, Emma will engage students before. Jane Austen fan clubs, weekends, in the timeless themes of class, gender, and sequels, films, feeds, blogs, and chat rooms self-awareness while introducing them to the are all testaments to the sustained popularity manners and morals of Regency England. of this beloved author’s work. While many is edition, with its hot-pink cover and an credit Austen for being the mother of “chic afterward written by contemporary romance lit,” her followers, known as “,” would author Sabrina Jeffries, will resonate with argue that she is much, much more. today’s students, proving that indeed, every- Austen’s Emma is a fan favorite. With her thing old is new again. focus on society, money, and relationships, e instructional strategies in this guide can would fit right in with be used in any combination as teachers design the popular “Gossip Girl” book and televi- their individual goals and lessons. A focus on sion series. It would be a mistake, however, to technology and literacy skills challenges stu- brand Emma a simple romance. Emma is dents to actively engage in reading. Activities acutely aware of the subservient role of mar- are differentiated and are easily adaptable to the ried women in her society. Vowing to main- leveled lessons today’s educators are looking for. tain her independence, Emma concentrates LIST OF CHARACTERS

Main Characters Highbury Residents Emma Woodhouse—intelligent, youngest —impoverished spinster friend of daughter of wealthy family the Woodhouses Mr. Woodhouse—Emma’s widowed father, Mrs. Bates—widow of the former vicar; owner of Hartfield lives with her daughter —friend of the Mrs. Goddard—school mistress Woodhouses, owner of Donwell Abbey Robert Martin—farmer and friend of Ann Taylor Weston—recently married friend, George Knightley previous nanny to the Woodhouse family Elizabeth Martin—Robert’s sister; friend Captain Weston—neighbor of the of Harriet Woodhouses, owner of Randalls Estate Phillip Elton—Highbury Vicar Harriet Smith—young border at Mrs. Augusta Hawkins Elton—Mr. Elton’s Goddard’s; Emma’s protégée’ wealthy, social-climbing wife Jane Fairfax—orphaned niece/ Mr. and Mrs. Perry—Highbury Apothecary granddaughter of Miss and Mrs. Bates and wife Frank Churchill—Cpt. Weston’s son, raised Mr. and Mrs. Cole—sociable, wealthy by the Churchills merchants

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Some Minor Characters Isabella Woodhouse Knightley— Emma’s older sister; married to John, John Knightley—George’s younger brother; mother of five children married to Emma’s sister; owns Brunswick Square Mr. and Mrs. Churchill—Frank’s aunt and uncle from ; owners of Enscombe

SYNOPSIS OF THE NOVEL

Volume I manipulates Miss Smith into refusing. Mr. Knightley is furious with Emma’s interference, e novel opens in the small village of High- believing she is harming Harriet by implant- bury, England after the happy occasion of the ing in her a misplaced sense of superiority. Westons’ . Twenty-one year old Emma While walking with Miss Smith, Emma pro- Woodhouse is consoling her father because the fesses her desire to remain unmarried. She is bride is their friend and previous nanny, Anne unconcerned about becoming an old maid Taylor. Neighbor George Knightley stops by like impoverished family friend Miss Bates to see how Mr. Woodhouse and Emma are because Emma is fortunate to be wealthy. e surviving. Emma gaily reminds the two men Woodhouses prepare Hartfield for a visit from that she had predicted the between older sister Isabella and her family, who live in Anne and Mr. Weston. Frank Churchill, Mr. London for the holidays. On Christmas Eve, Weston’s son who has been raised by his aunt the Woodhouses and the Knightleys visit the and uncle, was unable to attend the wedding, Westons’ home, Randalls. John Knightley, her but he has written the new Mrs. Weston a brother-in-law, warns Emma that Mr. Elton is letter promising to visit soon. Highbury resi- interested in her. Emma disagrees, but later dents are anxious to meet him. that evening, Phillip Elton seizes the opportu- Mr. Woodhouse, a hypochondriac who prefers nity to profess his love for her while scoffing at to be at home, enjoys the company of friends the idea of a match with Harriet. Insulted by and neighbors. One evening a card game is Emma’s refusal, Mr. Elton leaves town for a held at Hartfield, the Woodhouse home. visit to Bath. Realizing the harm she has done Among those in attendance are school mistress to Harriet, Emma changes her assessment of Mrs. Goddard and her boarder, Harriet Smith, Mr. Elton, realizing he is pursuing money a pretty young lady with “questionable” par- rather than love. entage. Emma immediately sees Harriet as a project. When Harriet reveals her interest in Volume II Mr. Robert Martin, a successful young farmer, Emma dissuades her, commenting on Mr. When Emma and Harriet visit their poor Martin’s low “station.” Emma persuades Har- neighbors, Miss and Mrs. Bates, Miss Bates riet to consider the eligible Mr. Elton, instead. shares a letter from her niece, Jane Fairfax. Mr. Knightley disapproves of Miss Wood- Like Frank, Jane was raised by guardians after house’s relationship with Harriet, knowing being orphaned. Jane is an accomplished, that Harriet’s adoration will only encourage educated young lady, and Emma has always Emma’s reckless behavior. While sketching a resented hearing about her. Jane has been ill, portrait of Harriet, Emma arranges for her and rather than travel to Ireland with her protégée and Mr. Elton to spend time with guardians, the Campbells, she plans to stay one another. Mr. Elton volunteers to take the for a while with the Bates. Emma, letting her portrait to London to have it framed, a gesture imagination carry her away, creates a scenario both Emma and Harriet find encouraging. in which Jane has feelings for the Campbell’s Soon after, Harriet confides that Mr. Martin new son-in-law Mr. Dixon and hence has has written a letter proposing marriage. Emma chosen to remain in England. Emma feels

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some sympathy for Miss Fairfax, who due to Emma is struck by his gracious behavior. e lack of fortune is destined to become a gov- next morning, Frank arrives at Hartfield car- erness, but her sympathy is overridden by rying Harriet, who has fainted after being ungracious feelings towards Jane, for which surrounded by gypsies. Now Emma plots a Mr. Knightley expresses his disappointment. match between Mr. Churchill and Miss Smith. Later, when Harriet confides to Emma Highbury receives news that Mr. Elton is mar- she is over Elton and now admires a more rying a wealthy young woman from Bath, Miss superior man, Emma assumes she refers to Augusta Hawkins. Emma is unimpressed by Frank. Meanwhile, George Knightley sees the new Mrs. Elton, perceiving her to have “no signs that Frank is attracted to Jane Fairfax name, no blood, no alliance. (p. 156).” Emma and is using Emma unfairly. breaks the news to Harriet, who is already shaken from seeing Mr. Martin and his sister in When a proposed trip to Box Hill at the sea is town. Emma takes Harriet to visit the Martins, postponed, Mr. Knightley suggests straw- but still disapproves of a match between Robert berry picking at his home instead. During the and Harriet. When Frank Churchill arrives at outing, Mrs. Elton announces that she has Hartfield the next morning, he flirts with secured a position for Jane Fairfax. e Box Emma and soon Mr. Weston hopes for a match Hill trip is rescheduled for the next day, but between the two. However, Emma, without the group seems to lack spirit. Frank and realizing it, finds herself comparing Frank Emma monopolize the conversation with Churchill and the more ideal, Mr. Knightley. rude chatter, and in the midst of it, Emma insults Miss Bates. Mr. Knightley once again Newly wealthy merchants the Coles send out admonishes Emma, who he says should invitations to a dinner party which Emma model gracious behavior, particularly in deal- plans to boycott until it seems she is the only ing with friends in challenging circumstances. Highbury resident not invited. When the Ashamed of her behavior, Emma visits Miss invitation arrives, Emma accepts. Dinner Bates early the next morning. While there, gossip at the party focuses on a new piano Emma learns Jane has suddenly accepted the that has arrived for Jane. When Mr. Knight- position arranged by Mrs. Elton. ley shows concern for Jane’s health, Mrs. George announces he is leaving for London Weston tells Emma she suspects George and to visit John and Isabella. He is heartened to Jane may become a couple. Frank seizes upon hear of Emma’s visit to Miss Bates. When an idea for the Westons to host a dance at the news arrives that Mrs. Churchill has died, Crown Inn, but he is called home before it Emma resumes her plan to match Frank and can be held. When he comes to say goodbye, Harriet. She also feels remorse over her treat- Emma believes Frank has fallen in love with ment of Jane Fairfax and attempts to make her. ough she wonders if she, too, may be amends on multiple occasions, only to be attracted, Emma ultimately decides she feels refused. Several days later, Mrs. Weston, who only friendship. When Emma and Harriet is expecting a baby, confides to Emma the visit the newly wed Mrs. Elton, Emma is news that Frank Churchill and Jane Fairfax struck by the woman’s coarse behavior. But as have been secretly engaged for several social graces dictate, she is compelled to host months. Emma realizes that once again, as a dinner party in the bride’s honor. with Mr. Elton, she has misjudged a man’s character. She has also injured Harriet, who Volume III has been overlooked now by two would-be When Frank Churchill returns to the area suitors. However, Harriet explains that it is with his ill aunt, plans resume for a dance at not Frank she admires, but George Knightley. the Crown. Mr. and Mrs. Elton purposely In an instant, Emma realizes that she herself humiliate Miss Smith at the dance, and Mr. has loved Mr. Knightley all along. Emma Knightley steps in and asks Harriet to dance. spends the next weeks attempting to “under-

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stand her own heart,” ashamed of her behav- Frank, explaining the trickery and admitting ior towards Harriet and Jane, and fearful of his fault. Emma feels genial towards Frank how she may have lost the esteem of Mr. again and shares the letter with George. Mr. Knightly. Emma regrets that she did not Knightley offers a solution to the issue with befriend Jane, rather than Harriet, and recog- Mr. Woodhouse by suggesting he live at nizes her vanity and arrogance in attempting Hartfield with both Emma and her father. to “arrange everybody’s .” George Emma agrees, but is still concerned about returns, and Emma confesses her “blindness.” Harriet, whom she arranges to have visit Isa- Assuring him she has never loved Frank, bella and John in London, ere Harriet Emma admits her character defects. Mr. again meets and accepts Robert Martin. After Knightley professes that despite any flaws, he multiple neighborhood robberies, Mr. has loved her since she was thirteen. Emma Woodhouse sees the benefit of Mr. Knight- and George become engaged, even though ley’s residence at Hartfield, and finally, Miss Emma realizes that she cannot leave her Emma Woodhouse and Mr. George Knight- father. Mrs. Weston shares a letter from ley are united in “perfect happiness.” PREREADING ACTIVITIES

ese activities are designed to deepen stu- • Bath Travel and Tourism (website) dents’ background knowledge of literary http://www.bath.co.uk/ devices and traditions, and to introduce them • Jane Austen (website) to the novel’s major themes. (Note: Consult http://www.janeausten.org/ other Teacher’s Guides to Signet Classics; • Jane Austen Today (blog) they contain ideas that can be adapted to http://janitesonthejames.blogspot.com/ prepare students to read and enjoy this text). • Jane Austen’s World (website) http://www. freewebs.com/janeaustenworld/index.htm I. BUILDING BACKGROUND • e Online (magazine) KNOWLEDGE IN HISTORY, http://www.janeausten.co.uk/ CULTURE, AND LITERATURE online-magazine/ • Official London City Guide (travel guide) REGENCY ENGLAND AND http://www.Visitlondon.com THE WORLD OF JANE AUSTEN • Victoriana Magazine http://www.victoriana.com/Regency-Era/ England’s (approximately 1793- 1830) spans the time from the beginning of the war with France to the death of George IV, Pinterest Board who was named “Regent” when his father Pinterest is a digital cork board community became mentally ill in 1811. e period serves currently captivating all ages. By organizing as transition between England’s Georgian and web sources into thematic files and folders, Victorian Eras. ough for part of the period users become engaged in their research. Using England was heavily embroiled in the Napole- a free Pinterest.com account, students can onic Wars, the Regency Era is known as a time view and create boards that are visual represen- of aristocratic excess and achievement in the tations of the Regency era. (Search “Jane Aus- arts, architecture, and technology. ten” in Pinterest for sample Regency boards). e following activities will engage students Students might collect images of Regency in exploring the life and manners of this clothes, flowers, homes, or book covers. By period and the world of Jane Austen. Online sharing boards with each other, individually or sites for the suggested activities include: as a group, the class is provided with a fun, visual introduction to the time of Jane Austen.

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Travel Video Brown & C0.-Poppy, 2002). Ask students to read the first four paragraphs from chapter Setting in Emma plays a significant role. one of Gossip Girl (Chapter one can be read With two class periods, a green screen, and online at www.amazon.com). In the first the aid of iMovie, Photostory, or other digital column of a double-column chart, ask stu- movie software, students can research and dents to record text evidence of Gossip Girl’s introduce Jane Austen’s England to the rest of characteristics and behaviors. en ask stu- the class in a recorded travel show format. dents to read the first four paragraphs from Assuming the role of travel journalists, stu- chapter one of Emma, recording text evidence dents use sound and video clips as backdrops of her characteristics and behaviors in column while they lead the class on a short, narrated two. Ask students to write a summary at the video tour of (Austen’s birth- bottom of each column, explaining how each place), or a locale from Emma such as book is a . Alternatively, London, Bath, or Box Hill. Show videos as students might watch and analyze clips from locales come up in the reading. contemporary films based on novels of man- ners, such as the 2001 Miramax film Bridget Interactive Timeline Jones’s Diary (often called a modern day ) or (modern remake of Ask students to research the life of Jane Emma—Paramount, 1995). Austen and create a digital timeline. In addi- tion to the online resources listed above, stu- dents might also reference the film Becoming Book Cover Analysis Jane (Miramax, 2007), which depicts Aus- Tell students they are going to break the rules ten’s early life and pieces together facts and “judge a book by its cover.” Using a docu- derived from the author’s books and letters. ment camera, display for students the 2008 Timelines can include images and links and Signet Classics edition of Emma. Ask stu- may be printed, posted, or embedded into a dents: Judging by the cover alone, in which blog or webpage for viewing and assessment. section of a bookstore would you expect to One student-friendly timeline template can find this novel? To whom would this book be found at http://www.ClassTools.net. appeal? Why? What do you think this story is about? Alternatively, ask students to study the NOVEL OF MANNERS cover art of the current Signet Classic edition, to describe what they see and what genre they Accessible Text feel this depiction implies, and why. Students’ answers might touch on the hot pink color, Examining a parallel, contemporary text the feminine font, the large size and promi- prior to reading can introduce and prepare nent placement of the author’s name, the students for complex literary genres. One lady’s glove, and the marquee-style frame. link between Austen’s novel and current Next, display the cover of a popular young young adult fiction is the novel of manners, a adult novel such as Meg Cabot’s e Princess literary genre, usually satirical, that paints a Diaries (HarperTeen, 2008) or Sarah Dessen’s picture of the customs, morals, and behaviors Someone Like You (Puffin, 2004). (Covers can of a specific group of people in a specific be found on amazon.com). Ask students to period of time. While Jane Austen’s novels are turn and share with one another the similari- the most famous of this genre, a growing ties they see to the cover of Emma. Introduce number of contemporary authors are writing the term “chick lit” and how Jane Austen is novels of manners today. One example stu- often credited with introducing this genre. dents might be familiar with, especially since Direct students to the novel’s “Afterword,” it has spawned a popular television series, is where modern romance author Sabrina Jef- Cecily Von Ziegesar’s Gossip Girl (Little, fries concludes, “What more can we ask from

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a romantic comedy?” (p. 426). Discuss how Song Artist the classics are very often quite relevant to Cupid Sam Cooke contemporary audiences. Stupid Cupid Mandy Moore II. BUILDING BACKGROUND Matchmaker, from Fiddler KNOWLEDGE THROUGH Matchmaker on the Roof INITIAL EXPLORATION If Cupid had a Heart Selena Gomez OF THEMES

MATCHMAKING, MARRIAGE, Cartoon Analysis AND THE ROLE OF WOMEN On the whiteboard or overhead, display the “Love is Blind” cartoon from cartoonbuddy. blog.com. e image depicts young Cupid Jigsaw Reading: A Vindication failing an eye-test. After covering the caption, of the Rights of Woman give students an opportunity to struggle with In 1792 Jane Austen’s contemporary, Mary the meaning of the illustration. After the Wollstonecraft, published a feminist treatise, class has identified the famous adage, ask: A Vindication of the Rights of Woman. e text What is Cupid’s traditional role? What does details the lack of rights, property, opportu- it mean for love to be blind? Why has Cupid nity, and respect afforded females in the patri- often been depicted in this manner? Students archal culture of the late 18th century. Divide can turn and talk or record their thoughts in the class into small groups. Assign each group a quick-write. one chapter of the text to read and summarize. Chapters with particular focus on gender ste- Four Corners Film Clip reotypes include: II-V, IX, and XIII. Discuss Pixar’s 2012 animated film Brave centers on a clues for identifying main ideas, such as repeti- female protagonist who is expected by society tion, restatement, and transitional language. to wed according to custom and class rather After reading and summarizing, students split than love. But like Austen’s Emma, the rebel- up into new groups composed of one repre- lious Scottish princess is not interested in sentative from each chapter assigned. Each marriage. Show students the scene where student shares his learning. e essay can be Merida proclaims she will enter the archery found at http://www.bartleby.com/144/. contest to win “her own hand.” Ask students: To whom does Merida owe her loyalty? Her Song Study family? Her society? Herself? Students indi- Match-making has a long tradition, but is it cate their answers by moving to a designated relevant today? e growing list of online corner in the room, where they can prepare a match-making services would indicate yes. defense statement with like-minded class- Introduce students to the match-maker motif mates. After teams present their reasoning, with the following songs, both old and new. As students might choose to change corners and students read the lyrics, listen to the songs, or discuss the arguments that are causing them watch the videos, ask them to list the general- to revise their point of view about a woman’s izations the songs make about marriage and choices and loyalties. After reading Emma, relationships. Remind students to keep these students can return to this activity and see if generalizations in mind for comparison as they their thinking has changed about the expec- read Austen’s Emma. All lyrics can be found at tations often imposed on women. www.elyricsworld.com and several are avail- able on video at http://www.youtube.com.

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Old Maid POVERTY VERSUS PROSPERITY Activate or build prior knowledge in the Regency class system by engaging students in Online Notice Board a game of “Old Maid.” Using the document To generate thinking about the themes of camera, digital projector, and a pack of play- wealth and social status, ask students to ing cards, lead the class through the game. reflect and respond to a recent news article Show students various images of Old Maid on the topic. After reading, ask students to cards, available at Google Images. Ask stu- share their thinking via wallwisher.com, an dents to reflect on these images and the online notice board where students write, meaning of the game’s title. Ask students: post, and view each other’s short responses. • Why is the game called “Old Maid?” Prompts might include: What do you con- “What is the implication for single sider wealthy? Do the wealthy have a respon- females?” How might the title reflect cul- sibility to take care of the poor? Does America tural and historical norms of the past? have a class system? If so, what constitutes • Why is it difficult today to find “Old Maid” “class”? Possible articles that can be found games in print or online? Why are there online include: similar games, but with different titles? • Sorkin, Andrew. “Rich and Sort of Rich.” Now ask students to read the following NY Times. 15 May 2011. excerpt from Harriet and Emma’s discussion • Uchitelle, Louis. “American Dream is on pages 73-74: Elusive for New Generation.” NY Times. …you will be an old maid! 7 July 2010. And that’s so dreadful! Never mind, Harriet, I shall not be a Close Reading poor old maid . . . . A single woman In her introduction to the Signet Classics with a very narrow income must be Edition of Emma, Margaret Drabble makes a ridiculous, disagreeable, old maid! much of the fact that the novel’s protagonist, the proper sport of boys and girls; Emma Woodhouse, “is rich. She is, in fact, but a single woman of good fortune very rich. . . . She is much the richest of Jane is always respectable…. Austen’s heroines, and far richer than Austen Ask these additional questions: herself had ever dreamed of being” (p. vi). Due to her wealth, Drabble maintains, • Why does Harriet say that being an “old Emma is “intentionally elevated above the maid” would be “dreadful?” How does fears and mercenary ambitions that torment her view provide insight into the regard and distort the lives of so many of Austen’s given single women of the Regency period? female characters” (p. vi). Prior to beginning Were they respected? Why or why not? Emma, have students read and analyze the • To what is Emma referring when she novel’s first paragraph: calls old maids the “proper sport of boys Emma Woodhouse, handsome, clever, and and girls?” How does this connect to rich, with a comfortable home and happy our card game? disposition, seemed to unite some of the best • How are older, single females regarded in blessings of existence, and had lived nearly our society today? Why? twenty-one years in the world with very little to distress or vex her” (p. 3). Pose the following questions to students, who might answer in writing, in partners, or in a group:

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• Why does Austen use the word “seemed” Literary Walkabout in the first sentence of the novel? “Walkabouts” generate interest in new books • Are the wealthy truly without a care? by providing students with a kinesthetic • Can you think of a wealthy person who opportunity to predict and discuss the story- may not be happy despite his/her money? line. Without telling students the theme, (Students might mention the Kardashians copy and cut out lines from Emma focusing or Hiltons as examples). on role-playing, “blindness,” or self-aware- ness. Students travel around the classroom, SELF AWARENESS reading these lines and listening to one another, predicting possible themes and plotlines. Examples include: Regency Games 1. “I had always a part to act. It was a life of Several scenes in Emma involve characters deceit!” (p. 397–Jane to Emma). masking their feelings behind riddles, games or subterfuge. Introduce students to this 2. “While I, to blind the world to our theme by engaging them in Regency Era engagement, was behaving one hour with games. Simultaneous games might be located objectionable particularity to another in centers around the classroom. Students woman” (p. 380–Frank to Mrs. Weston). might: 3. “His own mind full of intrigue, that he 1. Create words, sentences, or poetry with should suspect it in others. Mystery, “magnetic letters” (like the wooden finesse—how they pervert the under- alphabet game Frank uses to spell standing!” (pp. 384-85–Mr. Knightley to “bungle” for Jane’s benefit). Emma). 2. Write riddles and trade with classmates 4. “It was his object to blind all about him” to solve (such as Mr. Elton’s “Charade” (p. 368–Emma to Mr. Knightley). poem). 5. “My blindness to what was going on led 3. Play “What am I thinking of?” by offer- me to act by them in a way that I must ing either one “clever,” two “moderately always be ashamed of” (p. 367–Emma to clever,” or three “dull” things. e idea is Mr. Knightley). to avoid revealing one’s actual thoughts 6. “How to understand the deceptions she (like the group at Box Hill). One student had been thus practicing on herself and can play judge. living under! e blunders, the blindness After playing the games, ask students: of her own head and heart!” (p. 355–nar- rator about Emma). • What did the Regency games have in common? 7. “To understand, thoroughly understand, her own heart, was the first endeavor” (Students might answer “they all involve (p. 355–narrator about Emma). thinking,” or “all the games are puzzles.” • Why might players from this era mask LIMITATIONS OF their feelings behind riddles? SMALL TOWN LIFE • Can you think of similar games we play today? (Answers might include the magnetic letters Dialectic Journals popular today, or Akinator, the web genie). In Emma’s fictional town of Highbury, gossip plays a significant part. Characters who have not been raised in the village are discussed before ever stepping foot in town. In charac-

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terizing gossip as both an innocent means of Photo Analysis entertainment as well as a harmful pastime, In Emma, the protagonist reveals that she has Austen calls into question the role of rumors never left her hometown of Highbury. Both a in the confines of a small town. Ask students comfort and a confinement, the village is a to read and respond in writing to an article significant factor in Emma’s character. Garri- about contemporary small-town gossip. son Keillor, best known for his radio show “A While reading “In Small Towns, Gossip Prairie Home Companion,” explores this Moves to the Web,” ask students to keep a same topic in a book of small-town photos dialectic journal. On a piece of paper folded entitled In Search of Lake Woebegone. A study into four vertical sections, students label the in the landscapes and values of rural America, columns “from the text,” “from me,” “from the book is a tribute to the power of place. A my classmates,” and “my new thinking.” In digital slide show of the photo book, narrated the first column, students record quotes or by the author, can be found at: http://ngm. passages from the article to which they’d like nationalgeographic.com/ngm/0012/ to respond. In column two, students explain feature5/media2.html. their reflections, connections, and questions about the excerpt. After students finish read- After showing one or more of the pictures to ing and reflecting, they switch journals with the class on a document camera or LCD classmates and respond to each other’s projector, ask students to choose a photo and thoughts and excerpts in column three. complete the following response: Column four is for students to illustrate their 1. Draw a quick thumbnail sketch of the thoughts after taking classmates’ ideas into photo. consideration. e article, which discusses the ramifications of social media website 2. Write a brief description of the picture. Topix.com, can be found at: What is the most dominant image? What is on the periphery? Include discussion of http://www.nytimes.com/2011/09/20/us/ color, light, and mood. small-town-gossip-moves-to-the-web-anony- mous-and-vicious.html?pagewanted=all. 3. Write a brief analysis of the photo based on your description above. Why does the As a follow-up discussion, ask students: photographer choose to make certain • What does the article tell us about what images dominant and others marginal? happens in isolated or insular communities? Does the picture evoke a certain mood or • Is such public conversation positive or theme? How? Why? What might be the negative? Explain. significance of the title? Of Keillor’s com- mentary? What is Keillor expressing • Is high school an insular community? Do about small-town living? high schools function in the same fashion regarding rumors and gossip? How so?

DURING READING ACTIVITIES

ese activities encourage students to utilize I. ANALYZING THROUGH research-based comprehension strategies such GROUP RESPONSE as questioning, predicting, connecting, sum- marizing, and determining main ideas while reading Emma. Whether the novel is read in DISCUSSION QUESTIONS class or at home, teachers can choose appro- Discussion questions encourage students to priate assignments from the ideas below. deepen their individual analysis of the novel by sharing their reactions with classmates. Students generally feel more comfortable

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sharing their ideas with a small group of Volume II: Chapters 1-18 peers first. When group discussions are com- 1. Is Emma self-aware? List evidence for plete, student spokespersons can discuss their both sides. findings with the class as a whole. 2. How is Jane Fairfax a character to Discussion questions on Emma ask students Emma Woodhouse? to analyze the author’s purpose, themes, and literary techniques, and to take a second look 3. Why does Mrs. Weston warn Emma, at the text. “You get upon delicate subjects, Emma. . . . Mr. Frank Churchill hardly knows Volume I: Chapters 1-18 what to say when you speak of Miss Fairfax’s situation in life. I will move a 1. How is Emma Woodhouse characterized little farther off” (p. 171). Why might in the novel’s opening sentence? Mrs. Weston feel a connection to Jane? 2. Mr. Woodhouse says, “Emma never 4. Mr. Weston refers to Miss Bates as “a thinks of herself if she can do good to standing lesson of how to be happy” (p. others…” (p.10). Does Emma’s father 218). What does he mean? How might intend this as a positive or negative char- Mr. Weston’s comment reflect Austen’s acterization? How might Mr. Knightley purpose? interpret it? What is significant in Aus- 5. Mrs. Elton characterizes Emma as having ten’s word choice here? “lived so secluded a life” (p. 235). Is there 3. What is Emma’s purpose in befriending truth to her insult? Explain. Miss Smith? What might Harriet repre- 6. Emma takes great offense at Mrs. Elton’s sent to her? Discuss. reference to George as “Knightley” (p. 4. Mr. Knightley says, “Emma is spoiled by 238). What is the implied reason for being the cleverest of her family” (p. 31). Emma’s reaction? What might be an What does he mean? In what ways might inferred reason? Emma’s intelligence be a hindrance? 7. Mrs. Elton officiously professes that she 5. Mr. Knightley admits, “I have a very sin- will help advance Jane Fairfax, to “bring cere interest in Emma. . . . ere is an her forward” (p. 241). How different is anxiety, a curiosity in what one feels for her motivation, if at all, from Emma’s Emma” (p. 34). What might the reader vow to “improve” Harriet Smith? (p. 19). be led to believe about Knightley’s feel- Explain. ings toward Emma? 8. In describing Jane, Mr. Knightley reflects, 6. Compare Robert Martin’s letter (p. 43) “She is reserved; more reserved, I think, to Phillip Elton’s riddle (p. 61). Why than she used to be; and I love an open might Emma prefer the “Charade”? temper” (p. 247). What deeper compari- 7. Harriet is astonished by Emma’s vow to son might Mr. Knightley be making remain single (p. 74). How is her reac- here? Is he a bit “clueless,” too? tion a reflection of the time and society 9. What does Mr. Weston mean when he in which they live? says of Mrs. Churchill, “She was nobody 8. What might be the cause of Mr. Wood- when he married her, barely the daughter house’s hypochondria and fears? Explain. of a gentleman; but ever since her being turned into a Churchill, she has out- 9. What is the nature of Mrs. Churchill’s Churchilled them all . . .“ (p. 265). How power over Frank? might Mr. Weston’s description give a 10. Why are the villagers so fascinated with voice to Austen’s ideas about class? Frank Churchill?

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10. Explain the irony in Mrs. Elton’s state- 9. Mr. Knightley proclaims to Emma “the ment: “I have quite a horror of upstarts…. beauty of truth and sincerity in all our giving themselves immense airs and dealings with each other” (p. 385). Can expecting to be on a footing with the old his words be applied to characters other established families” (pp. 265-66). than their own? Might Mr. Knightley serve as Jane Austen’s voice here? Explain. Volume III: Chapters 1-19 10. To “thoroughly understand, her own heart” becomes Emma’s “first endeavor” 1. Explain the irony in Mrs. Elton’s sending (p. 355). How has she changed since the the carriage after Jane and Miss Bates, beginning of the novel? What actions then assuring Mrs. Weston that she’ll support this change? “always take care of them” (p. 277). 2. Both Mrs. Elton (p. 276) and Miss Bates REGENCY LANGUAGE (p. 278) talk non-stop to other characters upon arriving at the Crown Inn. What is Jane Austen’s formal, Regency language can a marked difference in the nature of their be daunting for 21st century students. Even chatter? What purpose does Austen recognizable words are often used in unfamil- intend in these contrasting monologues? iar contexts. One method for deconstructing the vocabulary is a strategy called “Say 3. In what ways is the ball at the Crown Inn What?” In this activity, students focus on a a turning point for Emma? short piece of text which they may or may 4. How might Austen feel about Regency not have read. An example from Emma can Era gypsies? What evidence supports be found in Volume II, chapter seven, where your answer? Frank’s trip to a London barber is discussed. 5. What is the significance in Harriet’s and Ask students to skim the excerpt, writing Emma’s differing recollections of the down any words that are unfamiliar or that spruce beer conversation (p. 292)? Why cause confusion in this specific context. If does Austen draw this contrast? students claim to have no confusion, ask them to write down words their classmates 6. Emma characterizes Mr. Knightley’s might struggle with. Students might choose Donwell home as “just what it ought to archaic terms such as “fancy,” “foppery,” and be, and it looked what it was” (pp. 308- “coxcomb.” ey might also choose formal 09). Is this also a fitting characterization vocabulary like “indifference,” “disposition,” of the home’s owner? Explain. and “regard” (p. 175). Next, students com- 7. Explain the meaning of Franks’s exclama- pare words and help each other mark words tion: “I sick of prosperity and indulgence! off their lists. In this way, students practice You are quite mistaken. I do not look assisting their classmates and trusting their upon myself as either prosperous or own analysis before asking the teacher, which indulged. I am thwarted in everything they often avoid. Any words left on the list material. I do not consider myself at all a after students converse can be recorded on fortunate person” (p. 315). Why is Frank the white board and directly taught by the so frustrated? Who or what is the cause of teacher. is strategy provides a more realistic his dissatisfaction? list than one that is teacher-made, and it takes the stigma out of vocabulary struggles. 8. Mr. Knightley lectures Emma (p. 324), telling her she should model proper behavior for others. Why? Is Mr. Knight- Annotated Notes ley a model? Explain. Ask students to illustrate their thinking by annotating the novel. For instance, they might take notes as they read on character

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motivation or significance of setting. Annota- photos of Cupid on her wall. She may list tions can be in the form of marginal notes or “Match.Com” as her “cause” and invite can be shared with classmates through a free, others to join. As students progress through online “sticky-note” service such as linoit. the novel, they can post messages and respond com. Students post their annotations on a to each other’s posts in character. For example, “canvas” and choose color, size, font, and Mr. Elton might post, “Sorry, Harriet . . . I’ icons for their digital stickies. Teachers may just not that into you,” and Frank might post, create several class canvasses, such as one for “Anyone up for a game of charades? How each minor character from Emma. Students about you, Jane?” See samples and create fake may upload files to support the annotations, walls for free at http://ClassTools.net. such as video clips, images, or maps. e class can work on the canvas in school or at home, Avatars or teachers can share it on their teacher computer with a digital projector. e linoit Students love creating avatars such as the canvas serves as an updated and visually players in Wii games and the “WeeMees” in engaging blog, where students can record WeeWorld.com. A free site where avatars can thinking and communicate with classmates serve as a learning tool for Emma is voki.com. all throughout the reading of the novel. Ask groups to create avatars whose dress and background are clear indicators of the Austen Literature Circles character they represent. For instance, stu- dents might dress Emma’s avatar in diamonds In order to teach inferencing and self-regula- to represent wealth and sunglasses to symbol- tion of comprehension, assign small groups ize her “mask.” ey can choose a background of students individual strategies to use as they of the London Bridge and a British voice to read an excerpt of Emma: narrate their script. Written by students and • Summarizer: summarizes the assigned voiced by microphone, telephone, or keyboard section of text (text to voice), the script reveals the character’s inner thoughts, inferred or paraphrased by the • emester: connects action in novel to students. An advanced assignment might be themes discussed in class to create two avatars, one for the character as • Texter: finds specific location society sees him/her, and one representing his/ of text support her true identity. Because they are complex • Visualizer: creates a visual depicting and multi-layered, one of Austen’s characters the discussed themes with conflicting motives would work well and inferences here, such as Emma, Jane, or Frank. Teacher tips, lesson plans, and student samples of ava- “Fakebook” Wall tars are available at http://voki.com. Students can create “Fakebook” profiles for II. ANALYZING THROUGH Emma, Mr. Knightley, Mrs. Elton, even Jane Austen. is wall generator allows students to INDIVIDUAL RESPONSE analyze characters, make modern connec- tions, and engage with their classmates in a ONE BITE AT A TIME: safe environment. Students can each choose a VIRTUAL BOOKS different character from Emma and create a profile complete with marital status, favorite By breaking up long pieces of prose into songs, quotes, television shows, books, smaller “chunks,” teachers can facilitate more movies, and causes. For example, Emma successful student analysis at school and at might select “I’m Only Me when I’m with home. Choose significant excerpts from You,” by Taylor Swift, for her song, and post Emma for student response, and copy/paste

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them into an online “virtual book.” Ask stu- student might think of and post a connection dents to use the “add text” function to write between Harriet and other literary characters a response to a chapter or scene in Austen’s covered recently, such as Pygmalion and Emma. One template for virtual books can Galatea. At the same time, another student be found under “Animated Book” at http:// might ask, “Doesn’t Harriet also serve as a ClassTools.net. A free Emma ebook to use for foil to Emma?” In response, the teacher copying is provided by at might decide to turn the discussion in a new http://www.gutenberg.org/ebooks/158. direction, clarify an issue, or make a note to adjust upcoming instruction. Student Generated Questions Text to Text Comparison Student-created questions that lead to inter- pretation and analysis are more effective Many film adaptations have been made of comprehension tools than traditional end of Jane Austen’s Emma. While teachers do not chapter questions. Discuss with the class the have time to show multiple versions in their different levels of questions and how more entirety, comparing significant scenes is an critical questions lead to interpretation and engaging use of visual media for literary analysis. A good resource is Bloom’s Revised analysis. After reading Volume I, Chapter Taxonomy (BRT) with accompanying ques- Eight, where Emma and Mr. Knightley argue tion starters: http://www.uni.edu/stdteach/ over her matchmaking efforts, show students TWS/BloomRevisedTaxonomy_KeyWords the same scene from the -1-1.pdf. Ask students to generate one or two film version, available on Youtube at http:// questions per chapter and to jot questions www.youtube.com/watch?v=8k_gzuVqZmk. down on post-it notes, one per note. At least Model for the class how to create a double- one question in each chapter must be from column chart, with the two columns labeled the higher end of BRT. Post-its are affixed to “novel” and “film.” Ask students to take notes the page of text they reference. In class, stu- on setting, props, dialogue, and action in dents can categorize these questions on the both texts. Afterwards, ask students to write a board or on a concept chart, and discuss pos- summary statement analyzing specific differ- sible answers with their peers. ences. For instance, in the 1996 film, Emma is at target-practice with her bow and arrow. Backchanneling But in Austen’s novel, the protagonist was never associated with this sport. Students Another strategy for encouraging student might comment on this major difference. questions is a live stream such as todaysmeet. Ask the class: Why did the director choose to com. Model for students how to use this free depict Emma in this way, even if not histori- tool to ask questions, make comments, pro- cally accurate? Is Emma (as the Gwyneth vide feedback, and provide assessment in real Paltrow movie cover suggests) “armed and time. Teachers can use the comments to dangerous”? What are her armaments? How adjust instruction immediately. Students can does the bow and arrow reflect a significant use cell phones, ipads, or the traveling laptop part of her character? lab to access the stream via networked com- puters. is tool is especially helpful with Character-Foils reticent students who are unlikely to ask questions out loud during class. Since more Robert Marzano’s first essential teaching than one student can comment (or “back- strategy is the study of similarities and differ- channel”) at a time, more student voices can ences. In Emma, both Harriet and Jane serve be heard, all while the teacher is instructing. as foils to Emma. To help students compare For example, the teacher might be leading a and contrast Emma with one of these charac- discussion on Harriet’s role in Emma. One ters, ask students to create Venn Diagrams,

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Double-Bubble Maps, or Double-Column Action Charts. Students should record similarities • Emma interferes with Harriet and Robert. and differences. For instance, students might note that both Emma and Jane are 21, but Causes where one is liberated by wealth, the other is • Robert is a farmer. restricted by poverty. After students fill in • Emma wants to match Harriet with Mr. Elton. and consider their evidence, they can write a summary statement illustrating the signifi- • Harriet may be the daughter of a gentleman. cance of the comparison. Students might also Effects turn and share with a classmate or the class, • Harriet aspires above her social class. adding to their work as the discussion ensues. • e Martins lose Harriet’s friendship. Possible character foils from Emma include the following: • Mr. Elton insults and humiliates Harriet. 1. Emma and Harriet Six Word Stories 2. Emma and Jane Summarizing is a key strategy for assessing 3. Robert Martin and Mr. Elton student comprehension and analysis. All the 4. Frank and Mr. Knightley on Twitter, the “six word story” is a cre- ative, engaging method to get students to 5. Miss Bates and Mrs. Elton summarize. Ask students to summarize sig- Diagrams of double-bubble and other think- nificant chapters or scenes in Emma. For ing maps are online at: instance, Emma’s ill treatment of Miss Bates http://drb.lifestreamcenter.net/Lessons/ at Boxhill might read, “Baited Bates. Party process_maps/ foul. So sorry.” Samples from literary giants and everyday folks may be found at http:// sixwordstories.net. Caution: teachers will want Multi-Flow Map to choose appropriate examples prior to class. e act of hiding their engagement results in a myriad of effects for Frank Churchill and Character Tweets Jane Fairfax, as well as the other characters in the novel. Emma’s decision to “adopt” Har- Another tool for student summary is Twitter. riet results in similar chaos. Ask students to Ask students to “tweet” the most important choose a character such as Emma, Frank, or developments from certain chapters. Because Jane, and “map” the effects of their actions. In they are restricted to 140 characters, students the middle box of the multi-flow map, ask must analyze and choose only the most sig- students to write the event, such as “Emma nificant points. Give students a paper template talks Harriet out of marrying Robert.” In that looks like a twitter interface, and tweets boxes to the left, students identify the causes can be developed on paper or in cyberspace. A of this act and connect to the middle box tweet summary of Frank’s lengthy letter in with arrows. In the boxes to the right, stu- chapter fourteen might read, “Quite sorry. dents identify the effects of the act and con- Good intentions mixed with charades often nect them to the middle box with arrows. e end in damaged friendships. Jane is a goddess; multi-flow map activity is a study in character Emma the ultimate friend; I am a fool.” motivation and author’s purpose. Students might write the following in their boxes:

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AFTER READING ACTIVITIES

ese activities encourage students to deepen 7. In Emma, several characters are “acting a their interpretation of Emma by making con- part” (p. 168) that masks their motiva- nections between themes and issues in the tions or desires. Select one such character novel, in other works, and in the outside world. and trace the role-playing motif through- out the novel. What impact does the part I. TOPICS FOR DISCUSSION have on the character and story as a whole? AND WRITING 8. Compare Emma to one of the novel’s other female characters, such as Harriet Now that students have read the entire novel, or Jane. Do the other women represent a they can return to the text for a deeper under- part of Emma that she is unable or standing of its significant themes. e following unwilling to recognize? Why at the end topics and questions can be used for whole class does Emma realize she should have been and small group discussion or as essay topics. drawn to Jane, not Harriet, from the 1. Is Austen critical or admiring of small beginning? How do the other females town life? Is Highbury’s insulation a help help Emma grow? or a hindrance? Discuss the roles that 9. On multiple occasions, Emma is referred setting and gossip play in Emma. to as “blind.” What is the nature of her 2. As Mr. Knightley points out, Emma is blindness? Why does Jane Austen choose often vain, thoughtless, and irresponsible this particular metaphor? What other with her wit. Who or what is to blame for characters in the novel are “blind”? What Emma’s cluelessness? Can she be the hero must they do to “see” each other? Why is of her self-titled story? Discuss. “cluelessness” so often an element of romance? 3. ough seemingly a minor character, Miss Bates is part of every storyline in the 10. None of Jane Austen’s other novels are novel. Is she simply a comic figure? Is she named for their protagonists. Why does a moral compass? Explain. Alternatively, she name this one Emma? What is the discuss the significance of another minor connection between the novel’s title and character, such as Augusta Elton or Isa- themes? bella Knightley. 11. At the beginning of the novel, Emma 4. Is Frank better off for having been declares her independence. Yet she marries adopted by the Churchills? Explain the by the story’s end. Is Emma still playing a purpose and residual effects of his being role? Or has she found a way to maintain removed from his father. her sense of self within the confines of Regency marriage? Is Austen ironic in her 5. Mr. Knightley is, without doubt, a depiction of Emma? Or does the author . But are there other pur- see the possibilities of compromise? poses he serves in the novel? Compare Mr. Knightley with Frank Churchill. 12. What about George Knightley suggests What behaviors are expected of a - this marriage will not be the traditional man in this society? Which of the two relationship Emma fears in the begin- men best fits these expectations? ning? Will Emma be good for Knightley? How do the two complement one 6. Why does Frank choose to keep secret his another? What does the ending suggest relationship to Jane? Is he at fault for about Austen’s sense of gender roles and putting Jane in this difficult position, or marriage? is society to blame? What do his actions indicate about Frank’s character?

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II. GROUP AND INDIVIDUAL 3. Discuss the production’s casting. Do the PROJECTS actors provide effective portrayals of Austen’s characters? Why were these actors cast? Consider the time period in Second Thoughts which the film was produced. Revisit one of your discussion questions, your 4. What were the strengths of this film annotated notes, or your “4 Corners” choice. production? Use specific evidence from Now that you have completed the novel, the film. Were there any weaknesses? If what further commentary can you add? Do so, discuss specific issues. you see your topic differently now? Why or 5. What is your overall impression of this why not? Students can show their new think- film? Would your impression be different ing in journals or class discussion. Alterna- had you not read the novel first? tively, the class can post their thoughts on digital exit slips at http://www.wallwisher. Aisha. Dir. Rajshree Ojha. Anil Kapoor com. e post-its might read, “First I thought Films, 2010. (Bollywood remake) . . .but now I believe . . .” Clueless. Dir. . Paramount, Film Festival 1995. (, Paul Rudd remake) Emma. Dir. McGrath. Miramax, After watching an excerpt or the entirety of 1996. (Gwyneth Paltrow, Ewan MacGregor) one or more of the following films based on Emma (or another of Austen’s works), ask Emma. Dir. Jim O’Hanlon. BBC, 2009. students to write a film critique discussing (, Johnny Lee Miller) one or more of the cinematic choices of cast- Emma. Dir. Diarmuid Lawrence. A&E, ing, characterization, costuming, set, screen 1996. (, ) play, and theme development. If appropriate, critiques should include comparative discus- sion on watching the film versus reading the Student are often unfamiliar with criti- novel and the effectiveness of those differ- cal writing. For sample reviews, direct students ences. Ask students: to www.rottentomatoes.com.is site com- piles critiques of both current and older 1. Some of Austen’s novels have been set in movies, written by professional reviewers that modern times on film. Describe the set- model style and voice for student writers. ting of this video production. Where and when does it take place? Does the setting seem authentic? Why or why not? What Literary Criticism Summaries specific direction and production choices Literary criticisms provide additional insight add to the atmosphere? Discuss costum- and development of themes discussed ing and prop choices. throughout the reading of Emma. Students 2. Discuss the use of special effects. Con- further benefit from reading criticisms when sider lighting, music, and sound. How they incorporate them in literary research do these elements add to your under- papers. Criticisms can be found in the standing of the novel? What differences “Introduction” (pp. v-xx) and “Afterword” exist between the film’s interpretation (pp. 419-426) of the Signet Classic Edition and your own while reading? Do these of Emma, in school libraries, and in online differences add to or change your analysis subscription services. So that students can of Austen’s work? Explain. illustrate their comprehension and synthesis of these criticisms, ask them to write short (one to three page) responses that summarize the critic’s main ideas. Summary helps stu-

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dents understand that literary research is a White, Laura Mooneyham. “Beyond the multi-stepped process, and that literary dia- romantic gypsy: Narrative disruptions and logue can only happen effectively if readers ironies in Austen’s Emma.” Papers on Lan- first understand what the critic is saying. guage & Literature, 44.3 (2008): 305+. Stu- dent Edition A discussion of research strategies and source . Web. 5 Aug. 2012. validity is helpful in order to discourage online searches of Internet work that has Voice Threads never been pre-published or vetted before an Ask students to work individually or in editorial board. Ask students to highlight groups to craft a digital criticism, book main ideas and summarize paragraphs in the review, or book talk on Emma. Using voice- margin, either by hand or with digital high- thread.com, a free, collaborative presentation lighters. is note-taking step discourages platform, students can add digital images, summaries that are simple translation and video, music, and voice to bring instead encourages comprehension of global their writing to life. e voicethread is similar concepts prior to writing the summary. Ask to a student podcast, with background students to write a summary which intro- images and audio added. For example, a duces the author, title, and focus of the article group might choose to write and produce a before presenting an explanation of the critic’s presentation on the theme of class in Emma. main ideas. Along with the summary, stu- e group might choose to use images of dents should include a works-cited entry that Regency England, including elaborate estates includes the criticism’s original and reprint invocative of Hartfield or Donwell. Group publication information. After summaries members can take turns writing and voicing are submitted, ask students to present their their assigned components, weaving classical critic’s ideas to the class for discussion. When music and quotations from the novel other students react or follow up with a simi- throughout the narrated presentation. Alter- lar or opposing criticism, a natural, student- natively, the group could analyze Austen’s led discussion often ensues. Online criticisms ideas about wealth but might give the images can be found through e Jane Austen Journal and music a modern spin in order to illustrate Online at http://www.jasna.org/persuasions/ contemporary relevance. Very user-friendly, on-line/index.html. Other criticisms include: voicethread components can be written in Austen, Glyn. “Jane Austen’s comedy in different locations, each student contributing Emma: High art or mere triviality? Is a novel his piece using a telephone, microphone, only worth study if it engages with big issues? webcam, keyboard, or digital upload. Groups Glyn Austen reconsiders a classic tale of ‘3 or can plan to “meet” online at a specified time, 4 families in a country village’.” e English and can talk to one another using one of the Review, Sept. 2005: 2+. Student Edition. tools above. However, the work can be done Web. 5 Aug. 2012. at different times, members leaving audio or Bloom, Harold, ed. Jane Austen. (Bloom’s Modern visual “post-it” notes for each other, collabo- Critical Views Series). Chelsea House, 2003. rating on the presentation before submitting it for assessment. Harbus, Antonina. “Reading embodied con- sciousness in Emma.” Studies in English Lit- Provide formative assessment for students erature, 1500-1900, 51.4 (2011): 765+. throughout the process, leaving voice or text Student Edition. Web. 5 Aug. 2012. notes for group members. Post the presenta- tions on the class website or save on voice- Waldron, Mary. “Men of sense and silly thread.com, allowing students who worked on wives: e confusions of Mr. Knightley.” other topics to view and reflect on each other’s Studies in the Novel, 28.2 (1996): 141+. Stu- works. Sample student voicethreads and tuto- dent Edition. Web. 5 Aug. 2012. rials are available at http://voicethread.com.

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Documentaries a published author’s characters or plot. For instance, Serena from Gossip Girl might An alternative use for voice threads is the encounter Mr. Elton from Emma at Star- digital documentary. Ask students to produce buck’s, and from there, they might plot to a documentary on the life of Jane Austen, the expose Frank Churchill in Gossip Girl’s manners and morals of Regency England, or newspaper column. Ask students to choose even the popularity of Austen remakes, fan one or two characters from another play, pages, and gatherings. Students can research novel, movie, or T.V. show and create a story and embed into a voice thread primary docu- based on Jane Austen’s Emma. To provide ments and art, film clips, and web pages. As opportunity for publication as well as feed- with the literary presentations, group mem- back, invite students to post their stories on bers and classmates can post comments and one of several web-based fan fiction sites, like suggestions and the teacher can post sugges- http://Fanfiction.net or http://Fictionalley.org. tions and assessment. : The Inner Dialogue Chalk-Talk Emma is full of long, introspective sections In this cooperative learning activity, divide (such as pp. 355-57) that invite the reader students into groups of four or five. Assign into the protagonist’s mind, yet may distance each group one of the major themes that young readers who prefer action to reflection. have been addressed throughout the reading However, a careful read of such text provides of Emma, such as gender, class, marriage, and an excellent source of Austen’s characteriza- self-awareness. In front of large sheets of tion, narrative style, and purpose. Explaining paper posted around the room, groups meet that imitation is the most sincere form of at one of the posters, which are pre-labeled flattery, assign students the task of parodying with the names of the themes. Students Jane Austen for the purpose of understanding brainstorm and write down all textual evi- author’s voice. Allow students to choose a dence and commentary they can think of character other than Emma (such as Mr. about the theme. When the teacher says, Knightley, Mrs. Weston, or Robert Martin) “switch,” students move to the next poster and adapting the style of Jane Austen, write and read what the previous groups have writ- an inner dialogue that reveals character moti- ten before adding their own “chalk-talk.” e vation and author intent by the novel’s end. activity continues until the groups have seen When the assignment is written, ask students and contributed to all themes and have to journal on the following questions: returned to their original poster to discuss what has been added by classmates. • How has my thinking about this charac- ter changed or deepened since writing the Literary Mash-Ups inner dialogue? • How did writing in the style of the author Mash-Ups (made popular on the hit televi- help me understand Austen’s purpose? sion series “Glee”), are combinations of two One way to engage students in this project is or more songs, stories, or even computer to have them create “flipbooks,” which are applications. Literary mash-ups provide stu- free, digital books whose pages can be virtu- dents with a real audience for their writing ally turned, or “flipped,” on the computer and if they wish, feedback from both peers screen. Students can compose and add and professionals. Also known as fan fiction, images online, then integrate them into the mash-ups are one ’s spin on someone class website as a Flash widget. Sample flip else’s story. Set in the fictional universe of books and tutorials are available at www. students’ favorite TV shows, films, or books, flipsnack.com. mash-ups and fan fiction stories are based on

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III. EXTENDED READING Sittenfeld, Curtis. Prep. NY: Random House, 2005. e following classic and young adult titles focus on themes of gender, class, place, and Von Ziegesar, Cecily. Gossip Girl. NY: self-awareness and are appropriate for both Poppy, 2002. independent reading or literature circles Wharton, Edith. e Age of Innocence. where each group of students reads/views a Mineola, NY: Dover, 1997. different work on the same theme. Ask stu- dents for their own additions to the list. Life in a Small Town Match-Making, Marriage, Keillor, Garrison. Lake Woebegone Days. NY: and the Role of Women Penguin, 1990. Letts, Billie. Where the Heart Is. NY: Grand Brave. Dirs. Mark Andrews and Brenda Central Publishing, 1998. Chapman. Pixar, 2012. Metalious, Grace. Peyton Place. Lebanon, Clueless. Dir. Amy Heckerling. Paramount, NH: UP of New England, 1999. 1995. Qualey, Marsha. Hometown. NY: Condie, Ally. Matched. NY: Speak, 2011. HarperCollins, 1997. Green, John. An Abundance of Katherines. Wilder, orton. Our Town. NY: NY: Dutton Juvenile, 2006. HarperCollins, 2003. Hitch. Dir. Andy Tennant. Sony, 2005. Wolfe, omas. Look Homeward, Angel. McCahan, Erin. I Now Pronounce You NY: Scribner, 2006. Someone Else. NY: Levine, 2010. Springer, Kristina. e Espressologist. NY: Self-Awareness Farrar, Straus and Giroux, 2009. Bray, Libba. A Great and Terrible Beauty. Stuart, Julia. e Matchmaker of Perigord. NY: Delacorte Books for Young Readers, NY: Harper, 2008. 2003. Chopin, Kate. e Awakening. NY: Signet, Class, Wealth, and Society 1976. Dean, Zoey. e A-List. NY: Poppy, 2008. Collins, Suzanne. e Hunger Games. NY: De la Cruz, Melissa. e Au Pairs. NY: Scholastic, 2010. Simon and Schuster, 2005. Ibsen, Henrik. A Doll’s House. (Ibsen: Four Fitzgerald, F. Scott. e Great Gatsby. NY: Major Plays, Volume I) NY: Signet Classics, Scribner, 2003. 2006. Forster, E.M. Howards End. NY: Signet Masters, Edgar Lee. Spoon River Anthology. Classics, 2012. NY: Signet Classics, 2007. Hinton, S.E. e Outsiders. NY: Speak, O’Malley. Lost at Sea. Portland, OR: Oni, 2006. 2005. Segal, Francesca. e Innocents. NY: Spinelli, Jerry. Love, Stargirl. NY: Ember, Hyperion, 2012. 2009.

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ABOUT THE AUTHOR OF THIS GUIDE

LAURA REIS MAYER is a High School regional conferences. She is also the author of Instructional Coach in Asheville, North Car- the following Signet Classics Edition Teacher olina. A National Board Certified Teacher, Guides: Kate Chopin’s e Awakening, Sopho- she serves as Support Provider for National cles: e Complete Plays, Mary Shelley’s Fran- Board Candidates in her district. She has kenstein, Ibsen: Four Major Plays, Volume I, taught middle, high school, and college Eng- George Bernard Shaw’s Pygmalion and My Fair lish and has facilitated at numerous state and Lady, and Christopher Marlowe’s Dr. Faustus.

ABOUT THE EDITORS OF THIS GUIDE

JEANNE M. MCGLINN, Professor in the JAMES E. MCGLINN, Professor Emeritus Department of Education at the University of of Education at the University of North Caro- North Carolina at Asheville, teaches Chil- lina at Asheville, has taught high school Eng- dren’s and Adolescent Literature and directs lish and developmental reading at all levels, the field experiences of 9-12 English licensure elementary through adult. His research inter- candidates. She serves on various editorial ests focus on motivating and increasing the and professional boards and is the president reading achievement of students in high of the Language Experience Special Interest school and college. He is the author and Group of the International Reading Associa- editor of numerous Penguin Teachers’ Guides. tion and editor of its on-line journal. She has written extensively in the area of adolescent literature, including numerous teachers’ guides and a critical book on the historical fiction of adolescent writer Ann Rinaldi for Scarecrow Press Young Adult Writers series.

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A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF THE IMPORTANCE OF BEING EARNEST A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF AND OTHER PLAYS A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF A TEACHER’S GUIDE TO SIR GAWAIN AND BY OSCAR WILDE THE GREEN KNIGHT EMMA THE HELP BY JANE AUSTEN BY KATHRYN STOCKETT

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TEACHER’S GUIDE TEACHER’S GUIDE

A full list of Teacher’s Guides and Teacher’s Guides for the Signet Classic Shakespeare Series is available on Penguin’s website at: us.penguingroup.com/tguides TEACHER’S GUIDES Adventures of The Fountainhead My Ántonia Redwall Huckleberry Finn Frankenstein A Narrative of the Life The Scarlet Letter Animal Farm The Grapes of Wrath of Frederick Douglass, The Scarlet Pimpernel An American Slave Anthem Great Expectations The Secret Life of Bees Nectar in a Sieve ■ Atlas Shrugged Heart of Darkness Silas Marner 1984 ■ The Awakening ■ The Help ■ Sir Gawain and The Odyssey Beowulf ■ The Importance the Green Knight The Call of the Wild of Being Earnest Of Mice and Men Sophocles: Cannery Row and Other Plays One Day in the Life The Complete Plays of Ivan Denisovich ■ Chekhov’s Major Plays Incidents in the A Streetcar Named Desire Life of a Slave Girl The Pact City of God A Tale of Two Cities The Pearl The Country of the Pointed A Thousand Splendid Suns Firs and Other Stories A Journey to the Center The Time Machine of the Earth The Crucible ■ The Phantom Treasure Island The Jungle of the Opera Dear Zoe Two Years Before the Mast The Kite Runner Poems by Robert Frost Death of a Salesman Up from Slavery Listening is an Act of Love Pride and Prejudice Doctor Faustus The Wal-Mart Effect Looking Backward The Prince and the Pauper Dr. Jekyll and Mr. Hyde Washington Square Lysistrata Pygmalion A Doll’s House We the Living Main Street Ragged Dick Dubliners The Women of The Mousetrap A Raisin in the Sun ■ Emma Brewster Place and Other Plays The Red Pony Ethan Frome Wuthering Heights TEACHER’S GUIDES FOR THE SIGNET CLASSIC SHAKESPEARE SERIES Antony and Cleopatra Julius Caesar A Midsummer Richard III As You Like It King Lear Night’s Dream Romeo and Juliet Hamlet Macbeth The Merchant of Venice The Taming of the Shrew Henry IV Part I Measure for Measure Much Ado About Nothing The Tempest Henry V Othello Twelfth Night

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