Thursday, 21 February 2008
Period 2
1. AR rdg & log
2. Show me 500 words total
(150 more words for 15 pts)
• Final Drafts due Friday, including:
• Rough draft with corrections in a different color
• Rough outline
• Final outline
See new blog "Writing Literary Analysis" for basic tips (below)
Period 5
1. Multiple choice JE ch 18 #11-20
2. Label best & worst of your 3 thesis ideas
3. Share best with class
HW: Thesis and outline for essay JE
Blog: Outline for Jane Eyre
Blog: Byronic Hero Characteristics
Blog: Writing Literary Analysis, Basic Tips
Period 6
1. Quiz Voc 51-60
2. Effective Writing
Part A: Being consistent
1]. Sequence of tenses
2]. Shift of pronoun
HW: Voc 61-62
Thursday, February 21, 2008
Wednesday, 20 February 2008
Wednesday, 20 February 2008
Period 1
1. AR rdg & log
2. Show me 500 words total
(150 more words for 15 pts)
• Final Drafts due Friday, including:
• Rough draft with corrections in a different color
• Rough outline
• Final outline
See new blog entry "Writing Literary Analysis" for basic tips
Period 6
1. Quiz Voc 43-44, 51-58
2. Lab for NovaNet
HW: Voc. 59-60
Period 1
1. AR rdg & log
2. Show me 500 words total
(150 more words for 15 pts)
• Final Drafts due Friday, including:
• Rough draft with corrections in a different color
• Rough outline
• Final outline
See new blog entry "Writing Literary Analysis" for basic tips
Period 6
1. Quiz Voc 43-44, 51-58
2. Lab for NovaNet
HW: Voc. 59-60
Writing Literary Analysis
Basic Tips for Writing a Literary Analysis
from Sierra College 2001
1. Write in the present tense.
EXAMPLE: In Faulkner's "A Rose for Emily," the townspeople visit Emily Grierson's house because it smells bad.
NOT: In Faulkner's "A Rose for Emily," the townspeople visited Emily Grierson's house because it smelled bad.
2. Normally, keep yourself out of your analysis; in other words, use the third person (no I or you). Some instructors may require or allow the first or second person in an informal analysis if the usage is consistent, however, so check with your instructor.
FIRST PERSON: I believe that the narrator in "Sonny's Blues" is a dynamic character because I read many details about the changes in his attitude toward and relationship with Sonny.
THIRD PERSON: The narrator in "Sonny's Blues" is a dynamic character who changes his attitude toward and relationship with Sonny as the story progresses.
SECOND PERSON: At the end of "Everyday Use," Mama realizes that Maggie is like her but has not received the attention you should give your daughter to help her attain self-esteem.
THIRD PERSON: At the end of "Everyday Use," Mama realizes that Maggie is like her but has not received enough attention to build self-esteem.
3. Avoid summarizing the plot (i.e., retelling the story literally). Instead analyze (form a thesis about and explain) the story in literary terms.
PLOT SUMMARY: In Edgar Allan Poe's "The Tell-Tale Heart," the mad narrator explains in detail how he kills the old man, who screams as he dies. After being alerted by a neighbor, the police arrive, and the madman gives them a tour through the house, finally halting in the old man's bedroom, where he has buried the man beneath the floor planks under the bed. As he is talking, the narrator hears what he thinks is the old man's heart beating loudly, and he is driven to confess the murder.
ANALYSIS: Though the narrator claims he is not mad, the reader realizes that the narrator in "The Telltale Heart" is unreliable and lies about his sanity. For example, the mad narrator says he can hear "all things in the heaven and in the earth." Sane people cannot. He also lies to the police when he tells them that the shriek they hear occurs in his dream. Though sane people do lie, most do not meticulously plan murders, lie to the police, and then confess without prompting. Finally, the madman is so plagued with guilt that he hears his own conscience in the form of the old man's heart beating loudly. Dead hearts do not beat, nor do sane people confuse their consciences with the sounds of external objects.
4. Include a clear thesis statement which addresses something meaningful about the literature, often about the theme. (See separate thesis handout.)
5. Use literary terms to discuss your points (i.e., character, theme, setting, rhyme, point of view, alliteration, symbols, imagery, figurative language, protagonist, and so forth).
NONLITERARY TERMS: To show that women are important, Adrienne Rich writes about Aunt Jennifer and the tigers that she creates in her needlework.
LITERARY TERMS: The poem "Aunt Jennifer's Tigers" contains vivid images and symbols which reveal a feminist perspective.
6. Do not confuse characters' (in fiction or drama) or speakers' (in poetry) viewpoints with authors' viewpoints.
AUTHOR: As a black woman, Eudora Welty faces racism in "A Worn Path." (Eudora Welty, the author, was not black.)
CHARACTER: As a black woman, Old Phoenix faces racism in "A Worn Path." (Old Phoenix, a character, is black.)
POET: In "Stopping by Woods on a Snowy Evening," Robert Frost is tempted to drift into his subconscious dream world, yet he knows he has other obligations to fulfill when he states, "But I have promises to keep, / And miles to go before I sleep." (The pronoun "I" refers to the speaker of the poem, not to Robert Frost, the poet.)
SPEAKER: In "Stopping by Woods on a Snowy Evening," the speaker is tempted to drift into his subconscious dream world, yet he knows he has other obligations to fulfill when he states, "But I have promises to keep, / And miles to go before I sleep." (Here the "I" correctly refers to the speaker of the poem.)
7. Support your points with many quotations and paraphrases, but write the majority of your paper in your own words with your own ideas.
8. When writing a research paper that includes literary criticism, make sure that you form your own opinion rather than merely restate those of the critics. You may, however, use the critics' views to support yours.
9. Cite prose, poetry, drama, critics, and any other sources used according to specialized MLA standards. (See the current edition of the MLA Handbook for Writers of Research Papers.)
Sierra College
from Sierra College 2001
1. Write in the present tense.
EXAMPLE: In Faulkner's "A Rose for Emily," the townspeople visit Emily Grierson's house because it smells bad.
NOT: In Faulkner's "A Rose for Emily," the townspeople visited Emily Grierson's house because it smelled bad.
2. Normally, keep yourself out of your analysis; in other words, use the third person (no I or you). Some instructors may require or allow the first or second person in an informal analysis if the usage is consistent, however, so check with your instructor.
FIRST PERSON: I believe that the narrator in "Sonny's Blues" is a dynamic character because I read many details about the changes in his attitude toward and relationship with Sonny.
THIRD PERSON: The narrator in "Sonny's Blues" is a dynamic character who changes his attitude toward and relationship with Sonny as the story progresses.
SECOND PERSON: At the end of "Everyday Use," Mama realizes that Maggie is like her but has not received the attention you should give your daughter to help her attain self-esteem.
THIRD PERSON: At the end of "Everyday Use," Mama realizes that Maggie is like her but has not received enough attention to build self-esteem.
3. Avoid summarizing the plot (i.e., retelling the story literally). Instead analyze (form a thesis about and explain) the story in literary terms.
PLOT SUMMARY: In Edgar Allan Poe's "The Tell-Tale Heart," the mad narrator explains in detail how he kills the old man, who screams as he dies. After being alerted by a neighbor, the police arrive, and the madman gives them a tour through the house, finally halting in the old man's bedroom, where he has buried the man beneath the floor planks under the bed. As he is talking, the narrator hears what he thinks is the old man's heart beating loudly, and he is driven to confess the murder.
ANALYSIS: Though the narrator claims he is not mad, the reader realizes that the narrator in "The Telltale Heart" is unreliable and lies about his sanity. For example, the mad narrator says he can hear "all things in the heaven and in the earth." Sane people cannot. He also lies to the police when he tells them that the shriek they hear occurs in his dream. Though sane people do lie, most do not meticulously plan murders, lie to the police, and then confess without prompting. Finally, the madman is so plagued with guilt that he hears his own conscience in the form of the old man's heart beating loudly. Dead hearts do not beat, nor do sane people confuse their consciences with the sounds of external objects.
4. Include a clear thesis statement which addresses something meaningful about the literature, often about the theme. (See separate thesis handout.)
5. Use literary terms to discuss your points (i.e., character, theme, setting, rhyme, point of view, alliteration, symbols, imagery, figurative language, protagonist, and so forth).
NONLITERARY TERMS: To show that women are important, Adrienne Rich writes about Aunt Jennifer and the tigers that she creates in her needlework.
LITERARY TERMS: The poem "Aunt Jennifer's Tigers" contains vivid images and symbols which reveal a feminist perspective.
6. Do not confuse characters' (in fiction or drama) or speakers' (in poetry) viewpoints with authors' viewpoints.
AUTHOR: As a black woman, Eudora Welty faces racism in "A Worn Path." (Eudora Welty, the author, was not black.)
CHARACTER: As a black woman, Old Phoenix faces racism in "A Worn Path." (Old Phoenix, a character, is black.)
POET: In "Stopping by Woods on a Snowy Evening," Robert Frost is tempted to drift into his subconscious dream world, yet he knows he has other obligations to fulfill when he states, "But I have promises to keep, / And miles to go before I sleep." (The pronoun "I" refers to the speaker of the poem, not to Robert Frost, the poet.)
SPEAKER: In "Stopping by Woods on a Snowy Evening," the speaker is tempted to drift into his subconscious dream world, yet he knows he has other obligations to fulfill when he states, "But I have promises to keep, / And miles to go before I sleep." (Here the "I" correctly refers to the speaker of the poem.)
7. Support your points with many quotations and paraphrases, but write the majority of your paper in your own words with your own ideas.
8. When writing a research paper that includes literary criticism, make sure that you form your own opinion rather than merely restate those of the critics. You may, however, use the critics' views to support yours.
9. Cite prose, poetry, drama, critics, and any other sources used according to specialized MLA standards. (See the current edition of the MLA Handbook for Writers of Research Papers.)
Sierra College
Byronic Hero
Characteristics of the Byronic Hero
www.umd.umich.edu/casl/hum/ eng/classes/434/charweb/CHARACTE.htm - 6k -
The Byronic hero--so named because it evolved primarily due to Lord Byron’s writing in the nineteenth century—is, according to Peter Thorslev, one of the most prominent literary character types of the Romantic period:
Romantic heroes represent an important tradition in our literature . . . . In England we have a reinterpreted Paradise Lost, a number of Gothic novels and dramas . . . the heroic romances of the younger Scott [Sir Walter Scott, added by Mrs Scanlon], some of the poetry of Shelley, and the works of Byron. In all of these works the Byronic Hero is the one protagonist who in stature and in temperament best represents the [heroic] tradition in England. (Thorslev 189)
A Byronic hero exhibits several characteristic traits, and in many ways he can be considered a rebel. The Byronic hero does not possess "heroic virtue" in the usual sense; instead, he has many dark qualities. With regard to his intellectual capacity, self-respect, and hypersensitivity, the Byronic hero is "larger than life," and "with the loss of his titanic passions, his pride, and his certainty of self-identity, he loses also his status as [a traditional] hero" (Thorslev 187).
He is usually isolated from society as a wanderer or is in exile of some kind. It does not matter whether this social separation is imposed upon him by some external force or is self-imposed. Byron's Manfred, a character who wandered desolate mountaintops, was physically isolated from society, whereas Childe Harold chose to "exile" himself and wander throughout Europe. Although Harold remained physically present in society and among people, he was not by any means "social."
Often the Byronic hero is moody by nature or passionate about a particular issue. He also has emotional and intellectual capacities, which are superior to the average man. These heightened abilities force the Byronic hero to be arrogant, confident, abnormally sensitive, and extremely conscious of himself. Sometimes, this is to the point of nihilism resulting in his rebellion against life itself (Thorslev 197). In one form or another, he rejects the values and moral codes of society and because of this he is often unrepentant by society's standards. Often the Byronic hero is characterized by a guilty memory of some unnamed sexual crime. Due to these characteristics, the Byronic hero is often a figure of repulsion, as well as fascination.
Harold Bloom notes that "[b]etween them, the Brontes can be said to have invented a relatively new genre, a kind of northern romance, deeply influenced both by Byron's poetry and by his myth and personality, but going back also . . . to the Gothic novel and to the Elizabethan drama" (1). When Byron died at the age of thirty-six in 1824, Bronte was but eight years old. Bronte's youthful age, however, did not preclude Byron and his works from having a profound effect on her and her writing; indeed, the "cult" of Lord Byron flourished shortly after his death "dominating [the Brontes'] girlhood and their young womanhood" (Bloom 2). Of the Bronte sisters' background, Tom Winnifrith comments that a "study of the Brontes' juvenilia provides confirmatory evidence of the sisters' preoccupation with the aristocracy, their emancipation from Victorian prudery, and the attraction of the Byronic hero, beautiful but damned" (4).
Bronte was deeply affected by the movement that took place during what is now called the Romantic period. She makes repeated references to Romantic works, and there is some evidence that suggests Jane Eyre was set in the Romantic period. For example, Blanche Ingram asks Rochester to "now sing, and I will play for you." When Rochester replies that he will indeed sing for them, she says, "Here then is a Corsair-song. Know that I dote on Corsairs; and for that reason, sing it 'con spirito'" (181; ch.17). Bronte's allusion to Byron's immensely popular work "The Corsair," which was published in 1814, suggests that Jane Eyre was set sometime after this date (Pirie 508). Since Jane and Blanche are technically rivals for Rochester and Jane politely dislikes Blanche, Bronte's placement of this allusion into Blanche's reply implies that on one level Bronte may not have thought highly of certain works by Byron or "Byronic" characters.
Byron first sketched out his hero in 1812, in the opening stanzas of Childe Harold's Pilgrimage; at this stage, he is rather crudely depicted as a young man, prematurely sated by sin, who wanders about in an attempt to escape society and his own memories. Conrad, the hero of The Corsair (1814), has become more isolated, darker, more complex in his history and inner conflict, and therefore more frightening and more compelling to the reader.
www.umd.umich.edu/casl/hum/ eng/classes/434/charweb/CHARACTE.htm - 6k -
www.umd.umich.edu/casl/hum/ eng/classes/434/charweb/CHARACTE.htm - 6k -
The Byronic hero--so named because it evolved primarily due to Lord Byron’s writing in the nineteenth century—is, according to Peter Thorslev, one of the most prominent literary character types of the Romantic period:
Romantic heroes represent an important tradition in our literature . . . . In England we have a reinterpreted Paradise Lost, a number of Gothic novels and dramas . . . the heroic romances of the younger Scott [Sir Walter Scott, added by Mrs Scanlon], some of the poetry of Shelley, and the works of Byron. In all of these works the Byronic Hero is the one protagonist who in stature and in temperament best represents the [heroic] tradition in England. (Thorslev 189)
A Byronic hero exhibits several characteristic traits, and in many ways he can be considered a rebel. The Byronic hero does not possess "heroic virtue" in the usual sense; instead, he has many dark qualities. With regard to his intellectual capacity, self-respect, and hypersensitivity, the Byronic hero is "larger than life," and "with the loss of his titanic passions, his pride, and his certainty of self-identity, he loses also his status as [a traditional] hero" (Thorslev 187).
He is usually isolated from society as a wanderer or is in exile of some kind. It does not matter whether this social separation is imposed upon him by some external force or is self-imposed. Byron's Manfred, a character who wandered desolate mountaintops, was physically isolated from society, whereas Childe Harold chose to "exile" himself and wander throughout Europe. Although Harold remained physically present in society and among people, he was not by any means "social."
Often the Byronic hero is moody by nature or passionate about a particular issue. He also has emotional and intellectual capacities, which are superior to the average man. These heightened abilities force the Byronic hero to be arrogant, confident, abnormally sensitive, and extremely conscious of himself. Sometimes, this is to the point of nihilism resulting in his rebellion against life itself (Thorslev 197). In one form or another, he rejects the values and moral codes of society and because of this he is often unrepentant by society's standards. Often the Byronic hero is characterized by a guilty memory of some unnamed sexual crime. Due to these characteristics, the Byronic hero is often a figure of repulsion, as well as fascination.
Harold Bloom notes that "[b]etween them, the Brontes can be said to have invented a relatively new genre, a kind of northern romance, deeply influenced both by Byron's poetry and by his myth and personality, but going back also . . . to the Gothic novel and to the Elizabethan drama" (1). When Byron died at the age of thirty-six in 1824, Bronte was but eight years old. Bronte's youthful age, however, did not preclude Byron and his works from having a profound effect on her and her writing; indeed, the "cult" of Lord Byron flourished shortly after his death "dominating [the Brontes'] girlhood and their young womanhood" (Bloom 2). Of the Bronte sisters' background, Tom Winnifrith comments that a "study of the Brontes' juvenilia provides confirmatory evidence of the sisters' preoccupation with the aristocracy, their emancipation from Victorian prudery, and the attraction of the Byronic hero, beautiful but damned" (4).
Bronte was deeply affected by the movement that took place during what is now called the Romantic period. She makes repeated references to Romantic works, and there is some evidence that suggests Jane Eyre was set in the Romantic period. For example, Blanche Ingram asks Rochester to "now sing, and I will play for you." When Rochester replies that he will indeed sing for them, she says, "Here then is a Corsair-song. Know that I dote on Corsairs; and for that reason, sing it 'con spirito'" (181; ch.17). Bronte's allusion to Byron's immensely popular work "The Corsair," which was published in 1814, suggests that Jane Eyre was set sometime after this date (Pirie 508). Since Jane and Blanche are technically rivals for Rochester and Jane politely dislikes Blanche, Bronte's placement of this allusion into Blanche's reply implies that on one level Bronte may not have thought highly of certain works by Byron or "Byronic" characters.
Byron first sketched out his hero in 1812, in the opening stanzas of Childe Harold's Pilgrimage; at this stage, he is rather crudely depicted as a young man, prematurely sated by sin, who wanders about in an attempt to escape society and his own memories. Conrad, the hero of The Corsair (1814), has become more isolated, darker, more complex in his history and inner conflict, and therefore more frightening and more compelling to the reader.
www.umd.umich.edu/casl/hum/ eng/classes/434/charweb/CHARACTE.htm - 6k -
Outline for AP
OUTLINE for finding information
Chapter # & Page # in tan edition
GATESHEAD
1. p6 Jane lives with the Reed family, relatives who do not love her.
John Reed attacks Jane for reading a book and she fights back and is punished.
2. p11 Jane’s punishment is to stay alone in her uncle’s red room.
When Jane screams in fear, her aunt forces her to stay longer and she blacks out.
3. p17 Jane recovers from unconsciousness and is tended to by a pharmacist.
Bessie, the children’s nurse, takes care of Jane.
Jane is miserable, but she does not want to go live with her poor relatives and become a beggar.
4. p26 Jane talks back to her aunt, saying she, Jane, is a worthier person than her aunt’s children.
Mr. Brocklehurst interviews Jane for school and her aunt tells him that Jane is a liar.
Jane rejects her aunt, saying she will never call her aunt again because she left her in the red room.
LOWOOD
5. p40 Jane travels alone to Lowood, her new boarding school, a charity for poor orphan girls.
Conditions are bad, such as burned food, but the superintendent is kind to the girls.
6. p52 Jane meets Helen Burns, a devout Christian who befriends her.
7. p59 Mr. Brocklehurst expects the girls’ lives to be austere, allowing not even curly hair.
When Mr. Brocklehurst sees Jane, he embarrasses her by making her wear a sign that says she is a liar.
8. p68 Helen and Miss Temple, the superintendent, make Jane feel better about her embarrassment.
9. p76 In the spring a typhus epidemic hits Lowood and Helen Burns dies.
Jane makes another friend, but spends Helen’s last night with Helen.
10. p84 Things get better for the girls at Lowood after the epidemic.
After 6 more years as a pupil, Jane becomes a teacher there.
When Miss Temple leaves, Jane advertises and finds a job as a governess.
Before Jane leaves Lowood, Bessie comes to see her.
Bessie tells Jane that her uncle John Reed came to Gateshead to see her.
THORNFIELD
11. p94 In her new position as governess at Thornfield, Jane meets Mrs. Fairfax and Adele.
12. p110 Jane adjusts to Thornfield with its strange noises and one night helps a fallen rider on the road.
13. p120 Jane gets to know Adele and Mr. Rochester, plays the piano for him, and shows him her art.
14. p130 Mr. Rochester tells Jane the kind of man he is.
15. p143 Jane hears about Mr. Rochester’s affair with Celine Varens.
Jane hears noises and finds a fire in Mr. Rochester’s room. She wakens him by throwing water on him.
He thanks her, takes her hand, and holds it in his hands, not letting her leave immediately.
Jane sees a fire in his eyes and later in her room feels both troubled and joyous.
16. p155 The next day Jane finds Mr. Rochester gone to party with friends and a girlfriend named Blanche.
Jane disciplines herself by drawing 2 portraits comparing her plainness with Blanche’s beauty.
17. p164 Mr. Rochester brings the party and guests to Thornfield and invites Jane to be introduced.
Blanche comments on her distaste for governesses.
18. p184 The party-goers play charades. One scene is a wedding.
An old gypsy woman arrives and asks to tell the fortunes of the single women.
19. p198 When Jane goes to have her fortune told they talk about Mr. Rochester.
A Mr. Mason turns up at Thornfield, upsetting Mr. Rochester.
20. p208 One night Jane hears a cry, sounds of a struggle, and shouting in the room above hers.
The household and guests are awakened, and Mr. Rochester tells everyone to go back to bed.
Jane goes to her room, gets dressed, and waits.
Mr. Rochester comes to her and takes her to Mr. Mason, who is injured and asks her to help.
Later, Mr. Rochester tells Jane that she will help him be a better person. She says only he can do that.
21. p223 Jane goes back to Gateshead when she hears Mrs. Reed is dying and has asked for her.
Jane finds out about John, Eliza, and Georgiana. Jane forgives Mrs. Reed for her mistreatment.
Mrs. Reed tells Jane that her uncle John wanted to adopt her but that she told him Jane was dead.
22. p244 When Jane returns to Thornfield, she finds Mr. Rochester sitting outside waiting for her.
23. p261 Jane and Mr. Rochester go into the garden, he asks her to marry him, and she says she will.
As they leave the garden, lightning strikes a large tree and splits it in two.
24. p261 Mr. Rochester sends for jewels to give to Jane.
Mr. Rochester tells Jane he tried to make her jealous by pretending to be marrying Blanche Ingram.
Mrs. Fairfax warns Jane to think carefully about marrying Mr. Rochester.
25. p279 Jane is so eager for Mr. Rochester to return from a trip that she walks out alone at night to greet him.
She tells him of disturbing dreams and a vampire-like creature who destroyed her wedding veil.
26. p291 Jane and Mr. Rochester go to the church to marry, but someone objects, saying Mr. Rochester is already married.
Mr. Rochester admits he is and takes everyone to meet Bertha.
Jane shuts herself up in her room to think and pray for help.
27. p302 Jane knows she must leave Thornfield.
When she walks out of her room, she faints but Mr. Rochester has been waiting there and catches her.
He says he never meant to hurt her, and they discuss the situation.
He pleads with her to join him in another country where no one will know he is married to Bertha.
She refuses and says she will leave him.
When she goes to her room to sleep, she cannot and decides to leave Thornfield immediately.
MOOR HOUSE/ MARSH END
28. p327 The coach leaves Jane at Whitcross where she sleeps on the heath.
Jane tries to find food in a village.
Wandering, Jane walks toward a light in a house on the moor and is taken in by St. John Rivers.
29. p344 Jane learns about the Rivers family and is accepted by them.
30. p355 St. John offers Jane a job teaching at a new school for girls.
31. p364 St. John explains his plans and reveals that he loves Rosamond Oliver, a rich man’s daughter.
32. p372 Rosamond knows St. John loves her, but he says he can never marry her.
33. p383 St. John discovers Jane’s real name and tells Jane about her inheritance from her uncle John.
Jane finds out she is related to the Rivers family and Jane shares her inheritance with them.
34. p395 Jane quits teaching and lives with the Rivers family.
Jane letters to Thornfield go unanswered.
St. John teaches Jane Hindustani and asks her to marry him and to go with him to India.
35. p416 Jane considers marrying St. John, and he tries to convince her to do it.
Jane hears a voice of Mr. Rochester calling her and she answers that she will go to him.
FERNDEAN
36. p428 Jane goes to Thornfield and finds it burned to the ground.
In the town nearby she finds discovers what happened at Thornfield and where Mr. Rochester now lives.
37. p437 Jane finds Mr. Rochester at Ferndean, he asks her to marry him, and she says she will.
38. p457 Jane and Edward marry and their firstborn is a son. St. John Rivers goes to India.
Chapter # & Page # in tan edition
GATESHEAD
1. p6 Jane lives with the Reed family, relatives who do not love her.
John Reed attacks Jane for reading a book and she fights back and is punished.
2. p11 Jane’s punishment is to stay alone in her uncle’s red room.
When Jane screams in fear, her aunt forces her to stay longer and she blacks out.
3. p17 Jane recovers from unconsciousness and is tended to by a pharmacist.
Bessie, the children’s nurse, takes care of Jane.
Jane is miserable, but she does not want to go live with her poor relatives and become a beggar.
4. p26 Jane talks back to her aunt, saying she, Jane, is a worthier person than her aunt’s children.
Mr. Brocklehurst interviews Jane for school and her aunt tells him that Jane is a liar.
Jane rejects her aunt, saying she will never call her aunt again because she left her in the red room.
LOWOOD
5. p40 Jane travels alone to Lowood, her new boarding school, a charity for poor orphan girls.
Conditions are bad, such as burned food, but the superintendent is kind to the girls.
6. p52 Jane meets Helen Burns, a devout Christian who befriends her.
7. p59 Mr. Brocklehurst expects the girls’ lives to be austere, allowing not even curly hair.
When Mr. Brocklehurst sees Jane, he embarrasses her by making her wear a sign that says she is a liar.
8. p68 Helen and Miss Temple, the superintendent, make Jane feel better about her embarrassment.
9. p76 In the spring a typhus epidemic hits Lowood and Helen Burns dies.
Jane makes another friend, but spends Helen’s last night with Helen.
10. p84 Things get better for the girls at Lowood after the epidemic.
After 6 more years as a pupil, Jane becomes a teacher there.
When Miss Temple leaves, Jane advertises and finds a job as a governess.
Before Jane leaves Lowood, Bessie comes to see her.
Bessie tells Jane that her uncle John Reed came to Gateshead to see her.
THORNFIELD
11. p94 In her new position as governess at Thornfield, Jane meets Mrs. Fairfax and Adele.
12. p110 Jane adjusts to Thornfield with its strange noises and one night helps a fallen rider on the road.
13. p120 Jane gets to know Adele and Mr. Rochester, plays the piano for him, and shows him her art.
14. p130 Mr. Rochester tells Jane the kind of man he is.
15. p143 Jane hears about Mr. Rochester’s affair with Celine Varens.
Jane hears noises and finds a fire in Mr. Rochester’s room. She wakens him by throwing water on him.
He thanks her, takes her hand, and holds it in his hands, not letting her leave immediately.
Jane sees a fire in his eyes and later in her room feels both troubled and joyous.
16. p155 The next day Jane finds Mr. Rochester gone to party with friends and a girlfriend named Blanche.
Jane disciplines herself by drawing 2 portraits comparing her plainness with Blanche’s beauty.
17. p164 Mr. Rochester brings the party and guests to Thornfield and invites Jane to be introduced.
Blanche comments on her distaste for governesses.
18. p184 The party-goers play charades. One scene is a wedding.
An old gypsy woman arrives and asks to tell the fortunes of the single women.
19. p198 When Jane goes to have her fortune told they talk about Mr. Rochester.
A Mr. Mason turns up at Thornfield, upsetting Mr. Rochester.
20. p208 One night Jane hears a cry, sounds of a struggle, and shouting in the room above hers.
The household and guests are awakened, and Mr. Rochester tells everyone to go back to bed.
Jane goes to her room, gets dressed, and waits.
Mr. Rochester comes to her and takes her to Mr. Mason, who is injured and asks her to help.
Later, Mr. Rochester tells Jane that she will help him be a better person. She says only he can do that.
21. p223 Jane goes back to Gateshead when she hears Mrs. Reed is dying and has asked for her.
Jane finds out about John, Eliza, and Georgiana. Jane forgives Mrs. Reed for her mistreatment.
Mrs. Reed tells Jane that her uncle John wanted to adopt her but that she told him Jane was dead.
22. p244 When Jane returns to Thornfield, she finds Mr. Rochester sitting outside waiting for her.
23. p261 Jane and Mr. Rochester go into the garden, he asks her to marry him, and she says she will.
As they leave the garden, lightning strikes a large tree and splits it in two.
24. p261 Mr. Rochester sends for jewels to give to Jane.
Mr. Rochester tells Jane he tried to make her jealous by pretending to be marrying Blanche Ingram.
Mrs. Fairfax warns Jane to think carefully about marrying Mr. Rochester.
25. p279 Jane is so eager for Mr. Rochester to return from a trip that she walks out alone at night to greet him.
She tells him of disturbing dreams and a vampire-like creature who destroyed her wedding veil.
26. p291 Jane and Mr. Rochester go to the church to marry, but someone objects, saying Mr. Rochester is already married.
Mr. Rochester admits he is and takes everyone to meet Bertha.
Jane shuts herself up in her room to think and pray for help.
27. p302 Jane knows she must leave Thornfield.
When she walks out of her room, she faints but Mr. Rochester has been waiting there and catches her.
He says he never meant to hurt her, and they discuss the situation.
He pleads with her to join him in another country where no one will know he is married to Bertha.
She refuses and says she will leave him.
When she goes to her room to sleep, she cannot and decides to leave Thornfield immediately.
MOOR HOUSE/ MARSH END
28. p327 The coach leaves Jane at Whitcross where she sleeps on the heath.
Jane tries to find food in a village.
Wandering, Jane walks toward a light in a house on the moor and is taken in by St. John Rivers.
29. p344 Jane learns about the Rivers family and is accepted by them.
30. p355 St. John offers Jane a job teaching at a new school for girls.
31. p364 St. John explains his plans and reveals that he loves Rosamond Oliver, a rich man’s daughter.
32. p372 Rosamond knows St. John loves her, but he says he can never marry her.
33. p383 St. John discovers Jane’s real name and tells Jane about her inheritance from her uncle John.
Jane finds out she is related to the Rivers family and Jane shares her inheritance with them.
34. p395 Jane quits teaching and lives with the Rivers family.
Jane letters to Thornfield go unanswered.
St. John teaches Jane Hindustani and asks her to marry him and to go with him to India.
35. p416 Jane considers marrying St. John, and he tries to convince her to do it.
Jane hears a voice of Mr. Rochester calling her and she answers that she will go to him.
FERNDEAN
36. p428 Jane goes to Thornfield and finds it burned to the ground.
In the town nearby she finds discovers what happened at Thornfield and where Mr. Rochester now lives.
37. p437 Jane finds Mr. Rochester at Ferndean, he asks her to marry him, and she says she will.
38. p457 Jane and Edward marry and their firstborn is a son. St. John Rivers goes to India.
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