Mr. C. Little. - Sirius Academy

G
&
T
KS3YEAR8
2015/2016
EXTRACURRICULUM
PROVISION
FOR
GIFTED&TALENTED
IN
ENGLISH
COURSECONVENOR
Mr.C.Little.
1
Year8:Gifted&TalentedinEnglishSeptember2015
INSPIRE:MOTIVATE:SUCCEED
Rationale:
All children have a right to a broad, balanced and relevant education which provides
continuity and progression and takes individual differences into account. This programme
aims to provide a termly project that is appropriate to the needs and abilities of all ofthe
cohort, planned to inspire a curiosity through a variety of teaching and learning strategies
which are predominantly student-led in such a way that each child can reach the highest level
of personal achievement which is driven by their own ambition and aspiration to succeed.
Definition:
In line with the DCSF (Department for Children Schools and Families) guidelines that,
“gifted and talented pupils are those pupils who achieve, or have the ability to achieve at a
level significantly in advance of the average for their year group”.
ChildrengiftedinEnglishmaybeidentifiedwhenthey:-
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•
•
•
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•
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Demonstrate high levels of fluency and originality in their conversation
Use research skills effectively to synthesise information
Enjoy reading and respond to a range of text at an advanced level
Use wide vocabulary and enjoy working with words
See issues from a range of perspectives
Possess a creative and productive mind and use advanced skills when engaging in
discussion
Work confidently on objectives for year groups higher than their own
Achieve levels higher in assessments than expected for their year group
Students are required to demonstrate a commitment to read extensively and
show that they have researched their specific subjects. Students must also
demonstrate:
• Wide range of vocabulary (list provided)
• VCOP sentence structure
• High thinking connectives
2
Contacttimewithteacherandotherinformation:
There will be voluntary 15 minute tutor/student after-school consultation once a
week through a booked appointment system.
Every Friday lunchtime in room 308, I will be available for all students to meet
and discuss the programme.
Student/Tutor Forum on ‘Moodle’.
Students will be required to watch the one film show during Autumn Term 2.
All written work must be written in either Calibri or Arial size 12 font and be
justified.
There will also be a number of after-school workshops to help students’
understanding of the texts and prepare them for the assignments. Dates TBA.
RECOMMENDEDREADINGLIST
A selection of novels have been carefully selected and labelled with G&T
stickers. There is also a comprehensive section of classic literature which has
been alphabetically arranged by author. This is not to say that any of the other
novels in the library are to be dismissed but those highlighted and identified
carry a higher points’ score because of their content. Ostensibly however, it is
vitally important that all students take a responsible attitude to reading regularly
and widely in order to increase their appreciation of the writer’s craft.
Moreover, students should seek to read a minimum of 20 novels through the
year; take a test on each one, print a TOPS report and lodge it with the course
convenor.
Advice as to which books to read is available through Mr Little, Mr Rhodes, or
indeed, any member of the English Department.
3
AirmanEoinColfer
AmazingMauriceandhisEducatedRodents*TerryPratchett
TheAmuletofSamarkandJonathanStroud
Arthur:TheSeeingStone/AttheCrossingPlaces/
KingoftheMiddlemarchKevinCrossley-Holland
BartimaeusTrilogyJonathanStroud
Beast*AllyKennen
TheEdgeChroniclesseriesPaulStewart&ChrisRiddell
TheBlackBookofSecretsFEHiggins
TheBoyintheStripedPyjamasJohnBoyne
ChroniclesofAncientDarknessseriesMichellePaver
CoralineNeilGaiman
Cosmic*FrankCottrellBoyce
Crusade*ElizabethLaird
TheCryoftheIcemarkStuartHill
TheExtraordinary&UnusualAdventures
OfHoratioLyleCatherineWebb
FearlessTimLott
FlybyNightFrancesHardinge
TheGarbageKing*ElizabethLaird
Gatty’sTaleKevinCrossley-Holland
AHatFullofSkyTerryPratchett
HeartbeatSharonCreech
HereLiesArthurPhilipReeve
Inkdeath/Inkheart/InkspellCorneliaFunk
TheInventionofHugoCabretBrianSelznick
JourneytotheRiverSeaEveIbbotson
JustHenryMichelleMagorian
Kensuke’sKingdomMichaelMorpurgo
LarklightPhilipReeve
TheLondonEyeMysterySiobhanDowd
Magyk/Flyte/Physik/QuesteAngieSage
TheMiraculousJourneyofEdwardTulaneKateDiCamillo
MortalEnginesseriesPhilipReeve
TheOtherSideofTruth*BeverleyNaidoo
PeterPaninScarletGeraldineMcCaughrean
SkelligDavidAlmond
TheSpook’sApprenticetrilogyJosephDelaney
TheStarofKazan*EveIbbotson
StravaganzaquartetteMaryHoffman
Tunnels/DeeperRGordon&BWilliams
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HIGH-THINKING WORDS
Acerbic
Altruistic
Aphoristic
Cathartic
Craven
Didactic
Fatuous
Indolent
Insouciant
Listless
Mordant
Moribund
Opine
Phlegmatic
Pithy
Sanctimonious
Specious
Sycophantic
Trenchant
Vapid
Agile
Avaricious
Disparate
Dogmatic
Esoteric
Flinty
Gargantuan
Hubristic
Humorous
Imperturbable
Impromptu
Inebriated
Invective
Jaunty
Mephitic
Obdurate
Raffish
Recalcitrant
Reserved
Sordid
Stalwart
Apposite
Bracing
Candid
Chagrin
Deferential
Haphazardly
Intractable
Invective
Pettish
Phlegmatic
Pictorial
Picturesque
Prehensile
Quaint
Reverberating
Roisterous
Sinuous
Sterile
Stolid
Vitriolic
Abhorrent
Apathetic
Assiduous
Cantankerous
Concomitant
Crotchety
Delectable
Elegiac
Elongated
Exuberant
Fecund
Fervent
Fraudulent
Incipient
Intrepid
Obstreperous
Punctilious
Pungent
Querulous
Sagacious
Volatile
Aberrant
Blithesome
Cacophonous
Covetous
Esurient
Farcical
Fluorescent
Idiosyncratic
Inquisitive
Lachrymose
Loathsome
Moronic
Outré
Perplexing
Prosaic
Sombre
Steadfast
Swinish
Taciturn
Tawdry
Ambrosial
Capricious
Chary
Egregious
Equivocal
Erudite
Extant
Fastidious
Imbecilic
Ineluctably
Infectious
Mendacious
Nefarious
Opulent
Palatable
Pernicious
Platitudinous
Resilient
Supercilious
Unequivocal
Verbose
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Affable
Assiduous
Convoluted
Demonic
Diligent
Faux
Herculean
Hypercritical
Labyrinthine
Ostentatious
Paradoxical
Perforce
Resonant
Salient
Squealing
Tranquil
Translucent
Vehement
Vivacious
Wonted
Callous
Conceited
Deceitful
Evanescent
Huffy
Imperious
Indefatigable
Loquacious
Meticulous
Palpable
Petulant
Prescient
Pretentious
Puerile
Surly
Surreptitious
Tenacious
Tenuous
Vain
Virulent
Abundant
Congruous
Convivial
Demure
Desirous
Ebullient
Elfin
Fastidious
Husky
Incongruous
Indubitably
Industrious
Inveterate
Jocose
Jocular
Obstinate
Rapacious
Splenetic
Unconscionable
Zealous
Ambivalent
Astute
Axiomatic
Curmudgeonly
Diffident
Germane
Gregarious
Imperceptible
Inexorably
Irascible
Methodical
Niggardly
Oafish
Obdurate
Pensive
Risqué
Spurious
Venal
Winsome
Wistful
THE PROGRAMME
TERM 1: Modern Novel: Storm Catchers by Tim Bowler. Accelerated
reading test followed by book review (150-200 words).
TERM 2: Novel/Film: Read Peter Pan/watch 1953 Disney film. Compare
film adaptation to novel. (500 words).
TERM 3: British Literary Heritage: Shakespeare: 2 Henry VI
Students study two scenes from the play. Students are required to construct a
storyboard followed by a PowerPoint presentation on witchcraft in relation to
the play and the Elizabethan period. Students need to demonstrate wider
reading.
TERM 4: British Literary Heritage: Chaucer: The Manciple’s Tale. Turn
poem into a narrative. (500- 750 words).
TERM 5: Short Stories: Rudyard Kipling: Mary Postgate/Painting from
WW1. Comparison Essay 500 words (PEE paragraph).
TERM 6: Poetry from WW1: Students select any two poems of their
choice and compare how writers’ use poetic devices to create imagery.
(minimum 500 words). Students construct own question in consultation with
tutor.
PRIZE
15STUDENTSWILLWINATRIPTO
“Stratford-Upon-Avon”
TobetakenduringSummerTerm2
6
MOREDETAILEDINFORMATION
REGARDINGTERMLYASSESSMENTS
TERM 1: Modern Novel: Storm Catchers by Tim Bowler. Accelerated
Reading test followed by book review (200-350 words).
QUESTION:
Writeabookreviewconstructingashortsynopsis
oftheplotandmakerecommendationsaboutits
suitabilityforitstargetaudience.
‘Bowlerwritestight,excitingadventuresthat
alwayslookatseriousissuesandusually
includeanelementoffantasy….Asusual
Bowlerspinsagoodyarnbutleavesusplenty
tothinkabout.’GlasgowHerald.
‘StormCatchersisacliff-topcliff-hanger
aboutakidnapbythesea,witha
supernaturalelement.Fin,theboyhero,
daresalltosavehissisterinanatmospheric
talethatissuspensefulandscary,andthat
alsoshowshowfamiliescanlookaftereach
other.’SundayTimes.
7
WRITINGABOOKREPORT:SUCCESSCRITERIA
TheSetting:
Wheredidthestorytakeplace?Wasitinacityorsomewhereelse?Wasitafictionalsetting
oristheresomedegreeofgeographicalreality?Giveagooddescriptionoftheplacewithas
muchdetailaspossible.Doestheauthorwritewithconvictionaboutthesetting?Does
he/shemakeyoufeelasthoughyouarethere-thatyoucanimaginewhatishappening
throughtheuseofvividvocabulary?
TheCharacters:
Whowasthestoryabout?Wastherejustonemaincharacterorwerethereafew?When
youwriteaboutthecharacters,includetheirnamesandwhattheylooklike.Arethe
charactersbelievable?Aretheysympathetic?Istheuseoflanguageandwording
appropriatetothebook’sgenre,anddoesitsupportthepurposeofthebook?
TheStory:
Whathappenedinthebook?Wasthereaproblemthecharactersweretryingtosolve?
Werethecharactersonsomesortofanadventure?Isthereacentraltheme?Isit
believable?Describewhathappenedinthebeginning,themiddleandtheendofthebook,
butbecarefulnottogivethewholestoryaway.Yourreportissupposedtomakeit
appealingforotherstoread.
YourThoughts:
Thisispossiblythemostimportantpartofthereport.Itisessentialthatyougiveyourviews
–yourcriticalappraisaliscentremosttothereport’ssuccess.Youmustassessthenovel’s
strengthsandweaknesses!
Didyoulikethebook?Writealittlebitaboutwhyyoulikedordidn’tlikethebook.Talk
abouthowthebookmadeyoufeel–happy,sad,excited.Inyouropinion,hastheauthor
madeasatisfactoryoutcome?Ifyouhavereadothernovelsbyhim/her,howdoesit
comparewithothersfromtheauthor’srepertoire?Diditentertain?Wasthereabias?Didit
interfere/assistwithgoodstory-telling?Wouldyoutellyourfriendstoreadthisbook?Do
yourecommendit?Towhom?Why?
Whenyou'refinishedwritingthereport,readitovercarefullytomakesureeverythingis
spelledcorrectly.Thisiscalledediting.Editingisanessentialpartofproducinganeffective
pieceofwritingofanydescription.Youdonotneedtoquotedirectlyfromthetext.
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TERM2:Novel/Film:ReadPeterPan/watch1953Disneyfilm.Comparefilm
adaptationtonovel.(500words).
QUESTION:
PeterPanwasneverintendedtobeachildren’sbook.
Itcarriesstrongmessagesaboutrelationships,family
values,thedifferencebetweengoodandevil,and
trust.TowhatextentdoyouthinktheDisneycartoon
filmversionmakesitachildren’stextandrather
lessenstheimpactoftheadultthemes?
Remembertorefercloselytothetext.
Success Criteria
Students will need to show that they have watched the movie and have read the
text through the use of quotations and close, exact reference. It is vitally
important that students do not give a synopsis of the story - nor the film - but
rather, give their opinions about the themes of the novel and how Disney
distorts them to appeal to children. Ultimately, the best essays will:
a. Show assured ability to use PEE paragraph technique correctly;
b. Use a range of comparatives connectives;
c. Use varied and ambitious vocabulary and a range of different sentence
starters.
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TERM 3: British Literary Heritage:
Shakespeare: 2 Henry VI
Success Criteria
Students are required to construct a storyboard followed by a PowerPoint
presentation on witchcraft in relation to the play and the Elizabethan period.
The best answers will have storyboards which incorporate the theme of
witchcraft and dialogue (in either modern English or the original text) between
characters using speech bubbles (graphic novel/comic style). Power Point
presentations should not merely be a ‘copy and paste’ exercise but show a
personalised understanding of Elizabethan thoughts and fears about witchcraft
and how this is reflected in Shakespeare’s play. Students need to demonstrate
wider reading, especially historical events.
Students study two scenes from the play. Students are required to construct a
storyboard followed by a PowerPoint presentation on witchcraft in relation to
the play and the Elizabethan
period.
Students need to demonstrate
wider reading.
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ACTISCENEii:Gloucester’sHouse.
DUCHESS
What say'st thou, man? hast thou as yet conferr'd
With Margery Jourdain, the cunning witch,
With Roger Bolingbroke, the conjurer?
And will they undertake to do me good?
HUME
This they have promised, to show your highness
A spirit raised from depth of under-ground,
That shall make answer to such questions
As by your grace shall be propounded him.
DUCHESS
It is enough; I'll think upon the questions:
When from St. Alban's we do make return,
We'll see these things effected to the full.
Here, Hume, take this reward; make merry, man,
With thy confederates in this weighty cause.
ACTIISCENEiii.Ahallofjustice.
Sound trumpets. Enter KING HENRY VI, QUEEN MARGARET, GLOUCESTER, YORK,
SUFFOLK, and SALISBURY; the DUCHESS, MARGARET JOURDAIN, SOUTHWELL,
HUME, and BOLINGBROKE, under guard
KING HENRY VI
Stand forth, Dame Eleanor Cobham, Gloucester's wife:
In sight of God and us, your guilt is great:
Receive the sentence of the law for sins
Such as by God's book are adjudged to death.
You four, from hence to prison back again;
From thence unto the place of execution:
The witch in Smithfield shall be burn'd to ashes,
And you three shall be strangled on the gallows.
You, madam, for you are more nobly born,
Despoiled of your honour in your life,
Shall, after three days' open penance done,
Live in your country here in banishment,
With Sir John Stanley, in the Isle of Man.
DUCHESS
Welcome is banishment; welcome were my death.
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WITCHCRAFTINTHEELIZABETHANAGE.
TheElizabethanageisknownasaneraofintellectualgrowthandRenaissance.Strangelyenoughthe
intellectualismledtothepersecutionofthewitchesandbelieversinthewitchcraft.
TheintroductionofthepressbyJohannesGutenberggaveimpetustotheprocessoflearning.Thepressmen
printedBiblesandbooksonreligiousandspiritualsubjects.Unfortunatelythesesubjectsalsodiscussedthe
Witchcraftindenigrativeterms.Thisresultedinresistancetowitchcraftandwitchhunt.
Theveryfactthatwitcheswerehunted,prosecutedandkilledinthe15thand16thcenturiestestifiedtothe
deepbeliefoftheElizabethanintellectualsinthepowersofthewitchcraft.
SeveralbookswerepublishedonAstrology,AlchemyandMagic,whichobviouslyledtotheenhancedinterest
inwitchesandtheircraft.QueenElizabethpassedthe1562ElizabethanWitchcraftAct'agaynstConjuracions
InchauntmentesandWitchecraftes'.TheElizabethanshaddeepfaithinwitchcraft.Thefaith,unfortunately,
wasmoreinitsdestructiveratherthanconstructivepowers.Forexample,theyblamedthewitchesforany
eventsthattheycouldnotcontrolorexplain.
OneofsucheventswastheoutbreakoftheBubonicPlagueorthedeadlyBlackDeathforwhichtherewasno
remedy.Whentheycouldnotfindanylogicalreasonforthisepidemic,theyblamedthewitchesforitsspread.
Similarly,whenevertherewerebadharvests,firesthatburntdownthehousesorwhenthefoodswere
curdled,theblamewastargetedatthewitches.
Theydidnotunderstandthattheplaguecouldnotbecuredbecauseofthelackofmedicalknowledge,or,the
lossessufferedwhenthefiresburntdownthehousescouldnotbereclaimedduetotheabsenceoffire
insurance.Andsincethelossessufferedintermsofhumanbeingsandpropertywerehugeandirreparable,
theyreleasedtheirangeragainstthewitches.
SincetherichandthepowerfulsectionsoftheElizabethansocietycouldnotbetouched,itwastheold,poor,
unprotectedandhaplesswomenwhowereaccusedofbeingwitches.Accordingtothehistoricalevidence,out
of270witcheswhoweretried,247werewomenand23men.Ofthesewomen,mostweresingleswhokept
petsforcompany.Thepetswereconsideredsourceofwitchcraft.
AnotherreasonthatmorewomenthanmenweretargetedforwitchcraftwasthattheElizabethansocietywas
maledominated.Menwereallpowerfulandwomenenjoyedfewrights.Theywereexpectedtobe
subservienttomen.
Theconventsthatshelteredandeducatedthewomenwereclosed.Thisincreasedthenumberofpoorand
unprotectedwomen.Anyefforttolendthemmoralandfinancialsupportwasresistedbythemen.Sincethere
werenotraineddoctorsaround,peopleturnedtothewisewomenwhousedherbstocuretheirailments.The
commonherbsusedinmedicines,brews,ointmentsandpotionsweremandrake,datura,monkshood,
belladonna,henbaneandhemlock.
Asthefearofwitchesandwitchcraftincreased,theCatholicChurchextendeditsdefinitionofwitchcraftto
includeanyonewiththeknowledgeofherbs.ItwasallegedthatthesepeoplehadpactwiththeDevileither
“explicitorimplicit”.
Thosewhocuredthehealthproblemswithpsychedelicherbswereburnttodeath.Thepunishmenttowitches
inEnglandunderthe1562lawwas,however,notbyburningatstake,butbyhanging.
QueenElizabeth’smotherAnneBoleyn,herselfhadbeenaccusedofwitchcraftonthespeciousgroundthata
sixthfingerwasgrowingonherfifthfinger.Moreover,shehadaprominentmoleonherneck.Thequeen,
beingawomanandthedaughterofavictim,hadalenientviewonwitchcraft.Also,shewaslearningAstrology
fromJohnDee.This,perhaps,explainedherleniency.
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TERM 4:
British Literary Heritage: Chaucer: The Manciple’s Tale.
Geoffrey Chaucer is recognised as
being the ‘founder’ of literature in
English. The Canterbury Tales was
written near to the end of the
fourteenth century. Before him, all
important
liturgical,
regal
and
official works were either written
in Latin or in French – the language
of the upper class. For the first
time, with The Canterbury Tales,
Chaucer is writing in the language
of the common man. However, of
course, he is not writing in prose
but rather in ‘rhyme royale’, a
poetic style based on 7 line stanzas
in iambic pentameter and rhyming couplets. However you are not to
concern yourself unduly with this at present as this assignment is to
serve as an introduction to Chaucer and Medieval literature. The
version
supplied
for
you
is
more
modern
and
more
easily
understandable. The Manciple’s Tale is taken from near the back of
the book when all of the pilgrims (except the parson) have told their
stories.
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Chaucer: The Manciple’s Tale: Success Criteria
Turn poem into a narrative. (500-750 words). Write your
interpretation of the story including dialogue between your
characters to demonstrate an understanding of how to paragraph
and punctuate correctly.
To succeed in this assessment, students will be expected to show
understanding of the story through the roles of the characters and
the language they use to each other; how they talk to each other,
and the situations they find themselves in.
Close attention must be paid to using the correct form of dialogue.
Students will be able to demonstrate that they know when and how
to paragraph and how to correctly use speech marks.
WHEN TO CHANGE PARAGRAPHS:
When writing prose narrative, we always change paragraphs when there is a
change of:
FOCUS
SPEAKER
TIME
PLACE
WiththeChaucerunit,therewillbeanEasterworkshopandtreasurehunt.
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Geoffrey Chaucer: The Manciple’s Tale from The Canterbury Tales
When Phoebus dwelt here on the earth below
As mentioned in old books of long ago,
No other youth as lusty as was he
Was in this world, none matched his archery.
He slew the serpent Python on a day
When sleeping in the sun he saw it lay;
And many another noble, worthy deed
He with his bow performed as men may read.
All instruments of music he could play,
And sing in so melodious a way,
His voice so clear, the sound of it enthralled.
Not Amphion, the king of Thebes, who walled
That entire city with his singing, could
Sing half as well as this young Phoebus would.
He also was the most attractive man
There's ever been since this world first began.
To talk about his looks what need is there?
In all this world none living was as fair.
His life was thus fulfilled with nobleness
And honor, one of perfect worthiness.
This Phoebus was of young manhood the flower
In charity as well as knightly power,
And for his pleasure (and as sign of glory
Of triumph over Python, goes the story)
He always carried in his hand a bow.
Now in his house this Phoebus had a crow
That in a cage he'd fostered many a day
And taught to speak as men may teach a jay.
As white as is a snow-white swan, this crow
Could imitate the speech, exactly so,
Of any man when he would tell a tale.
And in this world there was no nightingale
To any hundred-thousandth of degree
Could sing a song so well and merrily.
Now in his house this Phoebus had a wife
For whom he had more love than for his life,
And whom both night and day with diligence
He sought to please and show due reverence,
Except (to tell the truth) that he was zealous
To keep her under watch, for he was jealous.
A fellow tricked he didn't want to be,
As any man would feel of his degree;
But it's in vain, such effort is for naught.
A good wife who is clean in deed and thought
Should surely not be watched continually;
The labor is in vain, it's plain to see,
To guard a shrew, it never will succeed.
I hold that it's sheer folly, there's no need,
It's labor wasted, keeping watch of wives;
Old learneds have so written in their lives.
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105
110
115
120
125
130
135
140
145
150
Now to the purpose as I started out:
This worthy Phoebus ever went about
To please her, trying hard to keep her favor
With all his manhood and his good behavior,
That no man might supplant him in her grace.
But God knows well, there's no man may embrace,
As to constrain, a certain thing or feature
That nature by design sets in a creature.
Take any bird and put it in a cage,
And all your good intentions then engage
To raise it tenderly with meat and drink,
With all the dainties of which you can think,
And keep it as unspotted as you might;
Although his golden cage be ever bright,
This bird would rather twenty-thousandfold
Be in a forest that is rude and cold,
Be eating worms and live in wretchedness.
This bird will always try for nothing less
Than his escape, if any way there be;
This bird will always want his liberty.
Let's take a cat and raise him well with milk
And tender meat, and make his couch of silk,
Then let him see a mouse go by the wall-At once he'll leave the milk and meat and all,
And every dainty that is in the house,
Such appetite he has to eat a mouse.
Here you may see his lust has domination,
And appetite will rout discrimination.
A she-wolf's nature, too, is villein's kind.
The basest wolf that ever she can find,
The one that has the least of reputations,
She'll take when she desires to have relations.
By these examples, that which I've in mind
Are men who've been untrue, not womankind.
For men are prone to lecherous appetite,
Indulge with lower creatures their delight
Rather than with their wives, fair though they be,
So ever true, with all gentility.
Flesh lusts for novelty to such a measure
(A curse upon it!) we can take no pleasure
In virtuous pursuits more than a while.
This Phoebus, who had not one thought of guile,
Was soon deceived for all his charm. For she
Another fellow had also, and he
Was unacclaimed, unworthy all around
To be compared with Phoebus. To compound
This evil, which would bring much harm and woe,
Their sin was to recur, and often so.
It so befell, with Phoebus gone one day,
His wife sent for her lover right away-Her lover? Surely this is knavish speech!
Forgive me for it, that I do beseech.
But Plato, wise, has said, as you may read,
The word must be accordant with the deed.
If men would speak of something properly,
The word must to the deed then cousin be.
Now I'm a plain man, and there is, I say,
No difference, to speak in truthful way,
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160
165
170
175
180
185
190
195
200
205
210
Between a wife who is of high degree,
If with her body she immoral be,
And some poor wench, unless it should be this
(Assuming that they both have gone amiss):
The genteel one, as her estate's above,
Shall be known as his lady, as in love;
Whereas the other, poor upon her bench,
Will be known as his lover or his wench.
But still, as God knows well, my own dear brother,
Men lay the one as low as lies the other.
Just so, between some tyrant or usurper
And some outlaw, some thief out for his supper,
I say the same, there is no difference.
To Alexander someone said, with sense,
That as a tyrant is of greater might
By force of arms to go and slay outright
And burn down house and home right to the ground,
Behold, he's called a captain. Turn around,
And as the outlaw has the lesser arms
And may not do as much by way of harms
Nor bring a country to so great a grief,
He's called by men an outlaw and a thief.
But as I'm not a learned man of writ,
I will not talk of texts a single bit;
I'll to my tale where I was at before.
Phoebus's wife sent for her paramour,
At once in wanton lust they did engage.
The white crow, there inside his hanging cage,
Beheld their work but didn't say a word.
When Phoebus, though, his lord, came home, the bird
Began to sing "Cuckoo! cuckoo! cuckoo!"
"What, bird?" said Phoebus. "What's that song from you?
Were you not wont so merrily to sing
That to my heart it brought rejoicing
To hear your voice? Alas! what song is this?"
"By God," said he, "I'm singing not amiss!
Phoebus," he said, "for all your worthiness,
For all your charm, good looks, and nobleness,
For all your song and all your minstrelsy,
For all your watch, hoodwinked you've come to be,
By one of little reputation who
Does not possess, when he's compared to you,
The value of a gnat, upon my life!
For on your bed I saw him screw your wife."
Would you hear more? This white crow right away
Then boldly offered proof, began to say
Just how his wife performed her lechery,
To his great shame and hurt, and told how he
Had seen with his own eyes what had occurred.
This Phoebus turned away when he had heard
And thought his grieving heart would break in two.
His bow he bent, an arrow set thereto,
And in his ire his wife he soon had slain.
That's how it was, there's no more to explain.
His instruments he broke then mournfully,
His harp and lute, guitar and psaltery;
He broke as well his arrows and his bow,
And after that he said this to the crow:
"You traitor with scorpion's tongue," said he,
"You've brought me to my ruin and misery!
Alas, that I was born! Why have I life?
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O gem of my delight, my dearest wife!
To me you were so constant and so true,
Now you lie dead with face so pale of hue,
And guiltless, that's for sure, I dare to swear!
O rash hand, that so foully you should err!
O troubled mind, O ire so wildly spent,
So recklessly to smite the innocent!
Distrust, so full of false suspicion, where
Were your discretion and your wits? Beware
Of being reckless, everyone! Without
Strong witness, don't believe, there's room for doubt.
Don't strike too soon, before you think it through,
Be soberly advised on what to do
Before you act, before you give effect
To anger caused by what you may suspect.
Alas, a thousand people reckless ire
Has wholly ruined, brought them to the mire!
Alas, that I shall slay myself for grief!"
And to the crow he said, "You lying thief!
I'll pay you back right now for your false tale.
For you once sang just like a nightingale,
But now, false thief, that song you'll do without,
And your white feathers, too, shall all come out,
And all your life you nevermore shall speak.
Thus vengeance on a traitor men shall wreak.
Henceforth you shall be black, and your offspring,
And no sweet noise you'll ever make or sing
But ever cry against the storm and rain,
As token that through you my wife is slain."
He sprang upon the crow without delay
And all of his white feathers plucked away;
He turned him black, bereft him evermore
Of song and speech, and slung him out the door
To the devil (who needn't give him back).
And it's because of this all crows are black.
By this example, lords, you will, I pray,
Beware and take much care in what you say:
Don't ever tell a man in all your life
Another man has bedded with his wife;
He'll surely hate you in a mortal way.
Lord Solomon, as learned students say,
Taught man to watch his tongue. But as I said,
I'm not a learned man, I'm not well read.
Here's what my mother taught me all the same:
"My son, think of the crow, in our Lord's name!
Keep well your tongue and keep your friend. My son,
A wicked tongue's worse than a fiend, for one
Can cross himself from fiends and so be blest.
My son, God in his goodness saw it best
To wall the tongue with teeth and lips and cheeks,
For man should always think before he speaks.
My son, so often it's for too much speech
That many a man is wrecked, as scholars teach;
But speaking little and at proper place
Will generally bring no one to disgrace.
My son, your tongue you always should restrain
Except for times when taking special pain
To speak of God in honor and in prayer.
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The first virtue, if you would learn, is care
In speech, my son, restraining well the tongue;
This children learn when they are very young.
My son, from too much speech with ill advice,
Where less had been enough speech to suffice,
Has come much harm; so I was told and taught.
Wherever words abound, sin wants for naught.
A rash tongue serves what purpose, do you know?
For as a sword, my son, with cutting blow
Can cleave an arm in half, it's also true
A tongue can cut a friendship right in two.
A loudmouth is to God abominable.
Read Solomon, so wise and honorable;
Read David's psalms, let Seneca be read.
Don't speak, my son, but only nod your head.
Pretend that you are deaf when hearing chatter
A jangler makes about some dangerous matter.
The Flemings say, and learn it if you please,
'The less the jangle, how much more the ease.'
My son, if nothing wicked you have said,
You need not of betrayal have a dread;
But he who speaks amiss, I dare to say,
May not call back his words in any way.
A thing that's said is said, forth it will go
Though he repent and wish it wasn't so.
He is his thrall to whom a fellow's told
A tale that he'd much rather now withhold.
My son, be careful, of all tidings do
Not be the author, be they false or true.
Where you may go, among the high or low,
Hold well your tongue and think about the crow."
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The Manciple: What type of character is he?
Character Analysis:
A manciple is someone who's in charge of purchasing food and supplies for an
institution like a school, monastery or law court. This particular manciple works for an
inn of court (the "temple"), which is a place where lawyers might live or gather.
Although the Manciple's portrait starts out by holding up this manciple as one who
can serve as a great example for other purchasers, we quickly begin to question the
guy's ethics when we learn that, whether he purchases with cash or on credit, he
always ends up ahead in his accounts. Now how, exactly, is that possible, unless the
Manciple is fudging the numbers somewhere? So when the portrait wonders how
amazing it is that the unlearned Manciple always comes out financially ahead of his
learned masters, it's likely with a bit of irony.
The Host raises more suspicions of the Manciple's dishonesty near the end of the
Tales when he warns the Manciple that the Cook may pay back his insults by finding
fault with the Manciple's "rekenynges," or financial accounts (Manciple's Prologue
74). The Manciple handles this by giving more wine to an already dangerouslydrunken Cook, further throwing his ethics into question.
The Manciple's Portrait is not the only example we get of someone who tricks those
who are above him on the totem pole (see the Reeve for another one). His
successful face-off against "an heep of lerned men" (General Prologue 577)
suggests that there's scholarly savvy, and then there's financial savvy, and
sometimes the twain ne'er shall meet. It also raises the question of the types of
learning within each social class. Is money-handling simply too low-brow for the
likely higher-class lawyers to do well? And, moreover, is an unethical nature
necessary to financial success and therefore out of reach for noble types like the
Knight, who is supposed to be impeccably moral?
20
The Manciple Timeline and Summary
•
The Manciple's portrait is the nineteenth in the General Prologue.
•
Before he tells his tale, the Manciple makes fun of the Cook for being so drunk,
then makes him even more drunk to avoid further conflict with him.
•
The Manciple is the 23rd to tell his tale, after the Canon's Yeoman and before the
Parson.
TheMancipletellsthefamiliarstoryofthetittle-tattle-tale-birdfoundin‘TheSevenSagesof
Rome’.HoweverChaucerhasadaptedhistalefromthetaleofApolloandCoronisinOvid’s
‘Metamorphoses’.
TheManciple’sTaleisthelasttalebeforetheParson’ssermon.Themoralofthestoryis
quiteclear:onemustkeepone’smouthshutandnotspreadmaliciousscandal.
TheTalesuitstheManciple’scharacterperfectly.Inthe‘GeneralPrologue’thereadersare
toldthattheManciplewasabletohoodwinkhisthirty-oddmasterswhowerelearned
lawyersandfinancialwizards.HencetheManciplehasalottohideandthetale’smoralis
equallyapplicabletohim.
TheManciple’sTaleisinterwovenwithlivelydigressionsinwhichhemakesphilosophical
observations.Inthefirstdigression,afterthereaderhasbeeninformedofPhoebus’s
jealousyandfearofbeingdeceived,Chaucerremarksthatitisvaintokeepwivesunder
observation.Intheseconddigression,aftertheManciplehasrelatedPhoebus’effortsto
pleasehiswifeandkeephersatisfied,Chaucercommentsphilosophicallythatnobodycan
destroyacreature’snaturalinstincts.Thusonecangiveacagedbirdallthecomfortsbutit
willstillprefertheforest.Similarly,humanscannotderiveanypleasurefromavirtuouslife.
ThethirddigressioncomesaftertheMancipleinformsthereaderthatPhoebus’wifesleeps
withhersecretlover.TheMancipleapologisesforhisbawdyspeechandgoesontosaythat
thereisnodifferencebetweenanoblewomanandapoorwomaniftheyareunfaithfuland
lecherous.Butstilloneiscalledladyinlovewhilethepoorwomanisinsultinglycalleda
wench.TheManciplemakesanimportantpointherethatthereshouldnotbeanyclass
distinctionsinmoralisticconsiderations.Inthefourthandfinaldigression,afterPhoebushas
slainhiswifeandangrilyspurnsthecrow,theManciplemoralisesthatitisbesttokeep
quietandholdone’stongue.
21
MetamorphosesBook2:TheRavenandTheCrow
The raven was once a white bird, but his
tongue was his undoing. The story is that
Coronis was Phoebus' love, but the raven
discovered that she was unfaithful to the sun
god. As he was winging his way to tell
Phoebus the bad news, the crow warned that
he might be better off keeping his beak shut.
The crow had been in a similar situation with
Athene, and tattling had not served her well.
When Vulcan had made an attempt to seduce
chaste Athene, he had ejaculated on her leg.
The semen she wiped onto the ground
combined with the earth to produce Erichthonius. She hid the child in a
sealed basket and gave the basket to the three daughters of Cecrops on
the condition that they were not to open it. After Athene left them, the
crow stayed behind to see if they kept their promise, and of the three,
Aglauros scornfully broke her word. Inside the basket she saw the baby,
and she knew Athene's secret. The crow rushed away to tell her goddess
what she knew. Athene banished the prattling crow, and this shocked the
bird because Athene had transformed the girl into a crow to begin with.
Before she became a crow, she had been a beautiful girl pursued by men.
One day as she walked along the beach, the sea god, Neptune, saw her
and fell in love. When she was not willing to give herself to him, he tried
to force her. As she ran across the beach, the sand kept hindering her
escape and so she cried out for help. Athene, also a virgin, pitied her
plight and transformed her into a bird so that she could escape the sea
god. She and Athene were close companions until the goddess banished
the crow and put her in rank lower than that of the owl, a girl transformed
to a bird for her incestuous desire for her own father.
The raven ignored the crow's warning and sped to Phoebus to tell of his
love's betrayal, and Phoebus immediately acted out and shot her through
the heart with an arrow. As she died, she told him of his son that she
carried in her womb that would now die with her because of his rash
actions. Phoebus was heartbroken, but nothing could be done to save
Coronis. Before her body was burned on the funeral pyre, Phoebus took
the unborn child from her womb and gave him to Chiron, the noble
centaur and tutor of Greek heroes, to raise. And although the raven had
22
been right, Phoebus turned him black and forever exiled him from the
breed of white birds.
TERM5: ShortStories:RudyardKipling:MaryPostgate/Paintingfrom
WW1.ComparisonEssay500words(PEEparagraph).Studentsaretoreadand
understandtheshortstory.TheyaretouseapaintingaboutwarfromtheFirst
WorldWarandthenwriteacomparisonessaydemonstratingtheuseofPEE
paragraphstructureusingambitiousvocabularyandshowanabilitytousea
rangeofcomparativeconnectives.
MaryPostgate
byRudyardKipling
(1915)
OfMissMaryPostgate,LadyMcCauslandwrotethatshewas'thoroughlyconscientious,tidy,
companionable,andladylike.Iamverysorrytopartwithher,andshallalwaysbeinterestedinher
welfare.'
MissFowlerengagedheronthisrecommendation,andtohersurprise,forshehadhadexperience
ofcompanions,foundthatitwastrue.MissFowlerwasnearersixtythanfiftyatthetime,but
thoughsheneededcareshedidnotexhaustherattendant'svitality.Onthecontrary,shegaveout,
stimulatinglyandwithreminiscences.HerfatherhadbeenaminorCourtofficialinthedayswhen
theGreatExhibitionof1851hadjustsetitssealonCivilisationmadeperfect.SomeofMissFowler's
tales,nonetheless,werenotalwaysfortheyoung.Marywasnotyoung,andthoughherspeech
wasascolourlessashereyesorherhair,shewasnevershocked.Shelistenedunflinchinglytoevery
one;saidattheend,'Howinteresting!'or'Howshocking!'asthecasemightbe,andneveragain
referredtoit,forshepridedherselfonatrainedmind,which'didnotdwellonthesethings.'She
was,too,atreasureatdomesticaccounts,forwhichthevillagetradesmen,withtheirweeklybooks,
lovedhernot.Otherwiseshehadnoenemies;provokednojealousyevenamongtheplainest;
neithergossipnorslanderhadeverbeentracedtoher;shesuppliedtheoddplaceattheRector'sor
theDoctor'stableathalfanhour'snotice;shewasasortofpublicaunttoverymanysmallchildren
ofthevillagestreet,whoseparents,whileacceptingeverything,wouldhavebeenswifttoresent
whattheycalled'patronage';sheservedontheVillageNursingCommitteeasMissFowler'snominee
whenMissFowlerwascrippledbyrheumatoidarthritis,andcameoutofsixmonths'fortnightly
meetingsequallyrespectedbyallthecliques.
AndwhenFatethrewMissFowler'snephew,anunlovelyorphanofeleven,onMissFowler'shands,
MaryPostgatestoodtohershareofthebusinessofeducationaspractisedinprivateandpublic
23
schools.Shecheckedprintedclothes-lists,andunitemisedbillsofextras;wrotetoHeadandHouse
masters,matrons,nursesanddoctors,andgrievedorrejoicedoverhalf-termreports.Young
WyndhamFowlerrepaidherinhisholidaysbycallingher'Gatepost,''Postey,'or'Packthread,'by
thumpingherbetweenhernarrowshoulders,orbychasingherbleating,roundthegarden,herlarge
mouthopen,herlargenosehighinair,atastiff-neckedshambleverylikeacamel's.Lateronhe
filledthehousewithclamour,argument,andharanguesastohispersonalneeds,likesanddislikes,
andthelimitationsof'youwomen,'reducingMarytotearsofphysicalfatigue,or,whenhechoseto
behumorous,ofhelplesslaughter.Atcrises,whichmultipliedashegrewolder,shewashis
ambassadressandhisinterpretresstoMissFowler,whohadnolargesympathywiththeyoung;a
voteinhisinterestatthecouncilsonhisfuture;hissewing-woman,strictlyaccountableformislaid
bootsandgarments;alwayshisbuttandhisslave.
Andwhenhedecidedtobecomeasolicitor,andhadenteredanofficeinLondon;whenhisgreeting
hadchangedfrom'Hullo,Postey,youoldbeast,'toMornin',Packthread,'therecameawarwhich,
unlikeallwarsthatMarycouldremember,didnotstaydecentlyoutsideEnglandandinthe
newspapers,butintrudedonthelivesofpeoplewhomsheknew.AsshesaidtoMissFowler,itwas
'mostvexatious.'IttooktheRector'ssonwhowasgoingintobusinesswithhiselderbrother;ittook
theColonel'snephewontheeveoffruit-farminginCanada;ittookMrs.Grant'ssonwho,hismother
said,wasdevotedtotheministry;and,veryearlyindeed,ittookWynnFowler,whoannouncedona
postcardthathehadjoinedtheFlyingCorpsandwantedacardiganwaistcoat.
'Hemustgo,andhemusthavethewaistcoat,'saidMissFowler.SoMarygottheproper-sized
needlesandwool,whileMissFowlertoldthemenofherestablishment--twogardenersandanodd
man,agedsixty--thatthosewhocouldjointheArmyhadbetterdoso.Thegardenersleft.Cheape,
theoddman,stayedon,andwaspromotedtothegardener'scottage.Thecook,scorningtobe
limitedinluxuries,alsoleft,afteraspiritedscenewithMissFowler,andtookthehousemaidwith
her.MissFowlergazettedNellie,Cheape'sseventeen-year-olddaughter,tothevacantpost;Mrs.
Cheapetotherankofcook,withoccasionalcleaningbouts;andthereducedestablishmentmoved
forwardsmoothly.
Wynndemandedanincreaseinhisallowance.MissFowler,whoalwayslookedfactsintheface,
said,'Hemusthaveit.Thechancesarehewon'tlivelongtodrawit,andifthreehundredmakeshim
happy--'
Wynnwasgrateful,andcameover,inhistight-buttoneduniform,tosayso.Histrainingcentrewas
notthirtymilesaway,andhistalkwassotechnicalthatithadtobeexplainedbychartsofthe
varioustypesofmachines.HegaveMarysuchachart.
'Andyou'dbetterstudyit,Postey,'hesaid.'You'llbeseeingalotof'emsoon.'SoMarystudiedthe
chart,butwhenWynnnextarrivedtoswellandexalthimselfbeforehiswomenfolk,shefailedbadly
incross-examination,andheratedherasintheolddays.
'You_look_moreorlesslikeahumanbeing,'hesaidinhisnewServicevoice.'You_must_havehad
abrainatsometimeinyourpast.Whathaveyoudonewithit?Whered'youkeepit?Asheepwould
knowmorethanyoudo,Postey.You'relamentable.Youarelessusethananemptytincan,you
doweyoldcassowary.'
'Isupposethat'showyoursuperiorofficertalksto_you_?'saidMissFowlerfromherchair.
'ButPosteydoesn'tmind,'Wynnreplied.'Doyou,Packthread?'
24
'Why?WasWynnsayinganything?Ishallgetthisrightnexttimeyoucome,'shemuttered,and
knittedherpalebrowsagainoverthediagramsofTaubes,Farmans,andZeppelins.
InafewweeksthemerelandandseabattleswhichshereadtoMissFowlerafterbreakfastpassed
herlikeidlebreath.HerheartandherinterestwerehighintheairwithWynn,whohadfinished
'rolling'(whateverthatmightbe)andhadgoneonfroma'taxi'toamachinemoreorlesshisown.
Onemorningitcircledovertheirverychimneys,alightedonVegg'sHeath,almostoutsidethegarden
gate,andWynncamein,bluewithcold,shoutingforfood.HeandshedrewMissFowler'sbathchair,astheyhadoftendone,alongtheHeathfoot-pathtolookatthebi-plane.Maryobservedthat
'itsmeltverybadly.'
'Postey,Ibelieveyouthinkwithyournose,'saidWynn.'Iknowyoudon'twithyourmind.Now,what
type'sthat?'
'I'llgoandgetthechart,'saidMary.
'You'rehopeless!Youhaven'tthementalcapacityofawhitemouse,'hecried,andexplainedthe
dialsandthesocketsforbomb-droppingtillitwastimetomountandridethewetcloudsonce
more.
'Ah!'saidMary,asthestinkingthingflaredupward.'WaittillourFlyingCorpsgetstowork!Wynn
saysit'smuchsaferthaninthetrenches.'
'Iwonder,'saidMissFowler.'TellCheapetocomeandtowmehomeagain.'
'It'salldownhill.Icandoit,'saidMary,'ifyouputthebrakeon.'Shelaidherleanselfagainstthe
pushing-barandhometheytrundled.
'Now,becarefulyouaren'theatedandcatchachill,'saidoverdressedMissFowler.
'Nothingmakesmeperspire,'saidMary.Asshebumpedthechairundertheporchshestraightened
herlongback.Theexertionhadgivenheracolour,andthewindhadloosenedawispofhairacross
herforehead.MissFowlerglancedather.
'Whatdoyoueverthinkof,Mary?'shedemandedsuddenly.
'Oh,Wynnsayshewantsanotherthreepairsofstockings--asthickaswecanmakethem.'
'Yes.ButImeanthethingsthatwomenthinkabout.Hereyouare,morethanforty--'
'Forty-four,'saidtruthfulMary.
'Well?'
'Well?'MaryofferedMissFowlerhershoulderasusual.
'Andyou'vebeenwithmetenyearsnow.'
'Let'ssee,'saidMary.'Wynnwaselevenwhenhecame.He'stwentynow,andIcametwoyears
beforethat.Itmustbeeleven.'
25
'Eleven!Andyou'venevertoldmeanythingthatmattersinallthatwhile.Lookingback,itseemsto
methat_I_'vedoneallthetalking.'
'I'mafraidI'mnotmuchofaconversationalist.AsWynnsays,Ihaven'tthemind.Letmetakeyour
hat.'
MissFowler,movingstifflyfromthehip,stampedherrubber-tippedstickonthetiledhallfloor.
'Mary,aren'tyou_anything_exceptacompanion?Wouldyou_ever_havebeenanythingexcepta
companion?'
Maryhungupthegardenhatonitsproperpeg.'No,'shesaidafterconsideration.'Idon'timagineI
evershould.ButI'venoimagination,I'mafraid.'
ShefetchedMissFowlerhereleven-o'clockglassofContrexeville.
ThatwasthewetDecemberwhenitrainedsixinchestothemonth,andthewomenwentabroadas
littleasmightbe.Wynn'sflyingchariotvisitedthemseveraltimes,andfortwomornings(hehad
warnedherbypostcard)Maryheardthethreshofhispropellersatdawn.Thesecondtimesheran
tothewindow,andstaredatthewhiteningsky.Alittleblurpassedoverhead.Sheliftedherlean
armstowardsit.
Thateveningatsixo'clocktherecameanannouncementinanofficialenvelopethatSecond
LieutenantW.Fowlerhadbeenkilledduringatrialflight.Deathwasinstantaneous.Shereaditand
carriedittoMissFowler.
'Ineverexpectedanythingelse,'saidMissFowler;'butI'msorryithappenedbeforehehaddone
anything.'
TheroomwaswhirlingroundMaryPostgate,butshefoundherselfquitesteadyinthemidstofit.
'Yes,'shesaid.'It'sagreatpityhedidn'tdieinactionafterhehadkilledsomebody.'
'Hewaskilledinstantly.That'sonecomfort,'MissFowlerwenton.
'ButWynnsaystheshockofafallkillsamanatonce--whateverhappenstothetanks,'quotedMary.
Theroomwascomingtorestnow.SheheardMissFowlersayimpatiently,'Butwhycan'twecry,
Mary?'andherselfreplying,'There'snothingtocryfor.HehasdonehisdutyasmuchasMrs.Grant's
sondid.'
'Andwhenhedied,_she_cameandcriedallthemorning,'saidMissFowler.'Thisonlymakesme
feeltired--terriblytired.Willyouhelpmetobed,please,Mary?--AndIthinkI'dlikethehot-water
bottle.'
SoMaryhelpedherandsatbeside,talkingofWynninhisriotousyouth.
'Ibelieve,'saidMissFowlersuddenly,'thatoldpeopleandyoungpeopleslipfromunderastrokelike
this.Themiddle-agedfeelitmost.'
26
'Iexpectthat'strue,'saidMary,rising.'I'mgoingtoputawaythethingsinhisroomnow.Shallwe
wearmourning?'
'Certainlynot,'saidMissFowler.'Except,ofcourse,atthefuneral.Ican'tgo.Youwill.Iwantyouto
arrangeabouthisbeingburiedhere.Whatablessingitdidn'thappenatSalisbury!'
Everyone,fromtheAuthoritiesoftheFlyingCorpstotheRector,wasmostkindandsympathetic.
Maryfoundherselfforthemomentinaworldwherebodieswereinthehabitofbeingdespatched
byallsortsofconveyancestoallsortsofplaces.Andatthefuneraltwoyoungmeninbuttoned-up
uniformsstoodbesidethegraveandspoketoherafterwards.
'You'reMissPostgate,aren'tyou?'saidone.'Fowlertoldmeaboutyou.Hewasagoodchap--afirstclassfellow--agreatloss.'
'Greatloss!'growledhiscompanion.'We'reallawfullysorry.'
'Howhighdidhefallfrom?'Marywhispered.
'Prettynearlyfourthousandfeet,Ishouldthink,didn'the?Youwereupthatday,Monkey?'
'Allofthat,'theotherchildreplied.'Mybarmadethreethousand,andIwasn'tashighashimbya
lot.'
'Then_that's_allright,'saidMary.'Thankyouverymuch.'
TheymovedawayasMrs.GrantflungherselfweepingonMary'sflatchest,underthelych-gate,and
cried,'_I_knowhowitfeels!_I_knowhowitfeels!'
'Butbothhisparentsaredead,'Maryreturned,asshefendedheroff.'Perhapsthey'veallmetby
now,'sheaddedvaguelyassheescapedtowardsthecoach.
'I'vethoughtofthattoo,'wailedMrs.Grant;'butthenhe'llbepracticallyastrangertothem.Quite
embarrassing!'
MaryfaithfullyreportedeverydetailoftheceremonytoMissFowler,who,whenshedescribedMrs.
Grant'soutburst,laughedaloud.
'Oh,howWynnwouldhaveenjoyedit!Hewasalwaysutterlyunreliableatfunerals.D'you
remember--'Andtheytalkedofhimagain,eachpiecingouttheother'sgaps.'Andnow,'saidMiss
Fowler,'we'llpulluptheblindsandwe'llhaveageneraltidy.Thatalwaysdoesusgood.Haveyou
seentoWynn'sthings?'
'Everything--sincehefirstcame,'saidMary.'Hewasneverdestructive--evenwithhistoys.'
Theyfacedthatneatroom.
27
'Itcan'tbenaturalnottocry,'Marysaidatlast.'I'm_so_afraidyou'llhaveareaction.'
'AsItoldyou,weoldpeopleslipfromunderthestroke.It'syouI'mafraidfor.Haveyoucriedyet?'
'Ican't.ItonlymakesmeangrywiththeGermans.'
'That'ssheerwasteofvitality,'saidMissFowler.'Wemustlivetillthewar'sfinished.'Sheopeneda
fullwardrobe.'Now,I'vebeenthinkingthingsover.Thisismyplan.Allhiscivilianclothescanbe
givenaway--Belgianrefugees,andsoon.'
Marynodded.'Boots,collars,andgloves?'
'Yes.Wedon'tneedtokeepanythingexcepthiscapandbelt.'
'TheycamebackyesterdaywithhisFlyingCorpsclothes'--Marypointedtoarollonthelittleiron
bed.
'Ah,butkeephisServicethings.Someonemaybegladofthemlater.Doyourememberhissizes?'
'Fivefeeteightandahalf;thirty-sixinchesroundthechest.Buthetoldmehe'sjustputonaninch
andahalf.I'llmarkitonalabelandtieitonhissleeping-bag.'
'Sothatdisposesof_that_,'saidMissFowler,tappingthepalmofonehandwiththeringedthird
fingeroftheother.'Whatwasteitallis!We'llgethisoldschooltrunkto-morrowandpackhis
civilianclothes.'
'Andtherest?'saidMary.'Hisbooksandpicturesandthegamesandthetoys--and--andtherest?'
'Myplanistoburneverysinglething,'saidMissFowler.'Thenweshallknowwheretheyareandno
onecanhandlethemafterwards.Whatdoyouthink?'
'Ithinkthatwouldbemuchthebest,'saidMary.'Butthere'ssuchalotofthem.'
'We'llburntheminthedestructor,'saidMissFowler.
Thiswasanopen-airfurnacefortheconsumptionofrefuse;alittlecircularfour-foottowerof
piercedbrickoveranirongrating.MissFowlerhadnoticedthedesigninagardeningjournalyears
ago,andhadhaditbuiltatthebottomofthegarden.Itsuitedhertidysoul,foritsavedunsightly
rubbish-heaps,andtheasheslightenedthestiffclaysoil.
Maryconsideredforamoment,sawherwayclear,andnoddedagain.Theyspenttheevening
puttingawaywell-rememberedciviliansuits,underclothesthatMaryhadmarked,andthe
regimentsofverygaudysocksandties.Asecondtrunkwasneeded,and,afterthat,alittlepackingcase,anditwaslatenextdaywhenCheapeandthelocalcarrierliftedthemtothecart.TheRector
luckilyknewofafriend'sson,aboutfivefeeteightandahalfincheshigh,towhomacompleteFlying
Corpsoutfitwouldbemostacceptable,andsenthisgardener'ssondownwithabarrowtotake
deliveryofit.ThecapwashungupinMissFowler'sbedroom,thebeltinMissPostgate's;for,asMiss
Fowlersaid,theyhadnodesiretomaketea-partytalkofthem.
'Thatdisposesof_that_,'saidMissFowler.'I'llleavetheresttoyou,Mary.Ican'trunupanddown
thegarden.You'dbettertakethebigclothes-basketandgetNellietohelpyou.'
28
'Ishalltakethewheel-barrowanddoitmyself,'saidMary,andforonceinherlifeclosedhermouth.
MissFowler,inmomentsofirritation,hadcalledMarydeadlymethodical.Sheputonheroldest
waterproofandgardening-hatandherever-slippinggoloshes,fortheweatherwasontheedgeof
morerain.Shegatheredfire-lightersfromthekitchen,ahalf-scuttleofcoals,andafaggotof
brushwood.Theseshewheeledinthebarrowdownthemossedpathstothedanklittlelaurel
shrubberywherethedestructorstoodunderthedripofthreeoaks.Sheclimbedthewirefenceinto
theRector'sglebejustbehind,andfromhistenant'srickpulledtwolargearmfulsofgoodhay,which
shespreadneatlyonthefire-bars.Next,journeybyjourney,passingMissFowler'swhitefaceatthe
morning-roomwindoweachtime,shebroughtdowninthetowel-coveredclothes-basket,onthe
wheel-barrow,thumbedandusedHentys,Marryats,Levers,Stevensons,BaronessOrczys,Garvices,
schoolbooks,andatlases,unrelatedpilesofthe_MotorCyclist_,the_LightCar_,andcataloguesof
OlympiaExhibitions;theremnantsofafleetofsailing-shipsfromninepennycutterstoathreeguineayacht;aprep.-schooldressing-gown;batsfromthree-and-sixpencetotwenty-fourshillings;
cricketandtennisballs;disintegratedsteamandclockworklocomotiveswiththeirtwistedrails;a
greyandredtinmodelofasubmarine;adumbgramophoneandcrackedrecords;golf-clubsthat
hadtobebrokenacrosstheknee,likehiswalking-sticks,andanassegai;photographsofprivateand
publicschoolcricketandfootballelevens,andhisO.T.C.onthelineofmarch;kodaks,andfilm-rolls;
somepewters,andonerealsilvercup,forboxingcompetitionsandJuniorHurdles;sheavesofschool
photographs;MissFowler'sphotograph;herownwhichhehadborneoffinfunand(goodcareshe
tooknottoask!)hadneverreturned;aplayboxwithasecretdrawer;aloadofflannels,belts,and
jerseys,andapairofspikedshoesunearthedintheattic;apacketofallthelettersthatMissFowler
andshehadeverwrittentohim,keptforsomeabsurdreasonthroughalltheseyears;afive-day
attemptatadiary;framedpicturesofracingmotorsinfullBrooklandscareer,andloaduponloadof
undistinguishablewreckageoftool-boxes,rabbit-hutches,electricbatteries,tinsoldiers,fret-saw
outfits,andjig-sawpuzzles.
MissFowleratthewindowwatchedhercomeandgo,andsaidtoherself,'Mary'sanoldwoman.I
neverrealiseditbefore.'
Afterlunchsherecommendedhertorest.
'I'mnotintheleasttired,'saidMary.'I'vegotitallarranged.I'mgoingtothevillageattwoo'clock
forsomeparaffin.Nelliehasn'tenough,andthewalkwilldomegood.'
Shemadeonelastquestroundthehousebeforeshestarted,andfoundthatshehadoverlooked
nothing.ItbegantomistassoonasshehadskirtedVegg'sHeath,whereWynnusedtodescend--it
seemedtoherthatshecouldalmosthearthebeatofhispropellersoverhead,buttherewasnothing
tosee.Shehoistedherumbrellaandlungedintotheblindwettillshehadreachedtheshelterofthe
emptyvillage.AsshecameoutofMr.Kidd'sshopwithabottlefullofparaffininherstringshoppingbag,shemetNurseEden,thevillagenurse,andfellintotalkwithher,asusual,aboutthevillage
children.Theywerejustpartingoppositethe'RoyalOak,'whenagun,theyfancied,wasfired
immediatelybehindthehouse.Itwasfollowedbyachild'sshriekdyingintoawail.
'Accident!'saidNurseEdenpromptly,anddashedthroughtheemptybar,followedbyMary.They
foundMrs.Gerritt,thepublican'swife,whocouldonlygaspandpointtotheyard,wherealittle
cart-lodgewasslidingsidewaysamidaclatteroftiles.NurseEdensnatchedupasheetdryingbefore
29
thefire,ranout,liftedsomethingfromtheground,andflungthesheetroundit.Thesheetturned
scarletandhalfheruniformtoo,assheboretheloadintothekitchen.ItwaslittleEdnaGerritt,aged
nine,whomMaryhadknownsinceherperambulatordays.
'AmIhurtedbad?'Ednaasked,anddiedbetweenNurseEden'sdrippinghands.Thesheetfellaside
andforaninstant,beforeshecouldshuthereyes,Marysawtherippedandshreddedbody.
'It'sawondershespokeatall,'saidNurseEden.'WhatinGod'snamewasit?'
'Abomb,'saidMary.
'Oneo'theZeppelins?'
'No.Anaeroplane.IthoughtIhearditontheHeath,butIfancieditwasoneofours.Itmusthave
shutoffitsenginesasitcamedown.That'swhywedidn'tnoticeit.'
'Thefilthypigs!'saidNurseEden,allwhiteandshaken.'SeethepickleI'min!GoandtellDr.Hennis,
MissPostgate.'Nurselookedatthemother,whohaddroppedfacedownonthefloor.'She'sonlyin
afit.Turnherover.'
MaryheavedMrs.Gerrittrightsideup,andhurriedoffforthedoctor.Whenshetoldhertale,he
askedhertositdowninthesurgerytillhegothersomething.
'ButIdon'tneedit,Iassureyou,'saidshe.'Idon'tthinkitwouldbewisetotellMissFowleraboutit,
doyou?Herheartissoirritableinthisweather.'
Dr.Hennislookedatheradmiringlyashepackeduphisbag.
'No.Don'ttellanybodytillwe'resure,'hesaid,andhastenedtothe'RoyalOak,'whileMarywenton
withtheparaffin.Thevillagebehindherwasasquietasusual,forthenewshadnotyetspread.She
frownedalittletoherself,herlargenostrilsexpandeduglily,andfromtimetotimeshemuttereda
phrasewhichWynn,whoneverrestrainedhimselfbeforehiswomenfolk,hadappliedtotheenemy.
'Bloodypagans!They_are_bloodypagans.But,'shecontinued,fallingbackontheteachingthathad
madeherwhatshewas,'onemustn'tletone'sminddwellonthesethings.'
BeforeshereachedthehouseDr.Hennis,whowasalsoaspecialconstable,overtookherinhiscar.
'Oh,MissPostgate,'hesaid,'Iwantedtotellyouthatthataccidentatthe"RoyalOak"wasdueto
Gerritt'sstabletumblingdown.It'sbeendangerousforalongtime.Itoughttohavebeen
condemned.'
'IthoughtIheardanexplosiontoo,'saidMary.
'Youmighthavebeenmisledbythebeamssnapping.I'vebeenlookingat'em.Theyweredry-rotted
throughandthrough.Ofcourse,astheybroke,theywouldmakeanoisejustlikeagun.'
'Yes?'saidMarypolitely.
30
'PoorlittleEdnawasplayingunderneathit,'hewenton,stillholdingherwithhiseyes,'andthatand
thetilescuthertopieces,yousee?'
'Isawit,'saidMary,shakingherhead.'Iheardittoo.'
'Well,wecannotbesure.'Dr.Hennischangedhistonecompletely.'IknowbothyouandNurseEden
(I'vebeenspeakingtoher)areperfectlytrustworthy,andIcanrelyonyounottosayanything--yet
atleast.Itisnogoodtostiruppeopleunless--'
'Oh,Ineverdo--anyhow,'saidMary,andDr.Henniswentontothecountytown.
Afterall,shetoldherself,itmight,justpossibly,havebeenthecollapseoftheoldstablethathad
doneallthosethingstopoorlittleEdna.Shewassorryshehadevenhintedatotherthings,but
NurseEdenwasdiscretionitself.Bythetimeshereachedhometheaffairseemedincreasingly
remotebyitsverymonstrosity.Asshecamein,MissFowlertoldherthatacoupleofaeroplaneshad
passedhalfanhourago.
'IthoughtIheardthem,'shereplied,'I'mgoingdowntothegardennow.I'vegottheparaffin.'
'Yes,but--what_have_yougotonyourboots?They'resoakingwet.Changethematonce.'
NotonlydidMaryobeybutshewrappedthebootsinanewspaper,andputthemintothestringbag
withthebottle.So,armedwiththelongestkitchenpoker,sheleft.
'It'srainingagain,'wasMissFowler'slastword,'but--Iknowyouwon'tbehappytillthat'sdisposed
of.'
'Itwon'ttakelong.I'vegoteverythingdownthere,andI'veputthelidonthedestructortokeepthe
wetout.'
Theshrubberywasfillingwithtwilightbythetimeshehadcompletedherarrangementsand
sprinkledthesacrificialoil.Asshelitthematchthatwouldburnherhearttoashes,shehearda
groanoragruntbehindthedensePortugallaurels.
'Cheape?'shecalledimpatiently,butCheape,withhisancientlumbago,inhiscomfortablecottage
wouldbethelastmantoprofanethesanctuary.'Sheep,'sheconcluded,andthrewinthefusee.The
pyrewentupinaroar,andtheimmediateflamehastenednightaroundher.
'HowWynnwouldhavelovedthis!'shethought,steppingbackfromtheblaze.
Byitslightshesaw,halfhiddenbehindalaurelnotfivepacesaway,abareheadedmansittingvery
stifflyatthefootofoneoftheoaks.Abrokenbranchlayacrosshislap--onebootedlegprotruding
frombeneathit.Hisheadmovedceaselesslyfromsidetoside,buthisbodywasasstillasthetree's
trunk.Hewasdressed--shemovedsidewaystolookmoreclosely--inauniformsomethinglike
Wynn's,withaflapbuttonedacrossthechest.Foraninstant,shehadsomeideathatitmightbeone
oftheyoungflyingmenshehadmetatthefuneral.Buttheirheadsweredarkandglossy.Thisman's
wasaspaleasababy's,andsocloselycroppedthatshecouldseethedisgustingpinkyskinbeneath.
Hislipsmoved.
31
'Whatdoyousay?'Marymovedtowardshimandstooped.
'Laty!Laty!Laty!'hemuttered,whilehishandspickedatthedeadwetleaves.Therewasnodoubtas
tohisnationality.Itmadehersoangrythatshestrodebacktothedestructor,thoughitwasstilltoo
hottousethepokerthere.Wynn'sbooksseemedtobecatchingwell.Shelookedupattheoak
behindtheman;severalofthelightupperandtwoorthreerottenlowerbrancheshadbrokenand
scatteredtheirrubbishontheshrubberypath.Onthelowestforkahelmetwithdependentstrings,
showedlikeabird's-nestinthelightofalong-tonguedflame.Evidentlythispersonhadfallen
throughthetree.Wynnhadtoldherthatitwasquitepossibleforpeopletofalloutofaeroplanes.
Wynntoldhertoo,thattreeswereusefulthingstobreakanaviator'sfall,butinthiscasetheaviator
musthavebeenbrokenorhewouldhavemovedfromhisqueerposition.Heseemedhelpless
exceptforhishorriblerollinghead.Ontheotherhand,shecouldseeapistolcaseathisbelt--and
Maryloathedpistols.Monthsago,afterreadingcertainBelgianreportstogether,sheandMiss
Fowlerhadhaddealingswithone--ahugerevolverwithflat-nosedbullets,whichlatter,Wynnsaid,
wereforbiddenbytherulesofwartobeusedagainstcivilisedenemies.'They'regoodenoughfor
us,'MissFowlerhadreplied.'ShowMaryhowitworks.'AndWynn,laughingatthemerepossibility
ofanysuchneed,hadledthecravenwinkingMaryintotheRector'sdisusedquarry,andhadshown
herhowtofiretheterriblemachine.Itlaynowinthetop-left-handdrawerofhertoilet-table--a
mementonotincludedintheburning.Wynnwouldbepleasedtoseehowshewasnotafraid.
Sheslippeduptothehousetogetit.Whenshecamethroughtherain,theeyesintheheadwere
alivewithexpectation.Themoutheventriedtosmile.Butatsightoftherevolveritscornerswent
downjustlikeEdnaGerritt's.Ateartrickledfromoneeye,andtheheadrolledfromshoulderto
shoulderasthoughtryingtopointoutsomething.
'Cassee.Toutcassee,'itwhimpered.
'Whatdoyousay?'saidMarydisgustedly,keepingwelltooneside,thoughonlytheheadmoved.
'Cassee,'itrepeated.'Chemerends.Lemedicin!Toctor!'
'Nein!'saidshe,bringingallhersmallGermantobearwiththebigpistol.'IchhabendertodtKinder
gesehn.'
Theheadwasstill.Mary'shanddropped.Shehadbeencarefultokeepherfingeroffthetriggerfor
fearofaccidents.Afterafewmoments'waiting,shereturnedtothedestructor,wheretheflames
werefalling,andchurnedupWynn'scharringbookswiththepoker.Againtheheadgroanedforthe
doctor.
'Stopthat!'saidMary,andstampedherfoot.'Stopthat,youbloodypagan!'
Thewordscamequitesmoothlyandnaturally.TheywereWynn'sownwords,andWynnwasa
gentlemanwhofornoconsiderationonearthwouldhavetornlittleEdnaintothosevividlycoloured
stripsandstrings.Butthisthinghunchedundertheoak-treehaddonethatthing.Itwasnoquestion
ofreadinghorrorsoutofnewspaperstoMissFowler.Maryhadseenitwithherowneyesonthe
'RoyalOak'kitchentable.Shemustnotallowhermindtodwelluponit.NowWynnwasdead,and
everythingconnectedwithhimwaslumpingandrustlingandtinklingunderherbusypokerintored
blackdustandgreyleavesofash.Thethingbeneaththeoakwoulddietoo.Maryhadseendeath
morethanonce.Shecameofafamilythathadaknackofdyingunder,asshetoldMissFowler,
'mostdistressingcircumstances.'ShewouldstaywhereshewastillshewasentirelysatisfiedthatIt
wasdead--deadasdearpapainthelate'eighties;auntMaryineighty-nine;mammain'ninety-one;
32
cousinDickinninety-five;LadyMcCausland'shousemaidin'ninety-nine;LadyMcCausland'ssisterin
nineteenhundredandone;Wynnburiedfivedaysago;andEdnaGerrittstillwaitingfordecent
earthtohideher.Asshethought--herunderlipcaughtupbyonefadedcanine,browsknitand
nostrilswide--shewieldedthepokerwithlungesthatjarredthegratingatthebottom,andcareful
scrapesroundthebrick-workabove.Shelookedatherwrist-watch.Itwasgettingontohalf-past
four,andtherainwascomingdowninearnest.Teawouldbeatfive.IfItdidnotdiebeforethat
time,shewouldbesoakedandwouldhavetochange.Meantime,andthisoccupiedher,Wynn's
thingswereburningwellinspiteofthehissingwet,thoughnowandagainabook-backwithaquite
distinguishabletitlewouldbeheavedupoutofthemass.Theexerciseofstokinghadgivenhera
glowwhichseemedtoreachtothemarrowofherbones.Shehummed--Maryneverhadavoice--to
herself.Shehadneverbelievedinallthoseadvancedviews--thoughMissFowlerherselfleaneda
littlethatway--ofwoman'sworkintheworld;butnowshesawtherewasmuchtobesaidforthem.
This,forinstance,washerwork-workwhichnoman,leastofallDr.Hennis,wouldeverhavedone.
Aman,atsuchacrisis,wouldbewhatWynncalleda'sportsman';wouldleaveeverythingtofetch
help,andwouldcertainlybringItintothehouse.Nowawoman'sbusinesswastomakeahappy
homefor--forahusbandandchildren.Failingthese--itwasnotathingoneshouldallowone'smind
todwellupon--but--
'Stopit!'Marycriedoncemoreacrosstheshadows.
'Nein,Itellyou!IchhabendertodtKindergesehn.'
Butitwasafact.Awomanwhohadmissedthese
thingscouldstillbeuseful--moreusefulthanamanin
certainrespects.Shethumpedlikeapaviorthroughthe
settlingashesatthesecretthrillofit.Therainwas
dampingthefire,butshecouldfeel--itwastoodarkto
see--thatherworkwasdone.Therewasadullredglow
atthebottomofthedestructor,notenoughtocharthe
woodenlidifsheslippedithalfoveragainstthedriving
wet.Thisarranged,sheleanedonthepokerand
waited,whileanincreasingrapturelaidholdonher.
Sheceasedtothink.Shegaveherselfuptofeel.Her
longpleasurewasbrokenbyasoundthatshehad
waitedforinagonyseveraltimesinherlife.Sheleaned
forwardandlistened,smiling.Therecouldbeno
mistake.Sheclosedhereyesanddrankitin.Onceit
ceasedabruptly.
'Goon,'shemurmured,halfaloud.'Thatisn'ttheend.'
Thentheendcameverydistinctlyinalullbetweentworain-gusts.MaryPostgatedrewherbreath
shortbetweenherteethandshiveredfromheadtofoot.'That'sallright,'saidshecontentedly,and
wentuptothehouse,whereshescandalisedthewholeroutinebytakingaluxurioushotbath
beforetea,andcamedownlooking,asMissFowlersaidwhenshesawherlyingallrelaxedonthe
othersofa,'quitehandsome!'
[Theend]
33
MARY POSTGATE: a review.
"Mary Postgate" is a complex story, and arguably a great one. It is
quintessentially a Kipling story: it concerns itself, that is, with themes which
run through all of Kipling's work, and it betrays his preoccupation with the
darknesswhichliesinthehumanheart.
"MaryPostgate"isahorrifyingstorynomatterhowwereadit,butlikeallof
Kipling'sbestwork(andlikeallgreatart)itcanbereadinseveralways.Itisa
propaganda piece, written in 1915 during World War I in the context of
GermanatrocitiesandmassacresinFrance,andjustafterGermanaircrafthadengagedinbombing
raidsonEnglishtowns.Viewedinthiscontext,aswrittenbyaKiplingwhohadinfactwrittenthatin
fightingtheGermans,Englandwas"dealingwithanimalswhohavescientificallyandphilosophically
removedthemselvesinconceivablyoutsidecivilization,"andwhomaintainedthattherewere"only
twodivisionsintheworldtoday--humanbeingsandGermans,"
"Mary Postgate" was intended to inspire in English readers just such cold-blooded courage and
ferocity as Mary herself displays. It is also, however, a portrait of a woman who finds in the
circumstancesofwarareleasefromsocietalandpsychologicalpressures:inthissensethedeathsof
WynnandlittleEdnaGerritarenotreasonsbutexcusesforthebehaviourMaryindulgesin.From
thispointofviewKiplingdoesnotendorsebutmerelyrecordsherresponsetothesituation,though
heprovidesuswithawealthofdetailtoenableustoseewhyshebehavesasshedoes:thestoryis
full of clues, of ominous warning signs, which prepare us for the ghastly climax. And the climax
becomesmoreterrifying,morehorrible,thedeeperwegointothestory,themorecarefullyweread
it.
"MaryPostgate"isastoryabouttheterribleconsequencesofthedeathnotofhumanbeingsbutof
dreams. Mary is a complex character, but we may not realise how complex she really is, or how
artfully Kipling has created her. She is, for example, like so many characters in Dickens's work, a
distortedversionofacharacteroutoffairytales:sheisaCinderellawhosePrincewillnevercome,a
sortofSleepingUgly.SheisahorriblemodernincarnationofKeats's"BelleDamesansmerci,"-the
beautifulwomanwithoutpity(whatarewetomakeofthefactthatMary,whomMissFowlerhas
just characterised as "an old woman," returns in the end as "quite handsome!"?). "Vitality" is an
importantwordin"MaryPostgate"Mary'sbehaviourisenormouslycomplex.Sheallowstheyoung
German aviator to die. Why? Because he killed Edna (DID he?), and because the Germans are
beasts?BecauseWynn,theGentleman,theboyshelovedthoughhehadalwaystreatedheras"his
butt and his slave," had himself become a casualty of the War? Is Mary, for that matter, aware,
consciously, that she loves Wynn? What is Kipling saying about English class structures, about
relationships between men and women, about love? How has Mary's life prepared her for this
response,sothatwhenwebegintounderstandheritbeginstoseemnotunexpectedbutinevitable,
andhowdoesKiplingenableustocometoknowher?
Intheveryabundanceofwhatappeartobetrivialdetails,Kiplingdisplaysaremarkableefficiency,a
wonderful mastery of his craft: almost everything, every remark, every action, is charged with
meaning. What do we know about Wynn, for example, from the careful description of his
belongings, which are the paraphernalia of the English public school? What are we to make of
Mary'sritualdestructionofthem?Itisworthnotingthatalthoughthestoryhasnothingtodowith
India,inanyovertsense,theburningrecallstheIndiancustomofsuttee(theself-immolationofa
Hinduwidowuponherdeadhusband'sfuneralpyre)andremindsus,again,ofthecomplexityboth
ofMary'smotivesandofKipling'sart.
34
TERM6: PoetryfromWW1:Studentsselectanytwopoemsoftheirchoice
andcomparehowwriters’usepoeticdevicestocreateimagery(minimum500
words).
Inthisassignment,studentsconstructtheirownquestionanddecideonwhich
inconsultationwithtutor.
35