Good class chats about this bit of ACC Stave 3:

Everybody had something to say about it, but nobody said or thought it was at all a small pudding for a large family. It would have been flat heresy to do so.

I love the word HERESY here.

1/
It's not just that complaining about the scant food would be ungrateful or upsetting for the Cratchits.

It would be HERETICAL: it would go against a shared belief, an ethical code that they share implicitly, that what they have is enough.

2/
Their poverty is the elephant in the room, but their moral code dictates that family, humility and gratitude are how one lives, not jealousy or anger.

3/
Now, as a modern reader I could get quite annoyed at Dickens' moral landscape of the grateful, deserving poor and the benevolent rich. It doesn't amount to a real critique of inequality at a structural level, even compared to AIC.

But.

4/
I do think between this section and the Fezziwig section there's enough evidence of a discussion not just of rich and poor, but of employer and employee.

The duty of care, and the huge influence, that a man owes to those in his employ.

5/
And of course, Dickens being Dickens, it's hard to pin down his exact viewpoint. Does he see the Cratchit's grateful ethos as a virtue in itself? Or does he recognise it as a coping mechanism against the spectre of poverty? Should we feel admiration or guilt?

Anyway

6/6

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More from @GCSE_Macbeth

27 Oct
SYBIL BIRLING.

I’ve been thinking about Sybil a lot in the last week or so, about her treatment of Eva, and how it resonates with current questions about our treatment of the poor in times of need.

1/
It’s significant that JBP introduces Sybil as an almost comical character. Remember: Sybil’s generation would have all but died out by 1945, and those in the audience in their 50s or 60s would recognise themselves in Sheila and Eric, and their parents’ gen. in Mr and Mrs B.

2/
So Sybil sits on stage at curtain up, presumably dressed to stand out as her “husband’s social superior”, a relic of the Victorian upper class.

And her first contributions make her seem deliberately out of date:

3/
Read 27 tweets
4 Oct
I'm making a small but significant change in how I approach a couple of key moments in Macbeth.

I won't be using the words "regret", "remorse" or "guilt" to describe the emotions of Macbeth or Lady Macbeth.

Let me explain...

1/
What Macbeth experiences in 2:2, staggering out of Duncan's chamber, isn't guilt. It's horror. It's digust at his own actions, and a quickening sense of deep psychological damage done to himself.

It isn't guilt or remorse for his actions.

2/
Someone who says "I am afraid to think what I have done" is not feeling remorseful. They are feeling repulsion and fear.

Macbeth's desperation to clear his hands of blood isn't a sign of feeling *guilty* as such. It's wanting himself to be clean, not to see the deed undone.

3/
Read 7 tweets
26 Sep
A quick thread about P.

English EduTwitter often bemoans the use of PEE, PEAL, PETAL etc in GCSE responses, for some valid reasons. In my opinion these discussions often miss the biggest issue with paragraph formulae:

What is a POINT, anyway?

1/
Let’s say I’m answering a gcse question on Inspector Calls:

“How does Priestley present the character of Eric in the play?”

Consider the options I have for the start of my opening paragraph:

2/
a) Priestley introduces the character of Eric as “half-shy, half-assertive”.

b) Priestley introduces the character of Eric as a contrast to Mr Birling and Gerald.

c) Priestley introduces Eric through his reliance on alcohol.

d) Priestley introduces Eric as immature.

3/
Read 7 tweets
5 Sep
Some ideas about OZYMANDIAS, by Percy Bysshe Shelley, 1818.

1) I met a Traveller from an antique land

Shelley began writing Ozymandias after the British Museum acquired a statue of that figure (Ramesses II). It’s important that this poem describes a statue *in situ*...

1/
Not in a museum. The framing device allows for a reading of the statue in its original location.

An important theme of the poem is how meaning is made and changes: the meaning of the statue is different if you see it in the desert, and different to what Ozy himself intended.

2/
We don’t really use the word “antique” as an adjective in everyday speech now. It means old, but it means more than old I think. Shakespeare uses the word specifically to reference the classical world, the ancient past, and I think it has that meaning here too.

3/
Read 65 tweets
4 Sep
The first thing I teach for creative writing, and a quick way to up-level student work:

PARTICIPLES.

A participle is a verb that acts like an adjective. They can also have their own phrases. Examples:

1/
This is a sentence:

He burst into the room.

This is the same sentence with a PARTICIPLE PHRASE added:

Shouting in fury, he burst into the room.

Kicking the door into splinters, he burst into the room.

He burst into the room, terrifying the butler.

2/
a) You see this construction all the time in "real" fiction books but hardly ever in student writing unless it's specifically taught.

b) It allows you to describe two things happening at once, which is awesome.

3/
Read 8 tweets
24 Aug
I watched a lecture on A Christmas Carol from the academic John Mullan. I'll pull out some highlights.

I am paraphrasing some of this, so do check out the original lecture if you're interested:



1/
Mullan notes that the Victorian ghost story, which we now think of as a quintessential 19th c literary form, had not really got start when ACC was published in 1843. ACC precedes that craze (and Dickens himself would not be shy of capitalising on it once it got started).

2/
Christmas was a commercially important time for booksellers and authors then as now, and Dickens in his correspondance often refers to the importance of having work finished "in time for Christmas".

3/
Read 17 tweets

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