I love the opening sentence of A Christmas Carol:

"Marley was dead: to begin with."

Let's dig into it...

1/
Marley was dead to begin with. But obviously Dickens is foreshadowing his return in spectral form. Dickens knew the outlines of good storytelling. You don't say a character is dead unless you're going to have his ghost turn up a few pages later...

2/
So Marley is dead "to begin with" in the sense that Marley's death, and his return as a ghost, marks the "beginning" of the story of A Christmas Carol.

3/
We don't learn much about the life of Marley himself beyond his partnership with Scrooge. Perhaps he was always spiritually "dead" -- a misanthropic, ignorant hoarder like Scrooge becomes.

The important contrast here would be that Scrooge was not "dead to begin with".

4/
Scrooge had a childhood with perhaps few friends, but certainly curiosity, imagination and the capacity for merriment and joy, as seen in the flashback sequences.

5/
Marley's spiritual death condemns him to a long afterlife, seeing the people he could help but is now unable to. His death, wrapped in chains of wealth, is a continuation of his life. In this sense, he was already dead to begin with.

6/
But when Marley visits Scrooge, he marks a new beginning, as Scrooge is able to learn the lessons of generosity and compassion. So Marley's death "begins" this new phase of Scrooge's life.

7/
In one way, we can say that Marley was kept alive by Scrooge, who never took his name down from the business and was accustomed to being mistaken for Marley.

I love how ambiguous that is.

8/
Was Scrooge so unmoved by Marley's death that he never cared about changing the sign? Or was he (unconsciously?) preserving the life of his only companion in the world?

9/
To live as Marley did is a type of living death. But to distance himself from Marley might be to truly let him die, and maybe Scrooge can't do that.

10/
Dickens is also playing with Christian iconography in Marley.

Hey, is there anyone in the Bible you can think of who returns from death so that others might be forgiven their sins?

So it's sort of fitting that A Christmas Carol begins with a little nod to Jesus.

11/
I think the fact of Scrooge's story beginning not with Scrooge, but with Marley, suggests we should seek the beginning of Scrooge's story -- his emotional state now, his future change -- in Marley's death.

Not bad for six words!

12/12

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More from @GCSE_Macbeth

19 Aug
Eva Smith's body.

Eva's body is a construct. It may or may not exist: the Eva/Daisy that encounters each character could be identical, or not.

We might say it's ironic that although Eva is the subject of mistreatment by the Birlings, the Inspector also appropriates her.

1/
Eva's body is a commodity. It has value because of its youth and physical attractiveness.

Mr B remembers her as "good looking". Her looks help her get the job in Milwards, and they enable her to get "help" from Gerald. They give her a price when she turns to sex work.

2/
Eva's body is all she has of value. She has no other meaningful worth or possessions. Any time her personality shows through -- asking Mr B for a raise, smiling at Sheila, refusing Eric's money, navigating Mrs B's charity -- it ends in disaster.

3/
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15 Aug
"Pretending" in An Inspector Calls

The words "pretend" and "pretence" appear 12 times in An Inspector Calls.

JBP uses them to reflect the insincerity and moral failure of the Birlings' society.

1/
"Pretend" is first used by Gerald, where it neatly highlights Mr Birling's ham-fisted class pretensions:

Mr B: It's exactly the same port your father gets.
Gerald: [...] The governor prides himself on being a good judge of port. I don't PRETEND to know much about it.

2/
Which is a nice swipe at Mr Birling, who is of course pretending to know something about port as one of the credentials for entry into a higher echelon of the middle class.

3/
Read 14 tweets
23 Jul
A Grade 9 Analysis of the song "Alexander Hamilton" from the musical Hamilton.

How does a bastard, orphan, son of a whore and a Scotsman,

The song opens with a lengthy rhetorical question, suggesting that its subject will be something unintuitive or interesting to find out.

1/
Hamilton's life story will be almost unbelievable.

The phrase "bastard, orphan, son of a whore" uses tricolor to emphasise the severe obstacles that Hamilton faced to success. It introduces themes of class and parentage.

LMM uses humorous juxtaposition with "Scotsman"...

2/
...suggesting that have a Scots father is an impediment or a vice to rank alongside "bastard" and "whore".

3/
Read 34 tweets
21 Jul
I was thinking about how in Macbeth, Shakespeare uses one dramatic scenario over and over again. A big chunk of the play is based around one basic setup.

A character comes onto the stage and reports a death.

1/
There are almost too many examples to list:

- the "bloody man" reporting Macbeth's killing of Macdonwald to Duncan
- Malcolm's report of the Thane of Cawdor's death to Duncan
- Macbeth reports his murder of Duncan to Lady M
- Macduff relays his sight of Duncan's body

2/
- The murderers report back to Macbeth after killing Banquo
- Ross reports to Macduff his family's death
- Lady M sleepwalks on and remembers the murders M committed
- Seyton relays Lady M's death to Macbeth
- Ross informs Siward of his son's death

3/
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14 Jul
LONDON by William Blake.

What gives this poem its power is its ambiguity. It has a hallucinatory, nightmarish quality, created through a blurring of physical, psychological and sensory phenomena.

Examples of what I mean:

1/
The "marks of weakness, marks of woe" suggest physical signs, but "weakness" and "woe" can be seen psychologically. Is it physical weakness, mental weakness or both?

2/
"The mind-forg'd manacles I hear"

Again Blake is blurring a psychological aspect with a sensory one: the poet can "hear" others' state of mind. And the message here is ambiguous too: is it internalised weakness that causes imagined enslavement, or external factors?

3/
Read 10 tweets
10 Jul
Some quick, late thoughts about YA books on the curriculum.

@DavidDidau blogged on this today, and it got me thinking. This isn't meant as a point-by-point response or anything -- read this, then read his blog, and decide for yourself.

1/
I think YA books can happily co-exist on the KS3 curriculum with older and more canonical books. That's not to say they're the same, or there are no qualitative differences. I just think our subject can encompass both.

2/
While the concept of the "Canon" is problematic, most teachers would agree that there IS an academic discipline called "English" and at its core is a canon of agreed-upon "great works". And many would say those works should be at the centre of English in schools.

3/
Read 14 tweets

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