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Marina Spiazzi Marina Tavella Margaret Layton Performer Heritage 2 From the Victorian Age to the Present Age Heritage: study literature with history and cultural insights Build up literary competence through scaffolding Develop language and communicative competences at a B2 level eBook multimediale con video, audio, Text Bank ed esercizi interattivi LINGUE 5. The Victorian Age 47 William Makepeace Thackeray, Becky Sharp from Vanity Fair 92 David Herbert Lawrence, Clifford and Connie from Lady 48 Charles Dickens, Scrooge’s transformation from Chatterley’s Lover A Christmas Carol 93 David Herbert Lawrence, The wood from Lady Chatterley’s 49 Charles Dickens, Ignorance and want from A Christmas Carol Lover 50 Charles Dickens, Shall I ever forget those lessons? from 94 Edward Morgan Forster, Things unladylike from A Room David Copperfield with a View 51 Charles Dickens, Murdstone and Grinby’s warehouse from 95 Edward Morgan Forster, Cecil’s proposal from A Room David Copperfield with a View 52 Charles Dickens, A man of realities from Hard Times 96 Edward Morgan Forster, The echo from A Passage to India 53 Charlotte Brontë, Punishment from Jane Eyre 97 James Joyce, The Sisters from Dubliners 54 Charlotte Brontë, A dramatic incident from Jane Eyre 98 James Joyce, Araby from Dubliners 55 Emily Brontë, Back to Wuthering Heights from Wuthering 99 James Joyce, The funeral from Ulysses Heights 100 James Joyce, Riverrun from Finnegans Wake 56 Nathaniel Hawthorne, A flood of sunshine from The Scarlet 101 Virginia Woolf, My dear, stand still from To the Lighthouse Letter 102 Virginia Woolf, Lily Briscoe from To the Lighthouse 57 Herman Melville, Moby Dick from Moby-Dick 103 Virginia Woolf, Shakespeare’s sister from A Room of 58 Walt Whitman, I Hear America Singing One’s Own 59 Walt Whitman, Song of Myself 104 Aldous Huxley, The Conditioning Centre from Brave 60 Emily Dickinson, Wild Nights – Wild Nights! New World 61 Emily Dickinson, A narrow Fellow in the Grass 105 Aldous Huxley, Mustapha Mond from Brave New World 62 Emily Dickinson, I heard a Fly buzz – when I died – 106 George Orwell, Old Major’s speech from Animal Farm 63 Emily Dickinson, As if the Sea should part; Time feels so vast 107 George Orwell, The execution from Animal Farm that were it not 108 George Orwell, Newspeak from Nineteen Eighty-Four 64 George Eliot, Dorothea Brooke from Middlemarch 109 George Orwell, How can you control memory? from 65 Thomas Hardy, Angel and Tess in the garden from Tess Nineteen Eighty-Four of the D’Urbervilles 110 Francis Scott Fitzgerald, Boats against the current from 66 Thomas Hardy, Tess’s execution from Tess of the D’Urbervilles The Great Gatsby 67 Thomas Hardy, Jude and Sue from Jude the Obscure 111 Ernest Hemingway, Viva la pace! from A Farewell to Arms 68 Robert Louis Stevenson, The Carew murder case from 112 Ernest Hemingway, Catherine’s death from A Farewell to Arms The Strange Case of Dr Jekyll and Mr Hyde 113 Ernest Hemingway, The marline from The Old Man 69 Rudyard Kipling, Kim at an Indian railway station from Kim and the Sea 70 Oscar Wilde, A new hedonism from The Picture of Dorian Gray 114 Robert Frost, The Road Not Taken 71 Oscar Wilde, The vital importance of being Earnest from 115 Langston Hughes, I, too, sing America The Importance of Being Earnest 116 Langston Hughes, The Negro Speaks of Rivers 72 Oscar Wilde, The story of a hanging from The Ballad 117 John Steinbeck, Tom Joad’s speech from The Grapes of Reading Gaol of Wrath 73 George Bernard Shaw, Reality versus romance from Arms and the Man 7. The Present Age 118 Philip Larkin, Poetry of Departures 6. The Modern Age 119 Ted Hughes, Hawk Roosting 74 Siegfried Sassoon, A Soldier’s Declaration 120 Seamus Heaney, Personal Helicon 75 Saac Rosenberg, Break of Day in the Trenches 121 John Ronald Reuel Tolkien, Gandalf and Frodo from 76 William Butler Yeats, When You Are Old The Lord of the Rings 77 William Butler Yeats, The Lake Isle of Innisfree 122 Doris Lessing, AIDS, a curse on us from The Sweetest Dream 78 William Butler Yeats, Sailing to Byzantium 123 Bruce Chatwin, Chilean trucks and Chilenos from In Patagonia 79 Thomas Stearns Eliot, The Love Song of J. Alfred Prufrock 124 Angela Carter, The Werewolf from The Bloody Chamber 80 Thomas Stearns Eliot, What the Thunder Said from 125 Ian McEwan, Majdanek from Black Dogs The Waste Land 126 Ian McEwan, The force of adult hatred from Black Dogs 81 Thomas Stearns Eliot, This is the dead land from 127 Ian McEwan, Briony’s crime from Atonement The Hollow Men 128 Ian McEwan, Easily torn, not easily mended from Atonement 82 Thomas Stearns Eliot, Journey of the Magi 129 Samuel Beckett, We’ll come back tomorrow from 83 Thomas Stearns Eliot, Burnt Norton from Four Quartets Waiting for Godot 84 Wystan Hugh Auden, Musée des Beaux Arts 130 Harold Pinter, The matchseller from A Slight Ache 85 Wystan Hugh Auden, Funeral Blues 131 Harold Pinter, Looking for a room from The Caretaker 86 Wystan Hugh Auden, September 1, 1939 132 Jack Kerouac, An ordinary bus trip from On the Road 87 Wystan Hugh Auden, O Tell Me the Truth about Love 133 Don DeLillo, The cosmology of waste from Underworld 88 Dylan Thomas, The force that through the green fuse 134 Nadine Gordimer, The donkey didn’t cry out from drives the flower Burger’s Daughter 89 Dylan Thomas, Fern Hill 90 David Herbert Lawrence, The wind-swept ash-tree from Sons and Lovers Nell’indice del volume TB = Text Bank 91 David Herbert Lawrence, Paul meets Clara from Sons and Lovers Marina Spiazzi Marina Tavella Margaret Layton 2 Performer Heritage From the Victorian Age to the Present Age Impara con l’eBook multimediale 1 REGÌSTRATI Vai su my.zanichelli.it e iscriviti come studente 2 ATTIVA IL TUO LIBRO Nella tua area myZanichelli, clicca su attiva opera e inserisci la chiave di attivazione che trovi sul bollino argentato in questa pagina 3 CLICCA SULLA COPERTINA Puoi: ◾ sfogliare l’eBook online ◾ scaricarlo offline sul tuo computer o sul tuo tablet lingue Copyright © 2017 Zanichelli editore S.p.A., Bologna [19692der] www.zanichelli.it I diritti di elaborazione in qualsiasi forma o opera, di memorizzazione anche digitale su supporti di qualsiasi tipo (inclusi magnetici e ottici), di riproduzione e di adattamento totale o parziale con qualsiasi mezzo (compresi i microfilm e le copie fotostatiche), i diritti di noleggio, di prestito e di traduzione sono riservati per tutti i paesi. 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The Victorian Age 1837-1901 eBook Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 2 An Overall View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 3 Interactive timeline History and Culture 5.1 The dawn of the Victorian Age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 4 Dictation The Great Exhibition The Portrait Prince Albert of Saxe-Coburg-Gotha The dawn of the Victorian Age 5.2 The Victorian compromise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 7 B2 Exams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 8 First Reading and Use of English – Part 5 First Listening – Part 2 First Writing – Part 2 First Reading and Use of English – Part 2 CLIL Science Discoveries in medicine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 10 5.3 Early Victorian thinkers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 12 Route 8 Women in the 19th century 5.4 The American Civil War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 14 Internet Point Abraham Lincoln . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 16 The American Civil War 5.5 The later years of Queen Victoria’s reign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 17 5.6 The late Victorians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 20 The later years of Queen Victoria’s reign Literature and Genres 5.7 Victorian poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 22 5.8 The Victorian novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 24 TB 47 William Makepeace Thackeray 5.9 American Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 27 TB 64 George Eliot 5.10 The late Victorian novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 28 5.11 Aestheticism and Decadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 29 Dictation The Pre-Raphaelite Brotherhood Cultural Insight The dandy Route 9 The Pre-Raphaelites 5.12 Victorian drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 31 Authors and Texts 5.13 Alfred Tennyson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 32 T58 Ulysses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 34 5.14 Charles Dickens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 37 TB 48-49 A Christmas Carol Oliver Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 39 TB 50-51 David Copperfield T59 The workhouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 40 TB 52 Hard Times T60 Oliver wants some more . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 42 From Text to Screen Oliver Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 45 From Text to Screen Oliver Twist Hard Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 46 T61 Mr Gradgrind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 47 T62 Coketown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 49 Across Cultures Work and alienation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 52 5.15 The Brontë sisters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 54 Jane Eyre by Charlotte Brontë . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 54 TB 53-54 Jane Eyre T63 Women feel just as men feel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 56 TB 55 Wuthering Heights T64 Jane and Rochester . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 58 Wuthering Heights by Emily Brontë . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 61 T65 Catherine’s ghost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 63 T66 I am Heathcliff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 65 T67 Heathcliff ’s despair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 70 5.16 Lewis Carroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 72 Alice’s Adventures in Wonderland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 72 T68 A mad tea party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 73 III eBook 5.17 Nathaniel Hawthorne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 77 TB 56 The Scarlet Letter The Scarlet Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 77 T69 Public shame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 79 5.18 Herman Melville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 82 TB 57 Moby-Dick Moby-Dick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 82 T70 Captain Ahab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 84 T71 The whiteness of the whale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 86 5.19 Walt Whitman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 88 TB 58 I Hear America Singing T72 O Captain! my Captain! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 90 TB 59 Song of Myself T73 Song of the Open Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 91 5.20 Emily Dickinson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 93 TB 60 Wild Nights – Wild Nights! TB 61 A narrow Fellow in the Grass T74 Hope is the thing with feathers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 94 TB 62 I heard a Fly buzz – when I died – T75 Because I could not stop for Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 95 TB 63 As if the Sea should part; 5.21 Thomas Hardy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 97 Time feels so vast that were it not Tess of the D’Urbervilles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .p . 99 T76 Alec and Tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 100 TB 65-66 Tess of the D’Urbervilles T77 Tess’s baby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 104 TB 67 Jude the Obscure Jude the Obscure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 106 T78 Little Father Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 107 From Text to Screen Jude 5.22 Robert Louis Stevenson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 110 The Strange Case of Dr Jekyll and Mr Hyde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 110 TB 68 The Strange Case of Dr Jekyll and Mr Hyde T79 Story of the door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 112 T80 Jekyll’s experiment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 115 Link to Contemporary Culture The detective story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 117 5.23 Rudyard Kipling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 122 TB 69 Kim T81 The mission of the coloniser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 123 5.24 Oscar Wilde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 124 From Literature to Screen Wilde The Picture of Dorian Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 126 TB 70 The Picture of Dorian Gray T82 The preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 127 TB 71 The Importance of Being Earnest T83 The painter’s studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 129 T84 Dorian’s death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 131 TB 72 The Ballad of Reading Gaol From Text to Screen Dorian Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 135 The Importance of Being Earnest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 136 T85 The interview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 137 5.25 George Bernard Shaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 140 TB 73 Arms and the Man Mrs Warren’s Profession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 141 T86 Mother and daughter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 142 Topic 5 Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 146 Is teaching to a student’s ‘learning style’ a bad idea? . . . . . . . . . . . . . . . . . . . . . . . . . p . 147 Another Brick in the Wall Part 2 by Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 149 A teacher’s testament by Graham Swift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 150 ONLINE Review p . 152 Interactive exercises IV 6. The Modern Age 1901-1945 eBook Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 154 An Overall View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 155 Interactive timeline History and Culture 6.1 From the Edwardian Age to the First World War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 156 Dictation The Suffragettes 6.2 Britain and the First World War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 158 The Edwardian Age and the First World War Internet Point New warfare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 160 6.3 The age of anxiety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 161 Route 10 Two modern visions of the human condition CLIL Philosophy A window on the unconscious . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 164 6.4 The inter-war years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 166 6.5 The Second World War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 168 The inter-war years and the Second The Portrait Sir Winston Churchill World War From History to Screen Michael Collins; B2 Exams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 170 The Wind That Shakes the Barley IELTS Academic Reading IELTS Listening – Section 3 From History to Screen The King’s Speech; IELTS Academic Writing – Task 1 Pearl Harbor th 6.6 The USA in the first half of the 20 century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 173 IELTS Listening – Section 1 Literature and Genres 6.7 Modernism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 176 The USA in the first half of the 20th century Cultural Insight Modernism in painting and music 6.8 Modern poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 178 TB 88-89 Dylan Thomas 6.9 The modern novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 180 6.10 The interior monologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 182 TB 104-105 Aldous Huxley 6.11 A new generation of American writers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 186 From Literature to Screen Midnight in Paris TB 114 Robert Frost Authors and Texts 6.12 The War Poets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 188 TB 74 A Soldier’s Declaration T87 The Soldier by Rupert Brooke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 189 TB 75 Break of Day in the Trenches T88 Dulce et Decorum Est by Wilfred Owen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 191 T89 Glory of Women by Siegfried Sassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 193 TB 76 When You Are Old 6.13 William Butler Yeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 195 TB 77 The Lake Isle of Innisfree T90 Easter 1916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 198 TB 78 Sailing to Byzantium T91 The Second Coming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 200 6.14 Thomas Stearns Eliot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 202 TB 79 The Love Song of J. Alfred Prufrock TB 80 The Waste Land The Waste Land . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 204 TB 81 The Hollow Men T92 The Burial of the Dead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 206 TB 82 Journey of the Magi T93 The Fire Sermon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 208 TB 83 Burnt Norton 6.15 Wystan Hugh Auden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 210 Another Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 212 TB 84 Musée des Beaux Arts T94 Refugee Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 212 TB 85 Funeral Blues T95 The Unknown Citizen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 214 TB 86 September 1, 1939 6.16 Joseph Conrad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 216 TB 87 O Tell Me the Truth about Love Heart of Darkness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 218 T96 A slight clinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 220 T97 The horror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 223 From Text to Screen Heart of Darkness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 226 From Text to Screen Apocalypse Now 6.17 David Herbert Lawrence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 227 Sons and Lovers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 229 TB 90-91 Sons and Lovers T98 Mr and Mrs Morel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 230 TB 92-93 Lady Chatterley’s Lover T99 The rose bush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 232 V eBook 6.18 Edward Morgan Forster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 234 TB 94-95 A Room with a View A Passage to India . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 236 TB 96 A Passage to India T100 Chandrapore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 238 T101 Aziz and Mrs Moore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 240 Link to Contemporary Culture The fascination of the East . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 244 6.19 James Joyce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 248 TB 97-98 Dubliners Dubliners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 251 TB 99 Ulysses T102 Eveline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 253 TB 100 Finnegans Wake T103 Gabriel’s epiphany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 257 A Portrait of the Artist as a Young Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 259 T104 Where was his boyhood now? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 260 Across Cultures Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 262 6.20 Virginia Woolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 264 TB 101-102 To the Lighthouse TB 103 A Room of One’s Own Mrs Dalloway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 266 T105 Clarissa and Septimus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 268 T106 Clarissa’s party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 271 From Text to Screen The Hours 6.21 George Orwell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 274 Nineteen Eighty-Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 276 TB 106-107 Animal Farm T107 Big Brother is watching you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 278 TB 108-109 Nineteen Eighty-Four T108 Room 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 280 Route 11 Dystopia, the shadow of utopia 6.22 Francis Scott Fitzgerald . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 284 The Great Gatsby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 285 TB 110 The Great Gatsby T109 Nick meets Gatsby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 287 6.23 Ernest Hemingway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 290 From Text to Screen The Great Gatsby A Farewell to Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 292 T110 There is nothing worse than war . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 293 TB 111-112 A Farewell to Arms 6.24 Langston Hughes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 296 TB 113 The Old Man and the Sea Cultural Insight Blues and jazz T111 The Weary Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 298 TB 115 I, too, sing America 6.25 John Steinbeck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 300 TB 116 The Negro Speaks of Rivers The Grapes of Wrath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 300 T112 From fear to anger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 303 TB 117 The Grapes of Wrath Topic 6 Women in the world . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 306 Gains in women’s rights haven’t made women happier. Why is that? . . . p . 307 Woman’s Work by Tracy Chapman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 309 All those handkerchiefs by Monica Ali . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 310 ONLINE Review p . 312 Interactive exercises VI 7. The Present Age 1945-today eBook Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 314 An Overall View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 315 Interactive timeline History and Culture 7.1 The post-war years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 316 The post-war years, the Sixties 7.2 The Sixties and Seventies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 319 and the Seventies Dictation Protest songs Internet Point Youth culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 321 From History to Screen Dirty Dancing From History to Screen Across the Universe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 322 7.3 The Irish Troubles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 323 7.4 The Thatcher years: rise and decline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 324 The Portrait Margaret Thatcher The Thatcher years 7.5 From Blair to Brexit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 326 B2 Exams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 328 From Blair to Brexit IELTS Academic Reading IELTS Listening – Section 2 IELTS Listening – Section 4 IELTS Speaking – Part 2 IELTS Academic Writing – Task 1 IELTS Speaking – Part 3 IELTS Academic Writing – Task 2 7.6 The USA after the Second World War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 331 Link to Contemporary Culture Echoes of war . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 334 The USA after the Second World War Literature and Genres 7.7 New trends in poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 338 TB 119 Ted Hughes 7.8 The contemporary novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 340 7.9 Contemporary drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 342 TB 121 John Ronald Reuel Tolkien Cultural Insight Existentialism TB 123 Bruce Chatwin TB 124 Angela Carter 7.10 American literature after the Second World War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 344 TB 130-131 Harold Pinter 7.11 Voices from English-speaking countries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 346 Route 12 Racism and discrimination CLIL Art Contemporary art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 348 Route 13 Uneasiness and rebellion Route 14 Voices from English-speaking countries Authors and Texts 7.12 Philip Larkin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 350 T113 Annus Mirabilis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 351 TB 118 Poetry of Departures 7.13 Seamus Heaney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 352 T114 Digging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 354 TB 120 Personal Helicon T115 Punishment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 356 7.14 William Golding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 358 Lord of the Flies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 359 T116 The end of the play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 361 7.15 Doris Lessing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 364 The Grass Is Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 366 TB 122 The Sweetest Dream T117 The bush avenged itself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 367 7.16 Ian McEwan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 370 Black Dogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 371 TB 125-126 Black Dogs T118 A racy attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 372 TB 127-128 Atonement 7.17 Samuel Beckett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 375 Waiting for Godot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 376 TB 129 Waiting for Godot T119 Waiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 377 VII eBook 7.18 John Osborne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 382 Look Back in Anger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 383 T120 Jimmy’s anger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 384 7.19 Jack Kerouac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 388 On the Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 390 TB 132 On the Road T121 We moved! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 391 7.20 Don DeLillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 392 Falling Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 392 TB 133 Underworld T122 Down the tower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 394 7.21 Salman Rushdie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 397 Midnight’s Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 397 T123 15th August 1947 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 399 Across Cultures Magic realism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 403 7.22 Nadine Gordimer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 405 The Pickup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 406 From History to Screen Invictus T124 Back home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 407 TB 134 Burger’s Daughter Topic 7 Living art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 410 Museum peace: Japan’s Naoshima island . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 411 Hymn for the Weekend by Coldplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 413 Recycling art in a desert landscape by Don DeLillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 414 ONLINE Review p . 416 Interactive exercises Study Skills 18 The Cornell note-taking system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 418 19 How to answer oral questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 419 20 How to write a commentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 419 21 How to go from text to context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 420 22 How to give your personal response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 420 23 How to compare and contrast different authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 421 24 How to develop a topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 421 25 How to write an essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p . 422 VIII Com’è fatto il libro HISTORY AND CULTURE LITERATURE AND GENRES History and Culture 7.5 Literature and Genres From Blair 6.10 1997-2016 to Brexit The interior monologue 1 3 Key ideas 2 COMPETENCE: READING AND UNDERSTANDING INFORMATION the first paragraph again and say: how Tony Blair changed the Labour Party; what his political views were; Ampia introduzione storica e culturale . VOCABULARY: New Labour visible international supporter of the Bush a national referendum before any EU body with and only the mind level of narration, flow freely, not interrupted by external events. 1 POLITICS READ the text and write the Italian translation of the highlighted words and phrases about politics. In May 1997 the elections were won by Tony Blair (1997-2007), leader of the Labour Party. At 43 Tony Blair became the youngest UK Prime Minister of the 20th century. He won elections in 2001 and 2005 and was in office for ten years. He believed that it was necessary administration in its war on terrorism. In 2003 Blair and other European Prime Ministers signed a public letter of support for American policy against Iraq, splitting the EU. On 7th July 2005 London too suffered a terrorist bombing, Britain’s worst attack since World War II. Four or institution could impose an obligation on the UK. Cameron went further and promised an ‘in-or-out’ referendum if he won the 2015 election. Eurosceptic pressure was particularly created by the UK Independence Party (UKIP) by drawing on the sensitive issue of 3 the reforms promoted by his government. the second paragraph again and decide whether the following statements are true or false. Correct the false ones. The British government did not Le Key ideas focalizzano in modo attivo 1 up to the extreme interior monologue. The direct interior monologue with two levels of narration is characterised by a mix of third- person narration, linked to an external time, and an interior narration linked to the concept of ‘inner time’, that is, the time of the character’s The extreme interior monologue was used by Joyce in Finnegans Wake (1939) (→ Text Bank 100). Here the narration takes place inside the mind of the main character, while he is dreaming. Words, sometimes foreign, and free associations are fused to create new i concetti principali . Le attività, qui come 1 ................................................................................................ to reform the Labour Party to give people bombs exploded, three on underground trains immigration, as more and more citizens of the support the United States in the war mind. In the direct interior monologue with the expressions, with references to all areas of from all backgrounds a voice and to reflect the and one on a double-decker bus during the new EU countries were acquiring rights of free on terrorism. ............................................................................ mind level of narration, the character’s thoughts human experience. 2 ................................................................................................ diversity of the population better. He called morning rush hour, killing 52 people and movement. There has never been a terrorist 3 ................................................................................................ 3 VISUAL ANALYSIS it ‘New Labour’ and dropped the belieff that wounding more than 700. Four Muslim men, In 2012, Britain celebrated Queen Elizabeth II’s attack in London. ............................................................... 4 ................................................................................................ Britain’s big industries should be nationalised. three of them British-born, were identified as Diamond Jubilee with festivities on a huge A terrorist plot was discovered 5 2 FOCUS on the third paragraph and identify the different kinds of interior monologue. in tutto il libro, presentano l’indicazione ................................................................................................ He promised to spend more money on the the suicide bombers. scale and the reassertion of British identity to destroy planes travelling 6 ................................................................................................ National Health Service and education but In August 2006 the London Metropolitan Police symbolised by the monarchy. In 2013 the Duke from the USA to the UK. .......................................... 7 ................................................................................................ held more conservative views on law and order discovered a major terrorist plot to destroy and Duchess of Cambridge (almost universally Tony Blair resigned after a terrorist Subjective consciousness psychoanalyst’s couch as the mind of the 8 ................................................................................................ issues, as well as family values. His government several aeroplanes travelling from Britain to the known as ‘William and Kate’) had their first ................................................................................................ Introspection was already present in the character is allowed to wander freely among 9 ................................................................................................ produced constitutional reforms that partially USA. Intelligence sources stated that the plan child, George. Their daughter Charlotte was Gordon Brown replaced Blair after the 18th-century novels of Defoe and Richardson associations of ideas. decentralised the UK, leading to the formation was close to execution, and if it had succeeded, born in 2015. In this way the British monarchy 2008 general election. ................................................ (→ 3.8); the 19th-century novel presented 10 ................................................................................................ Types of interior monologue the of separate Parliaments in Wales and Scotland it would have been the deadliest terrorist attack was projected far into the future. its characters as social beings but also as External reality causing delle competenze coinvolte . 11 ................................................................................................ by 1999. New Labour promoted progressive since September 11th. In 2014 a referendum was held in Scotland individuals with a moral and emotional There are two basic kinds of interior monologue, 4 the rest of the text and answer the 12 ................................................................................................ attitudes such as equality for women, blacks Tony Blair had an agreement with his on Scottish independence. The Scots voted inner life (→ 5.10). At the beginning of the indirect and direct. following questions. 13 ................................................................................................ and Asians and the recognition in law of same- Chancellor of the Exchequer, Gordon Brown, narrowly by 55% to 45% to remain part of the 20th century, writers gave more and more In the indirect interior monologue, the narrator What kind of government took office after sex partnerships in 2004. that he would resign at least a year before United Kingdom. the 2010 election? importance to subjective consciousness and never lets the character’s thoughts flow without another election. This was to give Gordon understood it was impossible to reproduce control, and maintains logical and grammatical Terrorism Brexit How did the new government face crisis? Brown experience of running the country. y Tony the complexity of the human mind using organisation (→ T106). The character’s thoughts Following the devastating terrorist attacks Blair, in fact, resigned in June 2007 and Brown The year 2016 was marked by the Brexit What complicated Britain’s problems? traditional techniques; so they looked for are presented both directly and by adding From Blair to Brexit on the Twin Towers and the Pentagon in the became the leader of the Labour Party and referendum, which resulted in a vote to leave What attitude developed as a consequence? more suitable means of expression. Novelists descriptions, appropriate comments and United States on September 11th 2001 (→ 7.6), Prime Minister (2007-10). the EU by almost 52% on a national turnout of What events reinforced the popularity adopted the interior monologue to represent explanatory or introductory phrases to guide the British government became the most 72%. Following Cameron’s resignation in June of the monarchy? the unspoken activity of the mind before it is the reader through the narration; the character David Cameron 2016, Theresa May became the Prime Minister What was the Brexit referendum? What ordered into speech. stays fixed in space while his/her consciousness With the general election in 2010 a new and leader of the Conservative Party. was the result of the vote? moves freely in time: in the character’s mind, Conservative-Liberal Democratic coalition Main features however, everything happens in the present, took office with the Tory David Cameron as of the interior monologue which can extend to infinity or contract to a uncompromising13 severity, with his high forehead and his fierce blue eyes, impeccably associations candid and pure, frowning14 slightly at the sight of human frailty, so that his mother, Presentazione del contesto letterario Prime Minister (2010-16) and the leader of Here are the main features of the interior moment. This concept of ‘inner time’, which the Liberal Democrats, Nick Clegg, as Deputy monologue. is irregular and disrupted compared to the watching him guide his scissors neatly round the refrigerator, iimagined him all red and Prime Minister. The new government had • It is the verbal expression of a psychic conventional conception of time, is preferred ermine15 on the Bench16 or directing a stern and momentous17 enterprise in some crisis of to face the financial crisis, which had started phenomenon, the stream of consciousness. to ‘external time’, since it shows the relativism 20 public affairs. in 2008, by cutting social spending, making • It is characterised by the frequent lack of of a subjective experience. 1. Tony Blair poses with his wife Cherie and employees redundant in the public sector and chronological order. In Ulysses, Joyce brought to perfection the their four children on restraining the costs of the NHS. England’s 3. David Cameron. • The narrator may be present. interior monologue, employing the direct e analisi dei generi the steps of his official problems were complicated by the state of the • Formal logical order may be lost or lacking. interior monologue where the narrator seems 1 to be … lark. Essere in piedi con 6 gloom. Tristezza. 10 poplar trees. Pioppi. 15 all … ermine. Vestito tutto di porpora residence, 10 Downing 4. Queen Elizabeth II with l’allodola, cioè molto presto. 7 endowed … bliss. Attribuì, mentre sua 11 rooks cawing. Corvi che gracchiavano. ed ermellino. Street, London, in 2001. Eurozone, which absorbed 40% of its exports. Prince William and his wife • The action takes place within the character’s not to exist and the character inner self is 2 it were … place. Fosse stabilito che mamma parlava, una gioia celestiale 16 Bench. Il banco dove il giudice 12 brooms … rustling. Scope che urtavano, Being an EU member also meant being forced Catherine (Kate) during mind. given directly. Joyce used two different kinds la spedizione si sarebbe svolta. all’immagine di un frigorifero. abiti fruscianti. o il magistrato siedono. 2. The memorial to the into economic austerity. Euroscepticism a Diamond Jubilee visit to • Speech may be immediate, without of direc interior monolgue: that with two levels 3 a day’s sail. Un giorno di navigazione. 8 It was … joy. Era (l’immagine) coronata 13 stark and uncompromising. Dura 17 stern and momentous. Rigida victims of the 7th July Nottingham in June 2012. 4 cloud. Offuscare. di gioia. e rigida. e di grande importanza. 2005 terrorist attack, in developed and the government was forced to introductory expressions. The interior of narration – one external to the character’s 5 to crystallise and transfix. Di 9 The … lawnmower. La carriola, 14 frowning. Corrugando la fronte. Hyde Park, London. 2 pass a European Union Act in 2011 requiring 4 5 5. Theresa May. monologue can be compared to the mind, and the other internal – and the one cristallizzare e fissare. la falciatrice da prato. 326 7. The Present Age 327 con schemi e visual analysis . 182 6. The Modern Age 183 AUTHORS AND TEXTS 1854-1900 Authors and Texts Key idea Being Earnest. Art for Art’s Sake Ampia introduzione all’autore e all’opera 6. Oscar Wilde and Lord Alfred Douglas in the early 1890s. 5.24 7. Closing scene at the Old Bailey-trial of Oscar Wilde, The Illustrated Police News, 4th May 1895. Oscar Wilde Canterville Ghost, Lord Arthur Savile’s Crime, The concept of ‘Art for Art’s Sake’ was not merely READING COMPETENCE CURIOSITIES The Happy Prince and Other Tales, written an aesthetic one. Wilde T114 Digging Seamus Heaney Death of a Naturalist believed that only art as the 8 What are the feelings conveyed through the poet’s memories? Tick con attività di ascolto . for his children, and the novel The Picture of (1966) 1 READ the poem and match the highlighted words with Dorian Gray (1891). After his first and only cult of beauty could prevent Though dealing with the rural tradition of the poet’s childhood, this poem also explores his feelings their meaning. the murder of the soul. He towards Ireland and his art. X.X For a long time, Wilde’s name novel, he developed an interest in drama and 1 long stick .......................................... 6 very short and thickset revived the comedy of manners (→ 3.6). In perceived the artist as an alien was associated with scandal 2 manage, use ................................ ........................................................................... Life and works his lectures amazed the American audiences. the late 1890s he produced a series of plays in a materialistic world, he Between my finger and my thumb and intrigue. However, with 7 closed .................................................... Oscar Wilde, the son of a surgeon and of an On his arrival in New York he told reporters which were successful on the London stage: wrote only to please himself The squat pen rests; snug1 as a gun. 3 earth ........................................................ changing social attitudes 8 bending 3 and was not concerned about 4 throw in various random he became remembered for ambitious literary woman, was born in Dublin that Aestheticism was a search for the Lady Windermere’s Fan (1892), A Woman of Per i brani letterari sono presenti tre tipi his unique contributions to communicating his theories to Under my window, a clean rasping sound directions .......................................... 9 brief, abrupt in 1854. After attending Trinity College in beautiful, a science through which men looked No Importance (1893), An Ideal Husband literature, as a genius of wit. his fellow-beings. His pursuit of When the spade sinks into gravelly ground2: 5 very wet ............................................... 10 grating .................................................. his home city, he was sent to Oxford, where for the relationship between painting, sculpture (1895) and his masterpiece The Importance Here are some of Wilde’s 5 beauty and fulfilment was the he gained a first-class degree in Classics and and poetry, which were simply different forms of Being Earnestt (1895). However, both the 5 My father, digging. I look down famous quotes from his tragic act of a superior being distinguished himself for his eccentricity. He of the same truth. The tour was a great success novel and Saloméé (1893), a tragedy written in inevitably rejected as an outcast. 2 READ the poem again and do the following activities. works. was influenced by the art critic John Ruskin for Wilde, who became famous for his irony, his French, damaged the writer’s reputation: the • Art is the most intense Till his straining rump3 among the flowerbeds 1 Explain: (→ 5.6) and became a disciple of Walter Pater attitudes and his posing. former was considered immoral, and the latter Bends low, comes up twenty years away form of individualism that 1 where the speaker is; (→ 5.11), accepting the theory of ‘Art for Art’s On his return to Europe in 1883, he married was prevented from being performed on the di analisi: the world has known. Stooping in rhythm through potato drills4 2 if he coincides with the poet; Sake’. After graduating in 1878, he moved to Constance Lloyd, who bore him two children. London stage due to its presumed obscenity. • To live is the rarest thing Where he was digging. in the world. Most people London, where he soon became a celebrity for At this point in his career he was most noted Oscar Wilde’s years of triumph ended 3 what he is doing; exist, that is all. his extraordinary wit and his characteristic as a great speaker: his presence became a social dramatically when, in 1891, his intimate 4 what he can see; clothes’ style as a ‘dandy’. event and his remarks appeared in the most association with the young poet Lord Alfred 10 The coarse5 boot nestled on the lug6, the shaft • Education is an admirable 5 what and whom this scene makes him remember; In 1881 Wilde published, at his own expense, fashionable London magazines. Douglas,‘Bosie’, led to his trial on charges of Against the inside knee was levered7 firmly. thing, but it is well to 6 what the man was very good at; remember from time to a collection called Poems and was invited to In the late 1880s Wilde’s literary talent was homosexuality, then illegal in Britain. He was He rooted out tall tops8, buried the bright edge9 deep To scatter new potatoes that we picked 7 what the speaker brought him one day; time that nothing that undertake a speaking tour in the United States: revealed by a series of short stories, The sentenced to two-year hard labour. While in is worth knowing can prison, he wrote De Profundis, a long letter to Loving their cool hardness in our hands. 8 what the speaker decides to do in the end. be taught. Bosie which was published posthumously in 2 Consider the sequence of the scenes described. Identify • Vulgarity is simply the COMPETENCE: USING 1905. When he was released, he was a broken 15 By God, the old man could handle a spade. those belonging to the poet’s reflection and those conduct of other people. 6 THE VISUAL TOOLS man; his wife refused to see him, and he went Just like his old man. associated with his memory. • There is only one thing in OF COMMUNICATION into exile in France, where he lived out his last 3 Decide whether the following statements about the the world worse than being years in poverty. The Ballad of Reading Gaol 1 talked about, and that is 1 READ the first paragraph My grandfather cut more turf 10 in a day sound of the poem are true or false. (1898) (→ Text Bank 72), originally published not being talked about. and use the pictures on these Than any other man on Toner’s bog11. 1 The poem has a regular rhyme scheme. under his prison identity,‘C.3.3’, was his last pages to provide evidence • No man is rich enough Once I carried him milk in a bottle 2 The stanzaic division follows a regular to buy back his past. published work before he died of meningitis in of the most important events 20 Corked sloppily12 with paper. He straightened up pattern. ...................................................................................................................... • Experience is simply 1900 in a hotel in Paris. of Wilde’s life and the main To drink it, then fell to right away 3 There are several run-on lines. ............................................. the name we give our features of his works. mistakes. The rebel and the dandy Nicking and slicing neatly13, heaving sods14 4 The poem is free verse. ..................................................................... Reading competence, Wilde adopted the ‘aesthetic ideal’, as he Over his shoulder, going down and down 1 4 Line 4 contains affirmed in one of his famous conversations: For the good turf. Digging. COMPETENCE: 1. Albin Egger-Lienz, Mower, ca 1921. A alliteration. 1 2 ‘My life is like a work of art’. He lived the Private collection. READING AND B simile. double role of rebel and dandy. Wilde’s dandy 25 The cold smell of potato mould, the squelch15 and slap is an aristocrat whose elegance is a symbol of UNDERSTANDING C enjambement. INFORMATION Of soggyy peat16, the curt cuts of an edge the superiority of his spirit; he uses his wit to Through living roots awaken in my head. 5 The ‘squelch and slap’ in line 25 is shock and he is an individualist who demands 4 A assonance. finalizzata alla lettura e comprensione Text Bank 70-72 2 READ the rest of the text But I’ve no spade to follow men like them. absolute freedom. Since life was meant for B onomatopoeia. and answer the questions. pleasure, and pleasure was an indulgence in the 1. An unconventional statue of Oscar Wilde beautiful, Wilde’s interest in beauty – clothes, 1 What ideal did Wilde adopt Between my finger and my thumb C personification. (1997) in Merrion Square Park, Dublin, by the Irish sculptor Danny Osborne. words or physical beauty – had no moral throughout his life? 30 The squat pen rests. 6 Underline the words referring to the area of agriculture. stance. In the ‘Preface’ (→ T82) to his novel he 2 Who is Wilde’s dandy? I’ll dig with it. 7 COMPETENCE: 2. Oscar Wilde at Oxford. 7 Through the image of his digging forefathers, Heaney affirmed: ‘There is no such thing as a moral or 3 What does the writer reject in expresses a vision of labour that is LINKING LITERATURE TO PERSONAL EXPERIENCE del testo con domande guidate . 3. Oscar Wilde, 1882. an immoral book. Books are well written, or the ‘Preface’ to his novel? 1 snug. Comoda, aderente. 4 drills. Solchi. 8 tops. Cime (delle piante). 12 sloppily. Alla meglio. 14 heaving sods. Sollevando zolle. A hard and unrewarding. badly written. That is all.’ In this way he rejected 4 What is art, according to 2 the spade … ground. La vanga 5 coarse. Rozzo, ruvido. 9 edge. Bordo (della vanga). 13 Nicking and slicing neatly. 15 squelch. Rumore che si 5 DISCUSS. Can you remember any moment in your childhood when 4. A cover of the novel The Picture of Dorian Wilde? affonda nel terreno ghiaioso. 6 nestled on the lug. Era posato 10 turf. Torba. Intagliando e tagliando a fette provoca calpestando il fango. B productive and rewarding at the same time. you observed your father or grandfather at work? Describe what Gray. y the didacticism that had characterised the 3 straining rump. Schiena sotto sulla staffa (della vanga). 11 bog. Torbiera, terreno accuratamente. 16 peat. Torba. 3 4 7 Victorian novel in the first half of the century. 5 Who is the artist? C humiliating. they did, how you felt and what idea of work you perceived. 5. 1895 London premiere of The Importance of sforzo. 7 was levered. Faceva leva. paludoso. 124 5. The Victorian Age 125 354 7. The Present Age 355 2 Visual analysis, seguita da attività di contestualizzazione e approfondimento anche a livello personale . Authors and Texts Authors and Texts Bestows20 one final patronising kiss21, T93 The Fire Sermon Thomas Stearns Eliot T67 Heathcliff ’s despair He dashed his head against the knotted trunk26; and, lifting up his eyes, howled, not like a y finding the stairs unlit22… And gropes his way, Emily Brontë 26 knotted trunk. Tronco nodoso. The Waste Land Wuthering Heights 45 man, but like a savage beast getting goaded27 to death with knives and spears28. 27 goaded. Tormentata. (1922) (1847) I observed several splashes of blood about the bark29 of the tree, and his hand and forehead 28 spears. Lance. This passage introduces a key figure in the poem, Tiresias, the Theban prophet She turns and looks a moment in the glass, The following passage tells about Heathcliff ’s reaction to Catherine’s death and gives an insight into Chapter 16 29 bark. Corteccia. Section III, who was punished with blindness because he had seen Athena, the goddess of the depth of his love for her despite the fact she had married Edgar Linton. were both stained; probably the scene I witnessed was a repetition of others acted during the night. 30 it appalled me. Mi atterrì. ‘The Fire Sermon’ Hardly aware of her departed lover; knowledge, bathing naked. In Sophocles’s tragedy, Oedipus the King, g Tiresias X.X It hardly moved my compassion – it appalled me30; still I felt reluctant to quit31 him so. But the 31 to quit. A lasciarlo. X.X 45 Her brain allows one half-formed thought to pass: 32 beyond my skill. Al di là delle predicts that Thebes will be destroyed. I wished, yet feared to find him. I felt the terrible news must be told, and I longed to get it over1, but moment he recollected himself enough to notice me watching, he thundered a command for me to ‘Well now that’s done: and I’m glad it’s over.’ mie capacità. howw to do it, I did not know. 50 go, and I obeyed. He was beyond my skill32 to quiet or console! Unreal Cityy When lovely woman stoops to folly and He was there – at least a few yards further in the park, leant against an old ash tree, his Under the brown fog of a winter noon hat off, and his hair soaked with the dew2 that had gathered on the budded branches3, and fell Mr Eugenides, the Smyrna merchant with automatic hand, 5 pattering4 round him. He had been standing a long time in that position, for I saw a pair of ousels5 LITERARY COMPETENCE 5 Unshaven, with a pocket full of currants C.i.f. London1: documents at sight, Asked me in demotic French2 To luncheon at the Cannon Street Hotel Followed by a weekend at the Metropole3. 3 10 passing and repassing, scarcely three feet from him, busy in building their nest, and regarding his proximity no more than that of a piece of timber6. They flew off at my approach, and he raised his eyes and spoke: ‘She’s dead!’ he said; ‘I’ve not waited for you to learn that. Put your handkerchief away – don’t snivel7 before me. Damn you all! she wants none of yourr tears!’ I was weeping as much for him as her; we do sometimes pity creatures that have none of the 7 1 VOCABULARY READ the text and match the highlighted verbs with their meaning. 2 3 4 How many people does he address his words to? What elements of nature is he compared to? What aspects of his personality are underlined? 1 striking with force ............................ 5 made an animal’s Literary competence, At the violet hour, r when the eyes and backk feeling either for themselves or others; and when I first looked into his face, I perceived that he had cry ........................................................................... 5 EXPLAIN what Catherine is compared to. What is Heathcliff’s 1 2 spoke in a loud, vehement Turn upward from the desk, when the human engine waits life without her like? 10 got intelligence of the catastrophe, and a foolish notion struck me that his heart was quelled8 and voice ..................................................................... 6 tried ...................................................................... Like a taxi throbbing4 waiting, 1. René Magritte, The Lovers, he prayed, because his lips moved and his gaze was bent9 on the ground. 3 bent from a vertical 7 struck, smashed ................................ 1928. New York, Museum of I Tiresias5, though blind, throbbing between two lives6, Modern Art. 15 ‘Yes, she’s dead!’ I answered, checking my sobs and drying my cheeks.‘Gone to heaven, I position ............................................................ 8 making a deep sound Old man with wrinkled female breasts7, can see hope, where we may, every one, join her, if we take due warning10 and leave our evil ways to follow 4 continued ...................................................... of disapproval ......................................... 7 COMPETENCE: At the violet hour, the evening hour that strives8 good!’ ESTABLISHING LINKS BETWEEN TEXT AND CONTEXT 1 I longed to get it over. orientata al pieno apprezzamento del 15 Homeward, and brings the sailor home from sea, ‘Did she take due warning, then?’ asked Heathcliff, attempting a sneer11.‘Did she die like a Desideravo togliermi The typist home at teatime, clears her breakfast, lights il pensiero. 7 COMPETENCE: READING AND UNDERSTANDING A TEXT 1 the text and identify its two parts. Then write a caption saint? Come, give me a true history of the event. How did –’ 2 soaked with the dew. Her stove, and lays out food in tins. 2 Why do present, past and future coexist within the figure Bagnati dalla rugiada. 6 DISCUSS. Identify the Romantic elements in the texts you 20 He endeavoured to pronounce the name, but could not manage it; and compressing his Out of the window perilously spread of Tiresias? 3 had gathered … branches. 2 READ the text again and decide whether the following have analysed from Wuthering Heights. mouth he held a silent combat with his inward agony, defying12, meanwhile, my sympathy with an Si era raccolta sui rami Her drying combinations9 touched by the sun’s last rays, 3 Is the man worried about the woman’s indifference towards pieni di germogli. statements are true or false. Correct the false ones. unflinching ferocious stare13. 4 pattering. Con un 1 Heathcliff was sitting by a tree waiting for Nelly. 20 On the divan are piled (at night her bed) 1 C.i.f. London. Costo, assicurazione, nolo ‘How did she die?’ he resumed at last – fain, notwithstanding his hardihood14, to have a ticchettio. 2 valore estetico e culturale del brano . What are his feelings when he leaves the typist? He already knew about Catherine’s death. Stockings, slippers, camisoles, and stays10. inclusi nel prezzo a Londra. support behind him, for, after the struggle, he trembled, in spite of himself, to his very finger-ends. 5 ousels. Merli. I Tiresias, old man with wrinkled dugs 2 demotic French. Francese volgare, popolare. What has love been reduced to? 6 timber. Legno. 3 Nelly felt sorry for Heathcliff. ........................................................................................ 3 Metropole. Lussuoso albergo di Brighton. 25 ‘Poor wretch15!’ I thought; ‘you have a heart and nerves the same as your brother men! Why 7 snivel. Piagnucolare. Perceived the scene, and foretold the rest11 – Why is Tiresias’s role appropriate to the male character? 4 Heathcliff was perfectly in control of his emotions. 4 throbbing. Che pulsa. 2 should you be anxious to conceal them? Your pride cannot blind God! You tempt him to wring16 8 quelled. Domato. PRODUCING A WRITTEN TEXT ON A GIVEN SUBJECT I too awaited the expected guest. 5 Tiresias. Nelle Metamorfosi di Ovidio si How does the typist react at her lover’s departure? them, till he forces a cry of humiliation!’ 9 his gaze was bent. 5 He wanted to know the details of Catherine’s death. racconta come Tiresia fu trasformato in Lo sguardo era chino. 25 He, the young man carbuncular12, arrives, donna da un incantesimo e mantenne questa This extract is characterised by the presentation of an ‘Quietly as a lamb!’ I answered aloud.‘She drew a sigh17, and stretched herself, like a child 10 due warning. Il dovuto 6 He was sure she had mentioned him before dying. identità per sette anni, al termine dei quali archetype belonging to modern civilisation: the typist. preavviso. 7 A small house agent’s clerk, with one bold stare13, tornò a essere un uomo. reviving, and sinking18 again to sleep, and five minutes after, I felt one little pulse at her heart, and Nelly said Catherine died in her sleep. ........................................................... 7 10-12 lines. Are Emily Brontë’s ‘opposing forces’ What actions is she associated 11 sneer. Ghigno. One off the low on whom assurance sits 6 between two lives. Tra due vite, due sessi. 30 nothing more!’ 12 defying. Sfidando. 8 Heathcliff cursed Catherine. .......................................................................................... similar to William Blake’s ‘complementary opposites’ As a silk hat on a Bradford millionaire14. 7 wrinkled female breasts. Vizze mammelle di donna. Which themes are developed in these lines? ‘And – did she ever mention me?’ he asked, hesitating, as if he dreaded19 the answer to his 13 unflinching … stare. 9 He appeared resigned and defeated. ................................................................. Sguardo feroce e risoluto. The time is now propitious, as he guesses, 8 strives. Si strugge. question would introduce details that he could not bear to hear. 14 fain … hardihood. 10 Nelly tried to console him. ................................................................................................ combinations. Sottovesti. What language is employed? Provide examples of symbolism, 30 The meal is ended, she is bored and tired, 9 objective correlative and juxtaposition. ‘Her senses never returned – she recognized nobody from the time you left her,’ I said.‘She lies Contento, nonostante 10 stays. Fascette. la sua audacia. Endeavours15 to engage her in caresses 11 foretold the rest. Ho predetto il resto. with a sweet smile on her face, and her latest ideas wandered back to pleasant early days. Her life 15 wretch. Sventurato. Which still are unreproved16, if undesired. 12 the young man carbuncular. Il giovane 16 wring. Spremere. 7 COMPETENCE: ANALYSING AND INTERPRETING A TEXT pieno di foruncoli. 35 closed in a gentle dream – may she wake as kindly in the other world!’ 17 She drew a sigh. Fece Flushed17 and decided, he assaults at once; one bold stare. Un solo sguardo ardito. ‘May she wake in torment!’ he cried, with frightful20 vehemence, stamping his foot, and un sospiro. LINKING LITERATURE TO PERSONAL EXPERIENCE 13 COMPETENCE: PRODUCING A WRITTEN TEXT 3 IDENTIFY the narrator. Find the lines where he/she Exploring hands encounter no defence; 14 As … millionaire. Come un cappello di seta groaning in a sudden paroxysm21 of ungovernable passion.‘Why, she’s a liar22 to the end! Where 18 sinking. Sprofondando. su di un milionario di Bradford. 19 dreaded. Temesse. expresses personal remarks or inner thoughts. How would 35 His vanity requires no response, 15 Endeavours. Tenta. is she? Not there – not in heaven – not perished – where? Oh! you said you cared nothing for my 20 frightful. Spaventosa. you define his/her attitude in the last paragraph? 8 What do you think of Heathcliff’s attitude? Would And makes a welcome of indifference. 16 to engage … unreproved. Di coinvolgerla sufferings! And I pray one prayer – I repeat it till my tongue stiffens23 – Catherine Earnshaw, may 21 in a sudden paroxysm. you define him as a selfish or a caring person? in carezze che non sono ancora respinte. Con un’improvvisa (And I Tiresias have foresuffered all 17 Flushed. Eccitato. 4 10-12 lines about this topic: ‘The main theme of The 40 you not rest, as long as I am living! You said I killed you – haunt me24, then! The murdered do intensità. 4 FOCUS on the character of Heathcliff. Enacted on this same divan or bed; 18 Thebes. Antica città greca che divenne una 3 DISCUSS the following questions in pairs. e Land is “modern life as a waste land”. How does Eliot Waste haunt their murderers. I believe – I know that ghosts have wandered on earth. Be with me always – 22 liar. Bugiarda. terra desolata a causa di una maledizione support this theme in “The Fire Sermon”?’ stiffens. Si indurirà. 1 Consider his name, which is made up of two words: ‘heath’ 9 DISCUSS. Do you think Emily Brontë succeeds in expressing I who have sat by Thebes18 below the wall 1 Which adjective would you choose to define the setting take any form – drive me mad! Only do not leave me in this abyss, where I cannot find you! Oh, 23 and ‘cliff’. With the help of your dictionary, write down the divina. 24 haunt me. Perseguitami. the mystical and passionate nature of a certain kind of love? 40 And walked among the lowest off the dead19.) 19 the lowest of the dead. Gli infimi tra i morti. of these lines? God! it is unutterable25! I cannott live without my life! I cannott live without my soul!’ 25 unutterable. Inesprimibile. denotation and connotation suggested by the two words. Do you think that it is possible to have a ‘soul mate’? 208 6. The Modern Age 209 70 5. The Victorian Age 71 B2 EXAMS TOPIC B2 EXAMS Academic Reading Topic7 Living art Per prepararsi agli esami First e IELTS 1 READ the passage and answer questions 1-13. COMPETENCE: CONNECTING PICTURES TO TOPICS AND PERSONAL EXPERIENCE 1 Museum peace: Japan’s The third millennium 1 LOOK at the pictures. Discuss in small groups. What is your idea of art? Naoshima island A There have been billions of dawns since earth was first formed, E It is easy to dwell on our fears. The geniuses of genetics have Can it be as simple as a flower? Would you call a tattoo or graffiti ‘art’? lavorando su testi storici o di What else would you include in this category? Japanese cool has, for decades now, been associated but perhaps the most significant for our generation was when opened Pandora’s box. But people forget the end of the story of the human race entered the third millennium. It was a moment Pandora. At the bottom of the box was hope, waiting to break out. with everything fast, hi-tech and jangly; it’s the TVs 2 WHAT do you think ‘living art’ to feel awe and humility, and even surprise. For more than two Our new ability to eat from the tree of life need not trigger a fall on taxi dashboards, the control-panels on toilets, the or ‘land art’ refer to? Is art a generations we had survived our power to destroy all life while from grace. Take, for example, the fears that the science of genetics stimulating and active part of our underground universes around major train stations that keep slowly engineering the planet’s asphyxiation. Somehow we had would revive the science of eugenics and give intellectual support lives? Should it be so or should it buzzing even after an earthquake. And if you’re looking for made it. to crude racism. In fact, advanced genetics teaches us not about the be locked away in museums and a world-defining Japanese art form, you’re more likely approfondimento culturale . biological origins of our differences, but how strikingly similar we private collections? to turn these days to anime and manga than to any B Mankind did not wake on that first morning of the 21st century all are to each other. Two groups of chimps found 20 miles apart 2 of the country’s classical painters or mock- 1. The monumental installation The Floating Piers to a blank slate but woke instead aware of the long past left behind. differ more from each other than one human being does from any created by artist Christo on Lake Iseo in June 2016. 3. The gravel garden of Ryōan-ji temple in Kyoto, Japan. European forms. So it was shocking for Such an important turn of the millennium required everyone to other, even those who resemble each other least: our brains are me to go to the sleepy, faraway island of pause a moment, turn around, and prepare for the future. The remarkably similar. As we continue to open the book of life during 2. The Yellow Pumpkin, an art installation produced 4. Works of street art displayed on the river facade of the 2 3 by the Japanese artist Yayoi Kusama on Naoshima Tate Modern art museum behind the Millennium Bridge, Naoshima – now turned into an ‘art island’ perspective of the lens in space is denied us. The century that had this exciting 21st century, we should concentrate on how much we island, Japan, March 2016. London, May 2008. 3 rich with museums and installations – and just gone was too close to distinguish between its miracles and its all share – and how wrong are any notions of racial superiority left horrors. But a new millennium surely offered renewal.‘To make over from the last century. 5. 24 Hour News Cycle, an outdoor sculpture created using find the coolest thing I’ve seen in my 24 years of an end is to make a beginning,’ wrote T.S. Eliot.‘The end is where Complete each sentence with the correct ending below. 8 Gene therapy will enable doctors to predict 2. On 31st December discarded newspapers by the US artist Nick Georgiou in living in Japan. It was, in some ways, the reverse of 1999 the then South New York. we start from.’ F The possibilities are thrilling. Space exploration will continue, the possibility for their patients of technology. 1 The article begins with the author’s surprise African President reaching beyond our solar system to discover… who knows what? A chemical messages. Nelson Mandela holds 6. A detail of Rosace, a work of art by the Romanian-born The structures around Naoshima are super-hi-tech, 2 Some of the rapid progress like the Internet a symbolic candle C Attempting to predict a new century seemed more than usually Once we have cracked the code for life, will we be able to construct B life-threatening diseases. artist Mircea Cantor created from beverage cans, plexiglas 23rd-century constructions of grey reinforced concrete, with 3 According to the author, the most interesting new in the cell of the and aluminium. Jerusalem, The Israel Museum, 2007. foolish. Who could have imagined the Internet, the speed of a machine that mirrors it perfectly? An on-going challenge for scientific area of advance C common illnesses. Robben Island prison, every next-generation innovation; but they take you back computing, genetic mapping or cloning. While the mystery of this century is to keep alive the belief that individuals can shape where he was held 7. Giuseppe Penone, Albero porta, 1993. Artist’s collection. D asthma and growth. for 27 years during to the principles of simplicity and concentration that consciousness may elude us for many decades, there are other large the world around them, whether it is the planet or their village. graced the haiku, brush-and-ink paintings and Noh areas of our make-up which seemed about to be revealed. At the To quote Eliot once more: ‘Last year’s words belong to last year’s A is in the field of genetics. apartheid. 9 Which is not taught by advanced genetics? dramas of old. Where technology makes you speedy, start of the new millennium scientists announced the decoding language / And next year’s words await another voice.’ We are B that life on the planet was not destroyed in the 3. The Millennium previous century. A The biological origins of our differences. Bridge, the steel up-to-the-minute and all-over-the-place, Naoshima so of the first of 23 human chromosomes. Within three years the blessed to live now: let us continue to make this a blessed century footbridge crossing C would have been impossible to predict. B There is no basis for racism. calms, grounds and slows you that you feel as if you’ve mapping of the human genome was completed. It was a time when and a blessed millennium. the River Thames and stepped into a meditative shrine. it certainly felt as though human beings were finally getting to the (Freely adapted from www.theguardian.com) C We are very similar. linking Bankside with roots of the tree of knowledge. No wonder scientists felt they were the City of London. It The journey to the old fishermen’s area in the The passage has six paragraphs, A-F. Which paragraph D Human brains have much in common. opened in June 2000. living at the most exciting time in history. Inland Sea is like a journey through the past. It took contains the following information? five hours from Tokyo on four trains, two buses and a 4 we should not lose sight of each person’s possibility 10 The writer hopes the 21st century will emphasise D This new knowledge will bring untold medical benefits and pose ferry. […] When I finally reached Naoshima itself, I began awesome ethical dilemmas. It may be that traditional surgery will to change the world around them A how much we are racially superior to chimps. to feel as if I’d stepped out of time altogether, in a world so largely be replaced by gene therapy – the injection of chemical 5 we should focus on our similarities and not our B the idea of a book of life to open. deep in the past – and so far ahead in the future – that I lost 4 differences C our similarities. Sei pagine in stile magazine per messages into diseased or malfunctioning parts of the body. The all sense of when I was. Benesse House, where I was staying, predisposition to life-threatening diseases in certain patients will 6 medical advances may aid in detecting illness but D that previous generations were more is a stylish and graceful construction, each room individually also enable doctors to anticipate illness in their patients. The same may also be used to advantage the wealthy knowledgeable. designed by the self-taught Osaka architect Tadao Ando. technology may enable the rich to give their children enormous Its corridors are full of original contemporary canvasses advantages – enhanced athleticism, height, mathematical ability, Choose the correct letter (A, B, C or D). Complete the sentences below. Write NO MORE THAN and mysterious light sculptures projecting classic Japanese the absence of asthma. A scrap of DNA will tell any authority 7 According to the article, traditional surgery may be TWO WORDS for each answer. landscapes through the near-dark. And the effect of all the anything they want to know about any person. We still have not affrontare tematiche vive nel dibattito decided who is to determine how this knowledge is used. replaced by 11 There will surely be new discoveries in modern art is, oddly, to take you back to the transfixing A new knowledge. in the future. simplicity of an old ryokan, or traditional inn, where simply B gene therapy. 12 We may be able to construct a machine that watching the sun make stripes across the tatami mats, or C ethical dilemmas. perfectly. figures cast silhouettes against the paper windows, becomes D DNA. 13 It is important to believe that can play so absorbing you never want to leave your room. 1. New Year’s Eve celebration in Times Square, New York, in 1999-2000. 1 a part in shaping the world. 6 5 6 7 328 7. The Present Age 329 contemporaneo . 410 7. The Present Age 411 IX 5. The Victorian Age 1837-1901 Interactive timeline TIMELINE 1837 1838 1839-42 Accession People’s Charter calls First Opium War of Queen for social reforms and against China Victoria universal male suffrage 1840 1845 1846 1851 1853-56 Queen Victoria Irish Repeal of Great Crimean marries Prince Potato the Corn Exhibition War Albert of Saxe- Famine Laws Coburg-Gotha 1856-60 1857 1859 1860 Second Indian Charles Darwin’s The Republican Opium War Mutiny On the Origin candidate Abraham of Species is Lincoln wins published the presidential election 1861-65 1863 1865 1867 1869 1870 American First section Assassination Second Reform The Suez Canal Education Civil War of London of President Act extends the opens and the Act Underground, Lincoln right to vote to Union Pacific establishes the world’s first some sections Railroad connects the basis of underground of the working the East and West elementary railway, opens classes coasts of the USA education 1877 1884 1899-1902 1901 Victoria Third Reform Second Boer War: Queen becomes Act extends the British against Victoria Empress voting to all male Dutch settlers dies of India householders in South Africa 2 1. The Queen Victoria Memorial in front of Buckingham Palace, London, was unveiled by King George V in 1911 as the symbolic hub of the British Empire. The centrepiece by Sir Thomas Brock features the white marble figure of Queen Victoria surrounded by the symbols of her reign: Truth, Justice and Motherhood. Above her is the gilded statue of Victory, with Constancy and Courage at her feet. 2. St Pancras Station in London is one of the wonders of Victorian engineering and a magnificent example of Gothic architecture. Built to connect London with England’s major cities, it was opened in 1868. The renewal of the station at the beginning of this century adapted it to modern international trains and routes without altering its original beauty. A. B. AN OVERALL VIEW The accession of Queen The Victorian Age was a period Victoria gave monarchy a of widespread acceptance of a certain new image of duty. National middle-class morality, mirrored pride and optimistic faith in the royal family; however, in the last in progress were celebrated decades there was a growing sense in the Great Exhibition. of uncertainty and doubt. 1 C. D. E. The rest of Europe experienced revolutions in The building of a Reading was a 1848. There was serious discontent in Britain, but network of railways national leisure pursuit. the government was able to avoid revolution through over the whole country Industrialisation had made compromise. Parliamentary reforms satisfied not only distributed goods literacy a necessity and the middle classes but the working class was still without but also moved people and a national education a voice, except for the Chartist movement. united the nation. system provided it. F. G. H. British foreign policy was based In the USA the gap between the industrial North and During the on free trade and liberalism. the agricultural South widened as settlers moved west Victorian Age China was forced to open to and the question of slave owning split the nation in the the British British trade, and the Crimean Civil War. The Confederate South was defeated by the Empire achieved War was fought to keep Russia out Unionist North and slaves were freed. Though free, its greatest of the Ottoman Empire and India. black Americans faced poverty and discrimination. expansion. STUDY SKILLS 18 The Cornell note-taking system 19 How to answer oral questions 20 How to write a commentary 21 How to go from text to context 22 How to give your personal response 23 How to compare and contrast different authors 2 24 How to develop a topic 3 History and Culture 5.1 1837-1861 The dawn of the Victorian Age VOCABULARY: Queen Victoria POLITICS AND SOCIETY When Queen Victoria came to the throne in 1837, she was just 18 years old. She was to rule 1 MATCH the highlighted words for almost 64 years and gave her name to an about politics and society in age of economic and scientific progress and the text with their meaning. social reforms. Her own sense of duty made her 1 the act of voting ............................................ the ideal head of a constitutional monarchy: 2 strict discipline over a group she remained apart from politics and yet ................................................................................................ provided stability. In 1840 she married Prince Albert of Saxe-Coburg-Gotha. They had nine 3 change to a piece of legislation ................................................................................................ children and their family life provided a model of respectability. Prince Albert was a clever 4 extreme scarcity of food ................... man and Victoria relied more and more on 5 admitted to the right of voting his advice and help. In 1857 she gave him the ................................................................................................ title of Prince Consort, in recognition of his 6 removed from power ............................ importance to the country. 7 document defining the rights of a group .............................................................. An age of reform 1 8 self-governing urban The 1830s had seen the beginning of what was communities ..................................................... to be called an ‘age of reform’. The First Reform Workhouses were mainly run by the Church. 9 managed ................................................................ Act (1832), also called the Great Reform Act Religion was a strong force. In industrial 10 obtained ................................................................... (→ 4.3), had transferred voting privileges from areas the nonconformist Churches, such as the small boroughs, controlled by the nobility Methodists, promoted study and abstinence and the gentry, to the large industrial towns, from alcohol. like Birmingham and Manchester. The Factory COMPETENCE: READING Chartism Act (1833) had prevented children aged 9 to AND ORGANISING 13 from being employed more than forty-eight In 1838 a group of working-class radicals INFORMATION hours a week, and no person between 13 and drew up a People’s Charter demanding equal 18 could work more than seventy-two hours electoral districts, universal male suffrage, 2 BEFORE reading the text, a week. The Poor Law Amendment Act (1834) a secret ballot, paid MPs, annually elected look at the Cornell note- had reformed the old Poor Laws, dating from Parliaments and abolition of the property taking page in the Study Skill reference section and create Elizabeth I, with the creation of workhouses, qualifications for membership. No one in a similar page to complete as institutions where the poor received board power was ready for such democracy and you read. and lodging in return for work. the Chartist movement failed. However, their influence was later felt when, in 1867, the Workhouses and religion Second Reform Act enfranchised part of the STUDY SKILL The Cornell Life in the workhouses was appalling on urban male working class in England and Wales note-taking system, p. 418 account of their system of regimentation, hard for the first time and, in 1872, the secret ballot work and a monotonous diet. The poor had to was introduced with the Ballot Act. wear uniforms and their families were split. This apparent hard line was due in part to an The Irish Potato Famine optimistic faith in progress and to the Puritan Bad weather and an unknown plant disease virtues of hard work, frugality and duty. The from America caused the destruction of potato idea behind the workhouses was that awareness crops in 1845. Ireland, whose agriculture 1. Franz Xaver Winterhalter, Queen Victoria, of such a dreadful life would inspire the poor to depended on potatoes, experienced a terrible 1859. London, Buckingham Palace. try to improve their own conditions. famine, during which a lot of people died and 4 5. The Victorian Age Key ideas COMPLETE the key ideas. Queen Victoria’s reign was characterised by economic and scientific 2. Women’s Dining Hall at St Pancras and social Workhouse in London, 1893. Queen Victoria gave to the country Parliamentary reforms granted voting privileges to the and improved the working conditions of Chartism was a 2 asking for the extension of the right many emigrated, mostly to America, in search Foreign policy to vote to all male adults of a better life. The Irish crisis forced the Prime Steel steamships expanded the Victorians’ Minister, Sir Robert Peel, to abolish the Corn world even further. In the mid-19th century, Laws in 1846. These laws imposed tariffs on England was involved in the two Opium Wars A terrible famine was caused imported corn, keeping the price of bread against China, which was trying to suppress the by and artificially high to protect the landed interests. opium trade. The First Opium War (1839-42) a was fought between China and Britain, while Technological progress the Second Opium War (1856-60), also known The development of the th In the mid-years of the 19 century, England as the Anglo-French War in China, was fought greatly experienced a second wave of industrialisation by Britain and France against China. England changed the landscape and which brought economic, cultural and gained access to five Chinese ports and control people’s lives architectural change. While European of Hong Kong. monarchies were toppled by revolutions in The most lucrative colony of the British Empire Britain avoided 1848, England avoided the revolutionary wave. was India. In 1857 widespread rebellion, known In 1851 a Great Exhibition, organised by Prince as the Indian Mutiny, against British rule but Albert, showed the world Britain’s industrial began, after which the Indian administration supported many causes and economic power. The exhibition was was given fewer responsibilities. for independence housed at the Crystal Palace, a huge structure Britain also supported some liberal causes of glass and steel designed by Sir Joseph Paxton like Italian independence from the Austrians. and erected in Hyde Park. More than 15,000 When Russia became too powerful against the exhibitors from all over the world displayed weak Turkish Empire, the Crimean War (1853- DICTATION 1.1 their goods to millions of visitors. 56) was fought. It began as a dispute between The Great Exhibition People became very fond of exhibitions, so money Russia and the Ottoman Turks, but soon France was invested in setting up several museums, and Britain got involved since they wanted to including the Natural History Museum, the limit Russia’s power in the area. Science Museum and what is now called the The Crimean War was the first conflict reported Victoria and Albert Museum. Entrance was free. in newspapers by journalists ‘on the ground’. The building of the London Underground People were genuinely shocked by the reports. began in 1860 and railways started to transform Florence Nightingale (1820-1910) volunteered the landscape and people’s lives. They to lead a team of 38 nurses at Scutari base transported large quantities of raw materials hospital during the war and she became known and products quickly and cheaply. People were as the ‘Lady with the Lamp’ for her night rounds able to travel for work and leisure, and the giving personal care to the wounded. Once back middle classes could live in the suburbs instead in England, she formed an institution for the The dawn of the of the crowded town centres. development of the nursing profession. Victorian Age 5 History and Culture 3 3. Franz Xaver Winterhalter, The Royal Family, 1846. London, Buckingham Palace. THE PORTRAIT Prince Albert of Saxe-Coburg-Gotha Prince Albert of Saxe-Coburg-Gotha (1819-61) was the second son of Ernest III, Duke of Saxe-Coburg-Gotha, and Victoria’s cousin. He married her shortly after her accession to the throne 4 COMPLETE the table about the parliamentary reforms of the 1830s and the first part of Queen Victoria’s reign. and played an important role in British public life. He became a patron of the arts and supported technological development Year Reform Aim and agricultural reforms. The German artist Franz Xaver Winterhalter (1805-73) painted several portraits of the royal family. In this painting he depicted Prince Albert in military uniform, with spurs on his heels and his left hand resting on a large sword. Victoria and Albert enjoyed a very happy marriage and she was devastated when he died prematurely. Franz Xaver Winterhalter, Portrait of Prince Albert of Saxe-Coburg-Gotha, 1867. London, National Portrait Gallery. COMPETENCE: READING AND UNDERSTANDING INFORMATION 5 EXPLAIN the following in your own words. COMPETENCE: 1 People’s Charter .............................................................................................................................................. READING AND ORGANISING INFORMATION 2 Irish Potato Famine ..................................................................................................................................... 3 Opium Wars ............................................................................................................................................................ 3 READ the first paragraph on page 4 and complete the factfile 4 Indian Mutiny ........................................................................................................................................................ about Queen Victoria. COMPETENCE: ASCENDED TO THE THRONE: .................................................................................................. USING THE VISUAL TOOLS OF COMMUNICATION AGE: .................................................................................................................................................. 6 USE the pictures on pages 5-6 to talk about the first part RULED FOR: ................................................................................................................................... of the Victorian Age. MARRIED ............................................................ IN .................................... 1 Look at picture 2. What does it show? HAD ............................................................ CHILDREN 2 Consider the image of the Crystal Palace on page 5. What took place in this building? What was the aim of that event? GAVE HER HUSBAND THE TITLE OF ............................................................ IN .................................... 3 Consider picture 3 and explain how the royal family is portrayed. 6 5. The Victorian Age History and Culture 5.2 The Victorian compromise VOCABULARY: A complex age WORD FORMATION The Victorian Age was marked by complexity: it was a time of unprecedented change but 1 READ the text and write the also of great contradictions, often referred nouns which correspond to to as the ‘Victorian compromise’. It was an the following adjectives. age in which progress, reforms and political 1 complex ................................................................... stability coexisted with poverty and injustice. 2 contradictory .................................................... Listening to sermons was a popular pastime, yet vices were openly indulged. Modernity 3 charitable .............................................................. was praised but there was a revival of Gothic 4 philanthropic .................................................... and Classicism in art. 5 optimistic ............................................................... 1 Religion played an important role in people’s 6 respectable ......................................................... lives; Evangelicalism (→ 5.3), in particular, 1. George William Joy, The Bayswater Omnibus, 7 chaste ......................................................................... encouraged public and political action and 1895. London, Museum of London. 8 prudish ...................................................................... created a lot of charities. Philanthropy led to the creation of societies which addressed every kind of poverty, and depended especially on the General attitudes to sex were a crucial aspect voluntary efforts of respectability, with an intense concern for of middle-class women. The Victorians believed female chastity, and single women with a child in God but also in progress and science. were marginalised as ‘fallen women’. Sexuality Freedom was linked with religion as regarded was generally repressed in both its public and freedom of conscience, with optimism over private forms, and moralising ‘prudery’ in its economic and political progress, and with most extreme manifestations gradually led to national identity. the denunciation of nudity in art, the veiling of sculptured genitals and the rejection of Respectability words with a sexual connotation from everyday Increasing emphasis was placed on education, vocabulary. and hygiene was encouraged to improve health care. Self-restraint, good manners and self- help came to be linked with respectability, a concept shared both by the middle and working Key ideas classes. There was general agreement on the virtues of asserting a social status, keeping up WRITE down the key ideas appearances and looking after a family. These using the prompts. things were ‘respectable’. However, respectability COMPETENCE: READING AND was a mixture of morality and hypocrisy, since UNDERSTANDING INFORMATION compromise the unpleasant aspects of society – dissolution, poverty, social unrest – were hidden under 2 READ the text again and explain: philanthropy outward respectability. 1 why the Victorian Age was complex; There was growing emphasis on the duty of 2 the role of religion in people’s lives; men to respect and protect women, seen at the keeping up appearances 3 the concept of freedom; same time as physically weaker but morally superior, divine guides and inspirers of men. 4 what respectability implied; prudery Women controlled the family budget and 5 views of women; brought up the children. 6 general attitudes to sex. 7 B2 EXAMS Reading and Use of English – Part 5 1 MULTIPLE-CHOICE QUESTIONS. You are going to read an article about life in Victorian Britain. For questions 1-6, choose the answer (A, B, C or D) which you think fits best according to the text. Life in Victorian Britain The Victorian era, which covered most of the 19th mortality rate. Often whole families shared one room century in Britain, was a time of dramatic adjustment with no running water, and toilets were communal pits. in the lives of most of the population. It saw the rapid Child labour was common and very young children development of the Industrial Revolution, the growth of were employed at minimum wages in dangerous jobs a wide and powerful empire and advances in medicine, like chimney sweeping and in the coal mines. Others transport, education and commerce. For some, it was a worked as errand boys, shoeblacks, flower sellers or time of great wealth and privilege, but for the majority, match sellers in the streets. The author Charles Dickens life was hard with long working hours in unhealthy (→ 5.14), for example, began working at the age of 12 factories or mines and overcrowded insanitary living in a blacking factory when his father was put into a conditions. There was growing industrial and urban debtors’ prison. The more fortunate managed to find expansion which gave an affluent and pleasant life work as apprentices to respectable trades like building to the few at the expense of the many working poor. or as domestic servants, but working hours were long There was a huge increase in the population, which for them too. nearly doubled during the century. This was particularly The widespread poverty and harsh reality of the rapid in urban centres stimulated by the industrial working-class children were overshadowed by an growth that attracted more and more skilled and even more shocking underclass made up of the most unskilled workers. But housing was inadequate and vulnerable in society, often young orphans totally 1. Iron and coal rapidly became slums with little hygiene and a high dependent on the support of others. Destitute children workers. often turned to crime or were enrolled in criminal gangs. The towns were also home to the expanding industrial and commercial middle classes. Their new affluence led to an increased demand for goods and services, and factories and workshops provided clothes, toys, fine cutlery, silverware, pottery and glass. Goods that in the previous century would only have been seen in aristocrats’ houses were now to be found in every middle-class home. The middle classes were usually self- employed merchants and shopkeepers who lived in large houses, educated their children and employed servants. White-collar work on the railways, in banks or for the government was also increasing, producing a respectable lower middle class. Both the upper and lower middle classes desired respectability and the queen became their iconic symbol. She represented the ideal femininity that revolved around the family, motherhood and propriety. She and her adored husband Albert, with their nine children, were seen as a model. It was partly due to this reality that the Victorian Age was the first in which childhood was recognised as a distinct and precious phase in life and the Victorians entertained their children with imaginative stories about animals like Black Beauty by Anna Sewell (1820-78), with adventure books like Treasure Island by R.L. Stevenson (→ 5.22) or with the eccentric brilliance of Alice’s Adventures in Wonderland 1 by Lewis Carroll (→ 5.16). 8 5. The Victorian Age 1 The urban working poor in Victorian England 4 The queen was seen as an iconic symbol of lived in A upper-class superiority. A communal cottages. B feminine beauty. B converted farms. C middle-class respectability. C unhealthy conditions. D majesty and tolerance. D factory grounds. 5 In the Victorian Age childhood 2 Child labour was common in A was recognised as an important stage in life. A dirty or dangerous trades like the army. B became less important. B factories, mines, street trades and domestic C was an important source for literature. service. D became the symbol of respectability. C agricultural areas. D the privileged classes. 6 Which of the following sentences best describes the main characteristics of Victorian Britain, according 3 Which social classes expanded the most in this to the article? period? A The time was one of incredible opportunities for A The upper middle class. people at all levels of society. B The working class. B The quality of life could dramatically vary C The lower middle class. in different social realities. D The middle and lower middle classes. C Victorians were hypocrites who did not even try to see the reality around them. D This was one of the best times to be British. Listening – Part 2 2 1.2 SENTENCE COMPLETION. You will hear a History teacher talking about the coming of the railways. For questions 1-10, complete the sentences with a word or short phrase. Before the railways (1) had of tens of thousands of engineers, mechanics, repairmen been the principal means of transporting goods. and technicians, as well as (6) . By (2) George Stephenson The railway was an important stimulus to industry in the had shown that a (3) was country as the (7) costs meant possible when the Stockton to Darlington line was goods cost less and were available to a wider market. opened. Travel by rail also made it possible for people to go on In 1831 the famous engineer Isambard Kingdom (8) to the country or the sea. Brunel began the construction of a railway line from Fresh goods could be brought into towns from the (4) . countryside and (9) could be By 1840 the cities of Birmingham, Manchester and sent out from London all over the country. Brighton were connected to London by nearly New towns grew up around the new railway stations (5) of railway track. and people could live (10) The building of the railways required the employment from their workplaces than before. Writing – Part 2 First Reading and Use 3 AN ARTICLE. You have been asked by your school’s History Club to write an article about of English – Part 2 the living conditions in the Victorian Age. Write 140-190 words. 9 CLIL SCIENCE DISCOVERIES IN MEDICINE HEALTH AND MEDICAL TREATMENTS THE FATHER OF EPIDEMIOLOGY At the beginning of the 19th century epidemiological COMPETENCE: LISTENING AND measuring and mapping of mortality led to the clear UNDERSTANDING INFORMATION association of pollution and disease, followed by appropriate environmental health measures. 1 1.3 LISTEN to a lecture about health and medical In 1831 cholera made its first appearance in England. treatments in the early 19th century and answer the The first symptom of cholera was nausea, followed by following questions. stomach ache, vomiting and diarrhoea so profuse that 1 Write down what the causes of disease transmission were it caused victims to die of dehydration. When a major considered to be in the early Victorian Age. breakthrough came in 1854, the British physician John 2 Complete the diagram about medical treatments at the Snow (1813-58) demonstrated that infection was not time. spread by miasmas – bad smells arising from sewers, garbage pits and other foul-smelling sites of organic decay. As people did not have running water or modern toilets in their houses, they used to dump their sewage into rivers or town wells. It was this habit which led to a rapid spread of the disease, according to Doctor Snow. He realised that these conditions characterised several Medical London areas and that if cholera epidemics had to be treatments eliminated, wells and water pipes should be kept isolated from drains and sewers. To avoid a clash with most of the physicians of the time, who refused the theory that germs could cause the disease, Snow did not directly state that a living organism could cause cholera. Instead, he spoke about a particular ‘poison’ that could ‘multiply itself’ 3 Identify the two kinds of disease mentioned. within the digestive tracts of cholera victims, before being scattered to new victims through polluted food or water. 4 State what aggravated male and female death rates. From the end of 1849 until 1853 Britain experienced few cases of cholera. Snow continued to develop his theory that drinking water was the primary means of contagion. In 1883 a German physician, Robert Koch (1843-1910), finally identified the bacterium Vibrio cholerae as the causative agent. He stated that cholera was not contagious from person to person, but it was spread only through unsanitary water or food supply sources. 1. London Board of Health searching the city for cholera during the 1832 epidemic. London, Wellcome Library. This was a major victory for Snow’s theory. The cholera epidemics in Europe and the United States ended towards the end of the 19th century, when cities finally improved water supply sanitation. COMPETENCE: READING AND UNDERSTANDING INFORMATION 2 READ the text above and answer the following questions. 1 What did epidemiological measuring and mapping of mortality lead to? 2 What were the symptoms of cholera? 3 What were miasmas? 4 Explain Snow’s theory about the spread of cholera. 5 State what the principal cause of cholera contagion was, according to Snow. 6 Say what the German physician Robert Koch 1 discovered. 10 5. The Victorian Age 2. American dentist William Thomas Green Morton during the first public demonstration of an operation using ether anaesthesia in Boston. COMPETENCE: READING AND UNDERSTANDING INFORMATION 3 READ the text on the left and say why surgery 2 advanced in the 1840s. 4 ANSWER the following questions. 1 What did surgeons use for general anaesthesia SURGERY AND ANAESTHESIA in the 19th century? 2 Complete the timeline with the necessary Methods for reducing the sensation of pain during surgery date information. back to ancient times. Before the 19th century, when patients needed surgery for illness or injury, they had to rely on alcohol, Ancient times ....................................................................................................................... opium (a natural narcotic derived from the opium poppy) or fumes from an anaesthetic-soaked cloth in order to lessen the 1799 .................................................................................................................................................... pain of the surgeon’s knife. A group of men used to hold the patient down during an operation in case the opium or alcohol wore off. Under these conditions, a lot of patients died of shock 1842 .................................................................................................................................................... caused by the pain itself. During the 1840s nitrous oxide, ether and chloroform were first 1846 .................................................................................................................................................... used as anaesthetic agents. In 1799 the English chemist Sir Humphry Davy (1778-1829) had discovered nitrous oxide as an 1847 .................................................................................................................................................... anaesthetic. However, it was only in the next century that the American dentist Horace Wells (1815-48) began to use nitrous oxide as an anaesthetic during tooth surgery. 1853 .................................................................................................................................................... The surgeon Crawford Williamson Long (1815-78) was the first to use ether during an operation in Georgia in 1842. However, 1869 .................................................................................................................................................... this operation was not recorded and official credit went to another dentist, William Thomas Green Morton (1819-68), who made a public demonstration of an operation using ether in a Boston hospital in 1846. In the same period the surgeon John Collins Warren (1778-1856) removed a neck tumour without 5 GO through the last two paragraphs and say: the patient feeling any pain thanks to ether. After that, ether 1 what anaesthetics enabled surgeons to do; general anaesthesia began to be practised all over the United 2 what led to fatal infection after operations; States and Europe. 3 who developed antiseptic surgical procedures; Chloroform was introduced as a surgical anaesthetic by the Scottish obstetrician Sir James Young Simpson (1811-70) in 4 what aseptic procedures involved. 1847 for pain during childbirth. This substance was also used by John Snow for Queen Victoria’s eighth confinement in 1853. COMPETENCE: READING AND Specialised surgical instruments and techniques followed with ORGANISING INFORMATION mixed results, since unsterile equipment used to lead to fatal infection. Antiseptic surgical procedures were introduced by 6 GO through the material on these pages again and Joseph Lister (1827-1912), who used carbolic acid (phenol) write down your notes and key ideas in a Cornell in 1869 in Edinburgh. What followed were aseptic procedures, note-taking page. Then write your summary in involving sterilisation of whole environments. section C of the page. 11 History and Culture 5.3 Early Victorian thinkers VOCABULARY: Evangelicalism VERBS Victorian values found their basis in some of the movements of thought of the age. 1 MATCH the highlighted The religious movement known as verbs in the text with their Evangelicalism influenced Victorian emphasis meaning. upon moral conduct as the test of the good 1 stated, declared ........................................... Christian. Inspired by the teachings of John 2 got rid of ................................................................. Wesley (1703-91) – the founder, with his brother, of Methodism (→ 3.3) –, the Evangelicals 3 had .................................................................................. believed in: 4 led .................................................................................... • the literal truth of the Bible; 5 met the requirements of • obedience to a strict code of morality which ................................................................................................ opposed many forms of entertainment; 6 imagined ................................................................. • dedication to humanitarian causes and 7 merited ..................................................................... social reform. Bentham’s Utilitarianism The other movement which exerted an important influence on 19th-century social thinking was Utilitarianism, based on Jeremy 2 Bentham’s (1748-1832) principles. The origins of this movement can be traced back to the 2. George Frederick Watts, John Stuart Mill, 1873. Greek philosopher Epicurus (341-270 BC). London, National Portrait Gallery. According to Utilitarianism, an action is 1. Jeremy Bentham’s mummified corpse morally right if it has consequences that lead on display at University College London. to happiness, and wrong if it brings about changes of his time, and restated his belief as the reverse. Therefore all institutions should follows: be tested in the light of reason and common • he maintained that happiness is a state of sense to determine whether they are useful, the mind and the spirit, not a mere search measuring the extent to which they provide for for selfish pleasures; the material happiness of the greatest number • he thought legislation should have a of people. more positive function in trying to help Utilitarianism suited the interests of the men develop their natural talents and middle class and contributed to the Victorian personalities; conviction that any problem could be overcome • he conceived a good society as one where through reason. the free interplay of human character creates the greatest variety; Mill and the empiricist tradition • he believed progress comes from mental The utilitarian indifference to human and energy, and therefore accorded great cultural values was firmly attacked by many importance to education and art; intellectuals of the time, including Charles • he promoted a long series of reforms Dickens (→ 5.14) and John Stuart Mill (1806- including the causes of popular education, 73), a major figure in the British empiricist trade union organisation, the development tradition. Educated by his father according to of cooperatives, the extension of the principles of Benthamite philosophy, Mill representation to all citizens, and the 1 found them inadequate with regard to the rapid emancipation of women (→ Route 8). 12 5. The Victorian Age 3 Challenges from 3. A Venerable Orang- the scientific field outang, a caricature of In the mid-Victorian Age new challenges Charles Darwin as an ape published in The Hornet, came from the fields of geology, biology, a satirical magazine, 1871. archaeology and astronomy. Geologists found fossils in rocks and began to question the Book 4. John Collier, Charles Darwin, 1883. London, of Genesis. The question was brought to the National Portrait Gallery. wide public by Sir Charles Lyell’s Principles of Geology (1830-33) and Robert Chambers’s Vestiges of the Natural History of Creation (1844). In his work On the Origin of Species by Means of Natural Selection (1859) Charles Darwin (1809-82) presented his theory of evolution and natural selection. He later 4 developed it in his work The Descent of Man and Selection in Relation to Sex (1871). COMPETENCE: READING AND UNDERSTANDING INFORMATION According to Darwin’s theory: • all living creatures in existence have 2 READ the text and complete the key ideas about Evangelicalism. developed their forms through a slow • Inspired by ............................................................................................................................................................................................................................. process of change and adaptation in • Stressed the need for ............................................................................................................................................................................................ a struggle for survival; • favourable physical conditions determine • Dedicated to ........................................................................................................................................................................................................................ the survival of a species, unfavourable ones its extinction; 3 ANSWER the following questions about Utilitarianism. • man evolved, like any other animal, from 1 Whose principles was it based upon? a less highly organised form, namely 2 How did it judge all actions? a monkey. 3 What social class did it suit? On the one hand, Darwin’s theory discarded the version of creation given by the Bible; on the other hand, it seemed to show that the universe 4 COMPLETE the following sentences about Mill’s Empiricism. was not static but perpetually developing, 1 Mill thought that happiness was ........................................................................................................................................................... that the strongest survived and the weakest 2 He believed that legislation should try ......................................................................................................................................... deserved to be defeated. 3 His idea of progress was linked to ...................................................................................................................................................... 4 He supported various reforms including .................................................................................................................................. The Oxford Movement British Catholics replied to the challenges of science by returning to the ancient doctrines 5 ANSWER the following questions about Darwin’s theory. and rituals. The religious revival found its 1 According to Darwin, how had existing living creatures, including man, evolved? expression in the movement headed by the 2 What determined the survival of a species? English cardinal John Henry Newman (1801- 3 What impact did Darwin’s theory have on religious belief? 90), which went under the name of ‘Oxford Movement’ because it began at Oxford 6 COMPLETE the key ideas about the Oxford Movement. University. • Originated in ....................................................................................................................................................................................................................... • Led by ........................................................................................................................................................................................................................................... Route 8: Women in the 19th century • Returned to ........................................................................................................................................................................................................................... 13 History and Culture 5.4 1861-1865 The American Civil War The difference between presidential election. Soon after, 11 southern the North and the South States seceded and formed the Confederate The first half of the 19th century in America was States of America, under the presidency characterised by economic expansion, social of Jefferson Davis (1808-89). War followed change, impulse towards scientific discovery because Lincoln, supported by a majority and inventions, and an extraordinary moment of northerners, refused to concede that any of literary expression. American State had the constitutional right The political situation was tense because of to withdraw from the Union. The Civil War the economic differences between the northern broke out in 1861 and lasted four years, and southern regions. While industrialisation ending in 1865, when the blue northern troops was well established in the North, the economy commanded by Ulysses S. Grant (1822-85) of the South was still based on the vast defeated the grey Confederates led by Robert plantations of tobacco and cotton, and on Lee (1807-70). Five days later, President Lincoln slavery. There was also a huge difference in the was assassinated by a southern fanatic. The density of population: the white population poet Walt Whitman (→ 5.19) wrote O Captain! increased, due to the immigrants from Europe my Captain! under the emotional impact of his who settled especially in the North, bringing death, pointing out how important Lincoln’s with them their languages and customs. In the leadership had been. 1 South, instead, there were about 4 million black The Civil War determined what kind of nation 1. Statue of Abraham Lincoln at the Lincoln slaves. Furthermore, life in the American South the United States would be – an indivisible Memorial in Washington, DC. The monument was based on a rigidly divided class system, nation with a sovereign national government – honours the 16th President of the United States with the aristocracy of the plantation owners and it ended the institution of slavery. However, and the ‘virtues of tolerance, honesty, and constancy in the human spirit’. still linked to the old values of gallantry and these achievements cost about 625,000 lives. honour. It was the largest and most destructive conflict After the 1830s several northern States adopted in the Western world between the end of the emancipation, while the international demand Napoleonic Wars in 1815 and the onset of for cotton meant the economy of the South World War I in 1914. The American Civil War continued to rely on slave labour. On the one hand, the abolitionists attacked the exploitation The abolition of slavery of slaves, the separation from their families and Furthermore, the abolition of slavery, the cruelty they suffered, and the fact that they sanctioned by the 13th Amendment to the were given no education. On the other hand, Constitution in 1865, did not grant the blacks the supporters of slavery held that it was an equality and economic security. They were institution which gave the blacks employment, free but without money and a home. Some protection and taught them the principles of migrated to the industrial cities in the North, Christian faith. others remained with their old masters in the South, who, impoverished by the war, could The Civil War not afford to pay wages, but would share the Northern abolitionists, who included writers, crops with the workers and provide them intellectuals and religious associations, with tools and a cabin. began to organise themselves into a political A wave of resentment and violence, embodied movement. From what had formerly been the by the racist ‘Ku Klux Klan’ movement, Whig Party arose the Republican Party, which terrorised the blacks and their families. The demanded that slavery be excluded from all so-called ‘black codes’ were created, which territories of the Union. In 1860 the Republican segregated the blacks in schools, hospitals and candidate Abraham Lincoln (1809-65) won the means of transport. 14 5. The Victorian Age 2. The ‘gold rush’ in California, 1848-49. COMPETENCE: READING AND ORGANISING INFORMATION 1 READ the text and complete the table below with the differences between the North and the South in America in the 19th century. North South 2 2 FOCUS on the question of the abolition of slavery and gather information about abolitionists and supporters of slavery. A new version Abolitionists Supporters of slavery of the American dream Who they were While the economy of the South had collapsed during the war, the northern factories had increased their output to supply military needs. The country’s natural resources – including What they said coal, copper, iron and oil – were fully exploited. Big fortunes were made, and financial empires were created by men who rose from nothing, like Cornelius Vanderbilt (1794-1877) and John Rockefeller (1839-1937). They embodied 3 WRITE down the causes and consequences of the American Civil War. a new version of the ‘American dream’: the myth of the self-made man who went from ‘rags to riches’. The other side of the coin was Causes Consequences that the majority of workers were exploited and did not have a share in the wealth and leisure. They soon organised themselves and, in 1866, founded the American Federation of Labor (AFL), which became the strongest group of trade unions. The expansion and settlement in the West At the same time expansion and settlement in the West were encouraged above all by the discovery of gold in California in 1848-49, which resulted in the ‘gold rush’. Then the Homestead Act (1862) granted free soil to the first occupants. This migration westwards had two main consequences: it led to the COMPETENCE: READING AND UNDERSTANDING INFORMATION disappearance of the frontier and to the extermination of buffaloes, with the consequent 4 ANSWER the following questions. starvation of the American Indians, who were subjugated, mass-deported or brutally 1 How did the lives of the blacks change after the end of the Civil War? exterminated. Cattlemen – the cowboys – 2 What was the ‘American dream’? Who embodied it at that time? became the new Western symbols, so deeply 3 What encouraged the expansion and settlement in the West? What were rooted in American tradition. its consequences? 15 History and Culture INTERNET POINT Abraham Lincoln COMPETENCE: USING TECHNOLOGY TO ACQUIRE AND INTERPRET INFORMATION 1 CARRY out some research about Abraham Lincoln. You can start by browsing the sites www.history.com/topics/us-presidents/abraham-lincoln and www.history.com/topics/american- civil-war/gettysburg-address. 1 Collect information about: • Abraham Lincoln’s early life; • his road to the White House; • the wartime years and the Emancipation Proclamation in 1863; • Lincoln’s victory and death. 2 Surf the Net and listen to the famous Gettysburg Address delivered by Lincoln during the Civil War, in 1863, at the dedication of the Soldiers’ National Cemetery in Gettysburg, Pennsylvania. It is regarded as one of the most famous and poignant speeches in American history. Then answer the questions below. Four score and seven years ago our fathers brought forth, upon this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived, and so dedicated, can long endure. We are met here on a great battlefield of that war. We have come to dedicate a portion of it as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this. But in a larger sense we cannot dedicate – we cannot consecrate – we cannot hallow this ground. The brave men, living and dead, who struggled here, have consecrated it far above our poor power to add or detract. The world will little note, nor long remember, what we say here, but can never forget what they did here. It is for us, the living, rather to be dedicated here to the unfinished work which they have, thus far, so nobly carried on. It is rather for us to be here dedicated to the great task remaining before us – that from these honored dead we take increased devotion to that cause for which they here gave the last full measure of devotion – that we here highly resolve that these dead shall not have died in vain; that this nation shall have a new birth of freedom; and that this government of the people, by the people, for the people, shall not perish from the earth. 3 Say: • what Lincoln reminds the audience of in the first two lines; • what he points out in the second sentence; • what meaning the war acquires; • who Lincoln wants to remember when he says ‘We are met here on a great battlefield of that war’; • what rhetorical devices he uses and what their aim is; • what the final two sentences of the address sound like; • how Lincoln finishes his speech. 4 Write down the key ideas of this speech. 16 5. The Victorian Age History and Culture 5.5 1861-1901 The later years of Queen Victoria’s reign VOCABULARY: The Liberal and the PREPOSITIONS Conservative Parties When Prince Albert tragically died from 1 READ the text and find the typhoid in 1861, Queen Victoria withdrew prepositions used with these from society and spent the next ten years in words or phrases. mourning. She still remained an important 1 withdraw figure even though the political panorama 2 spend some time was changing with the regrouping of the mourning parties. The Liberal Party, as it was called from the 1860s, included the former Whigs, some 3 provide something Radicals and a large minority of businessmen; 4 attempt the party was led by William Gladstone (1809- 5 compete 98). The Conservative Party, which had evolved 6 take a place from the Tories in the 1830s, reaffirmed its 7 be packed position under the leadership of Benjamin Disraeli (1804-81). Benjamin Disraeli Disraeli briefly became Prime Minister in 1868 and regained the office after the elections in 1874. In his second term, his government passed 2 an Artisans’ and Labourers’ Dwellings Act (1875), which allowed local public authorities to clear the slums system by introducing ‘board schools’, mainly and provided housing for the poor; in the poorer areas of the towns. By 1880 a Public Health Act (1875), which elementary education had become compulsory. provided sanitation as well as running Other reforms included the legalisation of trade water; and a Factory Act (1878), unions in 1871, with the Trade Union Act, and which limited the working hours per the introduction of the secret ballot at elections week. Disraeli’s foreign policy was in 1872, with the Ballot Act. dominated by the Eastern Question, Gladstone was re-elected three times (1880, that is, the decay of the Ottoman 1886, 1892). The Third Reform Act of 1884 Empire and the attempt by other extended voting to all male householders, European countries, such as Russia, including miners, mill-workers and farm to gain power there. In 1875 Disraeli labourers. This extension of the franchise gave encouraged the purchase of more public opinion an important role as a political shares in the Suez Canal Company force. 1 to protect Britain’s route to the East. The Irish Parliamentary Party, sitting as a group 1. John Everett Millais, Benjamin Disraeli, in Westminster and led by Charles Stewart Earl of Beaconsfield, 1881. William Gladstone Parnell (1846-91), demanded self-government Gladstone was Prime Minister four times, for Ireland – the so-called ‘Home Rule’. Gladstone 2. William Gladstone, 1880. starting in 1868. At that time, reforming believed that Home Rule was the way to bring legislation focused on education. Elementary peace to Ireland and tried to get Parliament to schools had long been organised by the Church; pass a bill three times; but an Irish government the 1870 Education Act started a national was granted only after World War I (→ 6.4). 17 History and Culture Key ideas WRITE down the key ideas using the prompts. hygiene and sanitation The Anglo-Boer Wars education The struggle with France at the beginning The later years of of the 19th century had led to Britain’s global extension of the franchise Queen Victoria’s reign hegemony – with its naval power and its enormous financial and economic strength, global hegemony Britain seemed invulnerable. However, since Waterloo, its foreign policy had been defensive. Many areas of the world were characterised the British Empire by political and cultural fragmentation and it was there that Britain began to gain control without major political intervention. This was the situation in South America, in Asia and The end of an era most of all in Africa, where Britain competed The Victorian Age came to an end with the with the other European countries to divide up death of Queen Victoria in 1901. For almost a the continent. In South Africa, by the 1870s, the century she had embodied decorum, stability British controlled two colonies, Cape Colony and continuity. Her Golden and Diamond and Natal, while the Dutch settlers, the Boers, Jubilees for 50 and 60 years on the throne had had the two republics of the Transvaal and been celebrated with huge public parades, and the Orange Free State. When Britain took over for her funeral London streets were packed Transvaal in 1877, the Boers rebelled and war with mourners. She was buried beside her broke out. The Boer Wars (1880-1902) ended beloved husband in the Frogmore mausoleum in 1902 with a British victory. at Windsor Castle. Empress of India In 1877 Queen Victoria was given a new title, 3. A map showing the British Empire Empress of India. In the last decades of the throughout the world in the 19th century. 19th century, the British Empire occupied an area of 4 million square miles and more than 400 million people were ruled over by the British. The Empire, however, was becoming more difficult to control. There was a growing sense of the ‘white man’s burden’ (→ 5.23), a difficult combination of the duty to spread Christian civilisation, encouraging toleration and open communication and at the same time promoting commercial interests. It was a strongly felt obligation to provide leadership where States were failing or non- existent, especially in Africa and India. India was economically important as a market for British goods and strategically necessary to British control of Asia from the Persian Gulf to Shanghai. By 1850 the East India Company directly ruled most of northern, central and south-eastern India. In the late Victorian period the new imperial government became more ambitious and through free market economics it destroyed traditional farming and caused the deindustrialisation of India. At one time the main manufacturer of cotton cloth for the world, India, now became the largest importer of England’s cotton. 3 18 5. The Victorian Age 4 5 4. Queen Victoria Empress COMPETENCE: READING AND UNDERSTANDING INFORMATION of India with her personal attendant, 1893. 2 READ the text on pages 17-18 again and explain what is meant by the ‘regrouping’ of the parties. 5. Public parade in London to celebrate Queen Victoria’s Diamond Jubilee, 22nd June 3 COMPLETE the table below with the main facts of Disraeli’s and Gladstone’s governments. 1897. Disraeli Dates Gladstone Dates Home policy Foreign policy 4 EXPLAIN the following in your own words. 1 Home Rule .............................................................................................................................................................................................. 2 the white man’s burden ........................................................................................................................................................ 3 Golden and Diamond Jubilees .................................................................................................................................... 5 DESCRIBE the reasons that led to Britain’s global hegemony. Britain’s global hegemony 6 DISCUSS the importance of India to the British Empire and the impact of British imperialism on the Indian economy. COMPETENCE: USING THE VISUAL TOOLS OF COMMUNICATION 7 USE the pictures on pages 17-19 to talk about the late Victorian Age. 1 Look at pictures 1 and 2. Who are the two men represented? 2 Consider pictures 4 and 5 and explain what Queen Victoria represented in the last part of her reign. 19 History and Culture 5.6 The late Victorians 1 VOCABULARY 1 MATCH the highlighted words Victorian urban nature’s fittest, to reproduce more, especially and phrases in the text with society and women educated women who seemed to neglect their their meaning. In the later years of Victoria’s reign, Britain racial duty to breed. 1 taverns ...................................................................... was primarily an urban society. Victorian cities had gas lighting, rubbish collection and there Late Victorian thinkers 2 excessive desire for wealth ................................................................................................ were many public buildings, such as town halls, In the second half of the 19th century, Britain railway stations, libraries and museums, music reached the peak of its power abroad; however, 3 damage .................................................................... halls, boarding schools and hospitals, police some ideological conflicts were beginning to 4 produced ................................................................ stations and prisons. This was a period of a undermine the self-confident attitude that had 5 strongest ................................................................ retail consumer boom – with many new shops, characterised the first part of Victoria’s reign. 6 handmade ............................................................ public houses and theatres. Even now some Changes regarded several fields, especially 7 basis ............................................................................. Victorian institutions can still be seen in British scientific achievements, industrialisation, 8 the sale of goods through cities. sexuality and religion, and a growing pessimism shops ........................................................................... Middle-class women became increasingly began to affect intellectuals and artists, who involved in public life as leaders in campaigns expressed in different ways their sense of doubt against prostitution, as teachers and as about the stability of Victorian society. volunteer charitable workers. Further education Among the thinkers of the late Victorian opportunities for women became available with period, a significant role was played by those the opening of women’s colleges in the 1870s. who protested against the harm caused However, a strong taboo remained regarding by industrialism in man’s life and in the 1. The Temperate House at Kew Gardens, family issues such as control over property, environment. Karl Marx (1818-83) based the London, is the largest surviving Victorian conditions of divorce and rights over children theories he expressed in his treatise in three glasshouse in the world. as well as questions of sex and childbirth. The volumes Das Kapital (1867, 1885, 1894) upon 2. William Logsdail, St Paul’s and Ludgate Hill, 1882 Married Women’s Property Act gave research done in England, the most advanced ca 1887. married women the right to own and manage European industrial nation of the time. their own property independently of their His works influenced some English writers husbands for the first time. like the art critic John Ruskin (1819-1900) and the artist William Morris (1834-96). They Social Darwinism were looking for a different form of progress, Darwin’s theory of evolution became the a blend of utopianism and nostalgia in which foundation for various ethical and social the future in many ways resembled the past. systems, such as Social Darwinism, which While studying at Oxford in the 1850s, William developed in the 1870s. The philosopher Morris drew inspiration from Ruskin’s works Herbert Spencer (1820-1903) applied Darwin’s on Gothic architecture and his criticism of theory of natural selection to human society: the inhumanity of industrialisation, and from he argued that races, nations and social classes, Thomas Malory’s medieval romance Le Morte like biological species, were subject to the d’Arthur (→ Route 1). Together with the Pre- principle of the ‘survival of the fittest’ and Raphaelite painters (→ Route 9), he started a that the poor and oppressed did not deserve battle against the age he was living in. He set compassion. up a firm to produce craft-made furniture, Eugenics was a similar interpretation created wallpaper and other decorative objects as a by Darwin’s cousin, Sir Francis Galton (1822- reaction to utilitarian mass-produced goods. 1911), and attracting many intellectuals. They In 1883 he became a militant in the Social 2 exhorted the middle classes, regarded as Democratic Federation. 20 5. The Victorian Age 3 4 The spread of socialist ideas COMPETENCE: The 1880s saw the rise of an organised political READING AND UNDERSTANDING INFORMATION left after the foundation of the Fabian Society in 1884. It was a middle-class socialist group 2 READ the text and complete the mind map about the condition of whose members aimed at transforming Britain women in late Victorian society. into a socialist State not through revolution, as Marx advised, but by systematic, progressive reforms. Its early members included Sidney public life education and Beatrice Webb and George Bernard Shaw (→ 5.25). The Independent Labour Party was set up in 1893; it was a non-Marxist socialist party which attracted both male and female intellectuals. Various socialist groups were joined by young skilled workers and intellectuals who read John Ruskin’s criticism of the greed, competition and ugliness of industrial society. Women Patriotism In the late 19th century, expressions of civic pride and national fervour were frequent among the British. Patriotism was deeply influenced by ideas of racial superiority. rights taboos Towards the end of Victoria’s reign the British considered themselves the leaders of European civilisation. There was a belief that the ‘races’ of the world were divided by fundamental physical and intellectual differences, that some were destined to be led by others. It was thus 3 EXPLAIN what human society and biological species had an obligation imposed by God on the British in common, according to Spencer. to spread their superior way of life, their institutions, law and political system on native peoples throughout the world. This attitude 4 WRITE down the key ideas of Ruskin’s and Morris’s thought. came to be known as ‘Jingoism’. Colonial power • John Ruskin ................................................................................................................................................................................ and economic progress made for the optimistic • William Morris ........................................................................................................................................................................ outlook of many Victorians. 5 HIGHLIGHT some examples of the rise of an organised political left in England. 6 ANSWER the following questions. 3. The Love Song, 1868-77, by the Pre-Raphaelite artist Sir Edward Burne-Jones. 1 How did the British see their role in the world? 2 What was Jingoism? 4. William Morris and Morris & Co, The Orchard or The Seasons, 1890. London, Victoria and Albert Museum. 3 What was the Victorian optimistic outlook based on? 21 Literature and Genres 5.7 Victorian poetry Two kinds of poetry Outstanding poets During Victoria’s reign, poetry became more The major poets of the age were Alfred concerned with social reality and was expected Tennyson (→ 5.13); Robert Browning (1812- to express the intellectual and moral debate of 89), who is remembered for his best ‘dramatic the age. This led on the one hand to the creation monologues’ in which he was an original COMPETENCE: of majestic poetry linked to the myth and belief creator of characters; Elizabeth Barrett READING AND of the greatness of England; on the other hand Browning (→ Route 8), who wrote beautiful love UNDERSTANDING to the creation of poetry more inclined towards sonnets; Gerard Manley Hopkins (1844-89), INFORMATION anti-myth and disbelief which had to solve the noted in particular for his rhythm which broke ethical problems raised by science and progress. with conventional rules; and Matthew Arnold 1 READ the first two (1822-88), who used poetry to express his paragraphs and describe: The new image of the poet dissatisfaction with his time. 1 the features of the two kinds Now the poet was seen as a ‘prophet’ and of poetry which emerged in a ‘philosopher’. People expected that he The dramatic monologue the Victorian Age; could reconcile faith and progress, as well as The dramatic monologue is a narrative poem 2 the new image of the poet. sprinkle a little romance over the unromantic in which a single character may address one materialism of modern life. Optimists or more listeners. It is related to the soliloquy 2 READ the third paragraph believed that the benefits of progress could used in Elizabethan plays: in Hamlet’s famous and list the most important be reached without altering the traditional soliloquy (→ T21), for example, the character poets of the age, specifying social organisation or destroying the beauty addresses himself and the audience in a their main features. of the countryside; they wanted to find a moment of self-exploration. corresponding attitude in poets and to be told In a dramatic monologue the speaking 3 READ the last paragraph and that modern life was as susceptible to romantic character is different from the poet himself, complete the diagram about behaviour as the remote legends of King Arthur and is caught in a crucial moment of crisis; a the dramatic monologue. or the Italian Renaissance. non-speaking listener, whose presence has to be inferred from clues in the speaker’s monologue, is present and conditions the development of poem the speaker is caught the speaker is a the monologue. Since the poet does not speak with his own voice, the reader has to infer whether he is intended to accept or criticise what is said by the speaker. As the speaker must be judged only on his own words, different points of view may be justified and supported. This suggestion of the absence of a unique truth was the exact opposite of the The dramatic Victorian love for certainties and it paved monologue the way to new possibilities for poetry in the Modern Age, bringing verse closely in touch with the often unpredictable movements of the human mind. In the dramatic monologue, the tone of the language is argumentative, aiming at revealing the main character’s thoughts, thus reflecting tone points of view interest in a great interest in human psychology. 22 5. The Victorian Age 1. Dante Gabriel Rossetti, Bocca Baciata, 1859. Boston, Museum of Fine Arts. 1 Study the visual analysis of this extract from the poem Porphyria’s Lover from Dramatic Lyrics (1842) by Robert Browning. Be sure I looked up at her eyes The speaker is different from the poet himself. Happy and proud; at last I knew In the poem Porphyria’s lover is speaking Porphyria worshipped me; surprise A silent listener Made my heart swell, and still it grew The speaker is caught in a moment of crisis 5 While I debated what to do. Interest in the character’s psychology That moment she was mine, mine, fair, Several points of view may be justified Perfectly pure and good: I found A thing to do, and all her hair In one long yellow string I wound1 10 Three times her little throat around, And strangled her. No pain felt she. I am quite sure she felt no pain. As a shut bud that holds a bee2, I warily oped3 her lids: again 15 Laughed the blue eyes without a stain4. COMPETENCE: READING, UNDERSTANDING AND INTERPRETING A TEXT And I untightened5 next the tress About her neck; her cheek once more 4 READ the poem and answer the following questions. Blushed bright beneath my burning kiss: 1 Find out: I propped6 her head up as before, A what Porphyria’s lover decided to do; 20 Only, this time my shoulder bore B how he strangled her; Her head, which droops upon it still7: C what he did after the murder. The smiling rosy little head, 1 I wound. Avvolsi. 2 Focus on the last three lines. Describe the present 2 As … bee. Come il So glad it has its utmost will, bocciolo richiuso che situation. What is the relationship between the past trattiene l’ape. and the present? That all it scorned at once is fled, 3 I warily oped. Cautamente 25 And I, its love, am gained instead! aprii (forma poetica). 3 Concentrate on the two characters: the speaker, whose Porphyria’s love: she guessed not how 4 without a stain. Senza personality is unwittingly revealed as he speaks, and una macchia, cioè limpidi. Porphyria, seen through the eyes of her lover. Describe Her darling one wish would be heard. 5 I untightened. Slegai. their moods and personalities. 6 I propped. Sollevai. And thus we sit together now, 7 droops … still. Pende 4 Think about the epilogue: is it a case of lucid insanity And all night long we have not stirred8, su di essa immobile. or sublime love? Why? 8 we have not stirred. Non 30 And yet God has not said a word! ci siamo mossi. 5 How would you define the tone of the monologue? 23 Literature and Genres 5.8 The Victorian novel VOCABULARY Readers and writers the public not to buy that periodical any longer. During the Victorian Age, for the first time, There was a further advantage because an 1 MATCH the highlighted there was a communion of interests and author could always alter the story, according words in the text with their opinions between writers and their readers. to its success or failure. Reviewers also had a meaning. One reason for this close relationship was the strong influence on the reception of literary 1 holding interest intensely enormous growth of the middle classes (→ B2 works and on the shaping of public opinion. ................................................................................................ Exams, p. 8). Although its members belonged 2 ties, holds ............................................................. to many different levels where literacy had The Victorians’ interest in prose penetrated in a heterogeneous way, they were The Victorians showed a marked interest in 3 having concern for the happiness of people ............................... avid consumers of literature. They borrowed prose, and the greatest literary achievement of books from circulating libraries and read the the age is to be found in the novel, which soon 4 quality created by the abundant variety of periodicals. Moreover, became the most popular form of literature and combination of different elements ................................................................ Victorian writers themselves often belonged the main source of entertainment. The spread to the middle class. of scientific knowledge made the novel realistic 5 critics .......................................................................... and analytical, the spread of democracy made 6 bring to realisation .................................. The publishing world it social and humanitarian, while the spirit of 7 eager for knowledge ............................. A great deal of Victorian literature was first moral unrest made it inquisitive and critical. 8 portions of something that published in a serial form. Essays, verse and is published serially even novels made their first appearance in The novelist’s aim ................................................................................................ instalments in the pages of periodicals. This During the 18th century, novels generally dealt allowed the writer to feel he was in constant with the adventures either of a social outcast or contact with his public. He was obliged to a more virtuous hero (→ 3.8), but their episodic maintain the interest of his story gripping structure remained the same. The idea of a 1. Augustus Leopold Egg, The Travelling Companions, 1862. Birmingham Museums. because one boring instalment would cause thematic unity was brought in by Jane Austen (→ 4.16), with the theme of a girl’s choice of a husband, and by the Gothic writers (→ 4.6) who set their novels in a remote, at times strange and exotic, past. In the 1840s novelists felt they had a moral and social responsibility to fulfil. They wanted to reflect the social changes that had been in progress for a long time, such as the Industrial Revolution, the struggle for democracy and the growth of towns and cities. The novelists of the first part of the Victorian period described society as they saw it, and, with the exception of those sentiments which offended current morals, particularly regarding sex, nothing escaped their scrutiny. They were aware of the evils of their society, such as the terrible conditions of manual workers and the exploitation of children. However, their criticism was much less radical than that of contemporary European writers, like Balzac, Flaubert, Turgenev and Dostoyevsky, because the historical conditions of Britain were quite 1 different from those of France or Russia. 24 5. The Victorian Age 2 3 Didacticism was one of the main features • The novel of formation. The Bildungsroman 2. Gustave Doré, A Riverside Street, London, 1872. of Victorian novels, because novelists also (novel of formation or education) became conceived literature as a vehicle to correct very popular after the publication of 3. Sir Luke Fildes, Applicants for Admission to the vices and weaknesses of the age. Charlotte Brontë’s Jane Eyre and Dickens’s a Casual Ward, 1874. London, Royal Holloway, University of London. David Copperfield (→ Text Bank 50-51). The narrative technique These novels dealt with one character’s The voice of the omniscient narrator provided development from early youth to some a comment on the plot and erected a rigid sort of maturity. The works by the Brontë barrier between ‘right’ and ‘wrong’ behaviours, sisters can be linked to the persistence of the light and darkness. Retribution and punishment Romantic and Gothic traditions; they focus were to be found in the final chapter of the on intense subjective experiences rather novel, where the whole texture of events, than on a world of social interaction. adventures and incidents had to be explained • Literary nonsense. A particular aspect and justified. of Victorian literature is what is called ‘nonsense’, created by Edward Lear Setting and characters (1812-88) and Lewis Carroll (→ 5.16). The setting chosen by most Victorian novelists In his famous novel Alice’s Adventures was the city, which was the main symbol of the in Wonderland (1865), Carroll created a industrial civilisation as well as the expression nonsensical universe where the social rules of anonymous lives and lost identities. and conventions are disintegrated, the In their effort to portray the individual motives cause-effect relationship does not exist, for human action and all that binds men and and time and space have lost their function women to the community, Victorian writers of giving an order to human experience. concentrated on the creation of realistic characters the public could easily identify Women writers with, in terms of comedy – especially Dickens’s It is important to underline that a great number characters (→ 5.14) – or dramatic passion – of novels published during the mid-Victorian the Brontë sisters’ heroines (→ 5.15). period, up to 1870-80, were written by women such as Charlotte and Emily Brontë and George Types of novels Eliot (the pen name of Mary Ann Evans) • The novel of manners. It kept close to the (→ Text Bank 64, Route 8). This output is original 19th-century models (→ 4.8). It surprising considering the state of subjection dealt with economic and social problems of Victorian women. It is less surprising if one and described a particular class or situation. remembers that the majority of novel-buyers A master of this genre was William M. and readers were women. Middle-class women Thackeray (→ Text Bank 47). had more time to spend at home than men • The humanitarian novel. Charles Dickens’s and could devote part of the day to reading. novels are mostly admired for their tone, However, it was not easy to get published, and combining humour with a sentimental some women used a male pseudonym in order request for reform for the less fortunate. to see their work in print. Creative writing, like They constitute the bulk of what is generally art and other public activities, was considered called the ‘humanitarian novel’ or the ‘novel ‘masculine’. From Jane Austen to George Eliot, of purpose’, which could be divided into the woman’s novel had moved in the direction novels of a ‘realistic’, ‘fantastic’ or ‘moral’ of a realistic exploration of the daily lives and nature according to their predominant tone values of women within the family and the or issue dealt with. community. Text Bank 47, 64 25 Literature and Genres 4. Arthur Moreland, illustration to Charles Dickens’s David Copperfield, second half of the 20th century. David Copperfield meets with Mr Micawber for the first time. COMPETENCE: READING AND UNDERSTANDING INFORMATION 2 READ the text on pages 24-25 and make notes under the following headings. 1 A close relationship between writers and readers 2 Circulating libraries 3 The publishing world 4 A novel with new features 5 A novel deeply linked to society 6 The role of the narrator 7 A new approach to setting 8 The new characters 4 3 COMPLETE the diagram about the main trends in Victorian novels. main representative: main representative: novel of manners humanitarian novel main features: main features: The Victorian novel main representatives: main representatives: literary nonsense novel of formation main features: main features: 4 EXPLAIN why the output of women writers increased in the Victorian Age and why women used a male pseudonym. 26 5. The Victorian Age Literature and Genres 5.9 American Renaissance The New England Renaissance The centre of American cultural life in the 19th century was New England, where the influence of Puritanism was still very strong. The period from the 1830s to the end of the American Civil War is known as the ‘New England Renaissance’, also called ‘American Renaissance’. The term did not indicate the 1 rebirth of something, but the beginning of a truly American literature, with themes and 1. Portrait of Ralph Waldo Emerson, ca 1878. a style of its own. The Puritan heritage in educating man to understanding and The great literary output of the period reason; constituted a sort of reaction against the • the ‘over-soul’ was the spiritual principle Puritan doctrine. However, the Puritan linking everything together; heritage could still be traced in the flourishing • man was the emanation of the over-soul, of symbols and emblems, as well as in the and the emphasis lay on his individuality, use of allegory that writers such as Nathaniel on his self-education. Hawthorne (→ 5.17) and Herman Melville (→ 5.18) widely employed in their works. The power of human COMPETENCE: READING consciousness AND UNDERSTANDING Transcendentalism This philosophy encouraged an optimistic INFORMATION The most influential figure in framing the and self-reliant point of view, which found thought of the American Renaissance was expression particularly in the poems of Walt 1 READ the text and answer Ralph Waldo Emerson (1803-82), who led Whitman (→ 5.19). Transcendentalism praised the following questions. the Transcendental Club and expressed his mankind’s ability to transcend the mortal world philosophy, called ‘Transcendentalism’, in through reflection and intuition. This belief in 1 What did the term ‘American Renaissance’ mean? his essay Nature (1836). His ideas developed the power of human consciousness to discover under various influences, including English eternal truths in the natural world became the 2 Where could the Puritan heritage still be traced? Romanticism, German Idealism, political dominant theme in Emily Dickinson’s poetry liberalism and eastern mysticism, which (→ 5.20). 3 Who was Ralph Waldo Emerson combined in a new, ‘American’ way. The most faithful follower of Emerson’s theories Emerson? The key ideas of Transcendentalism were: was his friend Henry David Thoreau (1817-62), 4 What was reality, according • all reality was seen as a single unity (oneness who published Walden, or Life in the Woods to Transcendentalism? and multiplicity were the same thing), a (1854). In this work he described the two years 5 How did this philosophy concept which well suited the reality of the he had lived in a hut in the woods near Walden interpret nature? ‘melting pot’, of a country where people Pond, Massachusetts, in order to prove that an 6 What was the over-soul? from all over the world formed a national individual can lead a rich life in solitude, living 7 How did Transcendentalism unity; only on what he grows. Thoreau also wrote interpret man? • contact with nature was the best means to an essay, Civil Disobedience (1849), where he 8 Who were Emerson’s reach truth and awareness of the unity of stated his belief in the individual’s right to resist followers? all things. Emerson saw nature according the power and the laws of the State when they 9 What did Thoreau state in his to its ‘uses’: as a commodity, as a source of were in conflict with his own honest, moral essay Civil Disobedience? beauty and symbolic images, as discipline convictions. 27 Literature and Genres 5.10 The late Victorian novel The realistic novel Colonial literature The late Victorian novel mirrored The Victorian period marked the highest point a society linked to a growing crisis of British imperialism. The most obvious in the moral and religious fields. influence of colonialism on Victorian literature Darwin’s evolution theory (→ 5.3) can be found in the works of Rudyard Kipling influenced the structure and the (→ 5.23). His novels (→ Text Bank 69) and short organisation of the realistic novel, stories are set in the distant lands colonised which started to follow an evolutionist by Britain: it is the reality of colonialism pattern. Coincidences were fully which makes up the background where exploited to solve the intricacies of the an adventurous narrative is made possible. plot, and chance played a Darwinian Kipling exalted the British imperial power as role. The best representatives of the a sacred duty in the poem The White Man’s realistic novel were Thomas Hardy Burden (→ T81). Here he legitimised the belief (→ 5.21) and George Eliot (→ Text that it was the task of the white man, and in Bank 64, Route 8). While Eliot focused particular of the British, to carry civilisation on the psychological and moral and progress to the savages. complexity of human beings, Hardy presented strong individuals, the manifestations of the strong forces of nature to whom he opposed the strong social forces of history and human civilisation. Hardy’s protagonists are also defined by their native regions and, at the same time, 1 painfully alienated by them. COMPETENCE: READING AND 1. Fredric March as Henry Jekyll / Edward UNDERSTANDING INFORMATION Hyde in the film Dr Jekyll and Mr Hyde (1931) The psychological novel directed by Rouben Mamoulian. Robert Louis Stevenson’s The Strange Case 1 READ about the realistic novel and of Dr Jekyll and Mr Hyde (→ 5.22) tried to explain: capture the monstrous, illogical aspects of life 1 what the late Victorian novel mirrored; and described the double nature of Victorian 2 what Darwin’s evolution theory influenced; society. Stevenson seems to be concerned 3 who the best representatives of the not only with the duality present in every realistic novel were and how they differed. individual but also in Victorian society as a whole, where aristocracy was only superficially kind and refined, but hid dark secrets in their 2 FOCUS on the psychological novel and point out: beautiful houses. Most of the action in the novel takes place at night and much of it in 1 what Stevenson represented in The Strange the poorer districts of London, considered the Case of Dr Jekyll and Mr Hyde; place of evil-doers. Most significantly, Mr Hyde 2 when and where most of the action of this enters and leaves Dr Jekyll’s house through novel takes place; the back door, which seems a metaphor for 3 what the names Jekyll and Hyde have the evil that lies behind the beautiful façade of become synonymous with. civilisation and refinement. The names Jekyll and Hyde have become synonymous with 3 EXPLAIN what colonial literature was multiple personality disorder. characterised by. 28 5. The Victorian Age Literature and Genres 5.11 Aestheticism and Decadence The birth of the However, the roots of the English Aesthetic Aesthetic Movement Movement can be traced back to the Romantic The Aesthetic Movement developed in the poet John Keats (→ 4.15), as well as to Dante universities and intellectual circles in the last Gabriel Rossetti (→ Route 9). Rossetti was a decades of the 19th century. It began in France remarkable example of an artist dedicated with Théophile Gautier (1811-72) and reflected wholly to his art. John Ruskin (→ 5.6) too, in the sense of frustration and uncertainty of the his search for beauty in life and art, even while artist, his reaction against the materialism and insisting upon moral values, paved the way for the restrictive moral code of the bourgeoisie, the works of Walter Pater (1839-94), who is and his need to redefine the role of art. As regarded as the main theorist of the Aesthetic a result, French artists withdrew from the Movement in England. political and social scene and ‘escaped’ into aesthetic isolation, into what Gautier defined The theorist ‘Art for Art’s Sake’. The bohémien embodied his of English Aestheticism protest against the monotony and vulgarity Walter Pater’s Studies in the History of the of bourgeois life, leading an unconventional Renaissance (1873) and his masterpiece existence, pursuing sensation and excess, and Marius the Epicurean (1885) were immediately cultivating art and beauty. successful, especially with the young, because of their subversive and potentially demoralising The English message. He rejected religious faith and said Aesthetic Movement that art was the only means to halt the passage This doctrine was imported into England of time, the only certainty. He thought life by James McNeill Whistler (1834-1903), an should be lived in the spirit of art, namely ‘as American painter who worked in England. a work of art’, filling each passing moment with intense experience, feeling all kinds of sensations. The task of the artist was to feel sensations, to be attentive to the attractive, the courteous and the cheerful. So the artist was seen as the transcriber ‘not of the world, not of mere fact, but of his sense of it’. The main implication of this new aesthetic position was that art had no reference to life, and therefore it had nothing to do with morality and did not need to be didactic. Walter Pater’s influence Pater’s works had a deep influence on the poets and writers of the 1890s, especially Oscar Wilde (→ 5.24), as well as the group of artists that met in the Rhymers’ Club and contributed to The Yellow Book. This periodical, published from 1894 to 1897, reflected ‘decadent’ taste in its sensational subjects. The term ‘decadent’ generally implied a process of decline of 1. Aubrey Beardsley (1872-98) provided the illustrations for The Yellow Book, above all with recognised values. By the end of the century black and white drawings. 1 it was used as an aesthetic term across Europe. 29 Literature and Genres 2. John Singer Sargent, portrait of the French The features painter Carolus-Duran, 1879. With his casual of Aesthetic works pose and elegant clothing, he is presented as a dandy. Williamstown, Sterling and Francine A number of features can be distinguished Clark Art Institute. in the works of Aesthetic artists: • excessive attention to the self; • hedonistic and sensuous attitude; • perversity in subject matter; • disenchantment with contemporary society; 2 • evocative use of language. The European COMPETENCE: READING CULTURAL INSIGHT AND UNDERSTANDING Decadent Movement The dandy Decadence must be seen as a European INFORMATION movement. In the late 1880s a group of French The term ‘dandy’, which probably writers contributed to the journal Le Décadent; 1 READ the first two paragraphs on derives from the Scottish nickname page 29 and make notes about: they were the Symbolists Rimbaud, Verlaine, for ‘Andrew’, was first used in the Mallarmé, Laforgue, who were much influenced song Yankee Doodle Dandy, sung 1 where and when the Aesthetic by Charles Baudelaire’s Les Fleurs du mal by the British troops during the Movement began; (1857). Joris-Karl Huysmans (1848-1907) wrote American Revolution (→ 4.1). The 2 what it reflected and reacted À rebours (1884), a novel whose hero, Des words of the song mocked the against; Esseintes, tries to create an entirely artificial colourful uniform of the American 3 what its motto was; life in his search for unusual sensations. soldiers: the imaginary character 4 how the aesthete lived; This character became the model for Wilde’s Yankee Doodle, standing for the 5 what the roots of the movement dandy. The main representatives of American rebel, was depicted riding were in England; a pony, with a feather on his hat. So Decadence in Italy were Gabriele D’Annunzio 6 who its main theorist was in the term ‘dandy’ referred to a man (1863-1938), with his novel Il piacere (1889), England. who boasted about his appearance and the poets Giovanni Pascoli (1855-1912) even though he was wearing odd and Guido Gozzano (1883-1916). The poetry and ordinary clothes. 2 READ the paragraphs about Walter of Rainer Maria Rilke (1875-1926) was one of Vanity, extravagance and refinement Pater and complete the following the most remarkable expressions of the were linked to the more positive sentences. Decadent sensibility in the German language. idea of the dandy which developed 1 The message of his works was thanks to the figure of George Bryan ................................................................................................................ . Brummell (1778-1840). He became DICTATION 1.4 the leader of early 19th-century 2 The only way to halt the passage The Pre-Raphaelite Brotherhood fashion for the exquisiteness of his of time was ......................................................................... . dress and manners, and for 20 3 Life should be lived as years had the Prince Regent (later ................................................................................................................ . George IV) as a friend and admirer. 4 The artist’s task was to A quarrel and gambling debts ................................................................................................................ . forced him to flee to France, where 5 As a result, art did not have to he eventually died in an asylum ................................................................................................................ . for the poor. Brummell created dandyism as a lifestyle. From England this 3 EXPLAIN how Aestheticism trend spread to France, where affected: it was connected to artistic 1 the artist’s attitude; movements, such as Symbolism 2 his choice of subjects; and Aestheticism. 3 his use of language. Reinforced by the French influence, dandyism reappeared in England towards the end of the 19th century with the figure of Oscar Wilde. Route 9: The Pre-Raphaelites 30 5. The Victorian Age