T H I S M A Y T H E PA S S A G E - B A S E D Q U E S T I O N J C 2 R E V I S I O N L E C T U R E
06 Minutes TO Read the Passage WE WILL BE MOVING AT LIGHT-SPEED SHORTLY
s Chapter 32 T H E Newland-May R E L AT I O N S H I P
s Concerns
T H E E L L E N - N E W L A N D ROMANCE I N T H E B A C K G R O U N D O F T H I S P A S S A G E
A R C H E R ’ S DILEMMA T H E H E A R T W I L L G O O N F O R E L L E N
T H E R O L E O F WOMEN A R T L E S S V I C T I M O R A R T F U L A R C H E R ?
O L D N E W Y O R K A S PRISON R I G I D C O D E S A N D F A M I L Y H O N O R
s Methods
tive MOCKING SATIRICAL THE IRONIC c Narrator e p IMPERIOUS COLD s Per CONSCIOUSNESS Archer DIRECT INDIRECT SPEECH SPEECH HE FELT May HE IMAGINED DIRECT Ellen SPEECH DIRECT SPEECH
Fire Ice E L L E N O L E N S K A M AY W E L L A N D
Visions Realities LIT E R A R Y R OM A N CE W I N T R Y N E W Y O R K
Death ‘Pompeian ‘Buried vestibule’ alive’ (58) (114) ‘Green mould of the perfunctory’ (103) ‘Artificial Industry product’ (37) ‘Powerful engine’ (61) Tribe Theatre
Life ‘air of ideas’ ‘breathe’ (164) (113) Floral Lilies-of-the-valley (147) Yellow roses (65) Diana ‘just alight from the chase.’ ‘Same.. aloofness’ (53) (173)
absolute certainly never ‘UNCONDITIONAL OR WITHOUT EXCEPTION’ superlative most purest ‘TO THE HIGHEST DEGREE’ intensifier very extremely ‘STRONGER OR MORE EMPHATIC’
What Can Go Wrong 1. The student unloads prepared material from lectures. The ideas are imposed and not evident from the passage. 2. The student writes a general essay on the topic without focusing on the passage. 3. The student writes more about ‘elsewhere’ than about ‘here’.
10 Minutes TO Read the Outline YOU WILL BE PUT TO THE TEST IN A BIT
Y our Introduction 1. Refer to ‘the passage’ at least twice. 2. What happens in the passage? 3. What does the passage reveal about a particular concern? 4. How is the passage linked to earlier or later events in the narrative?
Y our Paragraphs 1. Refer to an idea from the passage. 2. Give 2-5 quotations from the passage. 3. Close analyse a few key words from these quotations (e.g. the use of ‘still’). 4. Link your analysis to a concern and / or ‘elsewhere’ in the text.
g TS1 The Dilemma ARCHER RELIGHTS THE FIRE
Archer Recalling his ‘first meeting with Ellen Olenska’ (263) two years ago in a previous scene, Archer remains symbolically drawn to the ‘fire’ of Ellen and repelled by May’s figurative ‘iciness’.
How to Analyse 1. Always identify the method: at least the perspective and relevant quotations. 2. Focus on ‘how’: begin your sentences with ‘Wharton’ , ‘The narrator’ , ‘The fire motif’ , not characters (e.g. Archer goes to the fireplace). 3. Make close analysis explicit: use signposts like ‘The use of’, ‘The choice of’, ‘The allusion to’ .
FAMILIAR FACE AN UNAVOWABLE ERRAND warm light match
smote ‘STRIKE WITH A FIRM BLOW’ or ‘BE STRONGLY ATTRACTED TO’
MAY’S paleness abyss UNBRIDGEABLE INTENSITY OF WORD CONNOTATION OF WORD STRONG WEAK POSITIVE NEGATIVE OR HARSH OR SOFT TRY TO BE MORE SPECIFIC THOUGH!
Why The opening of the extract frames the protagonist as the ‘dilettante’ still entwined in the last phase of his romantic visions. Yet to accept the cold reality of his duties to May and the Mingott-Archer alliance, he seeks refuge in the warmth, unaware that the fire will soon be put out.
u TS2 The May-triarch SO THIS IS THE REAL MAY WELLAND
May The reader is led to cast doubt on Archer’s understanding of May. While he continues to projects the ‘abysmal purity’ (6) of a child onto her, May’s direct speech hints at a wisdom beneath her calmness.
Perspectives Archer’s point of view - ‘lack of wonder’, ‘so gently’. Narrator’s point of view - ‘curious’, ‘secret’ calmness. May’s direct discourse - manipulative, commanding. Why - the contrast shows Archer’s ignorant view of the world and May’s mastery over him.
Linking to ‘elsewhere’ 1. The ‘ also seen in ’ mistake: don’t just refer to similar method / evidence for the sake of it. 2. Link by concern instead: here, we want to look for parts of the text that convey May’s ‘silent authoritativeness’. 3. Use your cross-reference to reinforce the purpose of the passage. ‘Here’ > ‘elsewhere’!
Tips on linking i. Return to ‘this passage’. Analyse ‘here’, not ‘elsewhere’. Spend no more than 1-2 sentences on ‘elsewhere’. ii. Use linking words. Discuss how the passage ‘foreshadows’, ‘develops’, ‘reinforces’ or ‘presents a change from...’. iii. Link to general idea. Specific quotes from elsewhere are not required . A general reference like ‘Archer’s impression of May in the early parts of the novel’ will su ffi ce. iv. Link to before / after / ‘start’/ ‘end’. The next chapter (33) is significant. So is the ‘start’ of the marriage (Ch 19-21).
Chapter 16 This silent authoritativeness to the character is in fact foregrounded as early as Chapter 16. It is in this passage that she plays her trump card: she displays her knowledge of the affair through swift ACTION.
dominion
Why This extract certainly places May far above the ‘young creature who knew nothing’ of Archer’s imagination. Beneath the appearance of purity and conformity lies a much more complex matriarchal figure who, like Mrs Mingott and Mrs Welland, maintains a stronghold over the family, and her husband.
a TS3 The F amily Wins THE SILENCE OF NEWLAND ARCHER
Old NY Similarly, the importance of honour is evident in the way May effectively ‘silences’ Newland’s desire to ‘put the case baldly, without vain recrimination or excuse.’
apprehension WITH FEAR OF CONSEQUENCE “May — ” he began “There is something I've got to tell you ... about myself ...” PAINED longing “I've got to” determined baldly without vain... excuse overwritten BY MAY’S HAND as if to silence him
Chapter 32 Is it really worth while, dear ? I know I’ve been unfair to her at times— perhaps we all have. You’ve understood her, no doubt , better than we did: you’ve always been kind to her. But what does it matter, now it’s all over? Chapter 26 Of course you understand that I know all that people have been saying about Ellen... I also know that, for some reason you have not chosen to tell me… by letting you understand that I know you mean to see Ellen
T ask One 1. Evidence from ‘elsewhere’ has been given to you: the ‘use’ of I know. 2. Link ‘here’ to ‘elsewhere’ in terms of concern: (i) why does the writer present May’s knowledge in direct speech here? (ii) how has the reader’s impression of May change through these two depictions?
Why In one simple gesture, May plays to the Old New York code of ‘ignoring the unpleasant’ (21) news of the Ellen-Newland affair, and quells her husband’s desires ... the social code — represented here by May — reins him in.
y TS4 The Vision Dies ARCHER AT THE END OF THE ROAD
Reality The passage hence marks the spiritual death of Archer’s dilemma, as he is left helpless and forlorn with a ‘blank’ expression in response to May’s passive aggression.
Character action Archer looked at her blankly . Could it be possible that the sense of unreality in which he felt himself imprisoned had communicated itself to his wife? Rhetorical question
transparent eyes transparent eyes transparent eyes transparent eyes transparent eyes
T ask Two 1. Closely analyse the portrayal of Newland Archer’s thoughts in lines 36-38. 2. For the eye motif, refer to evidence from ‘elsewhere’ in your answer. 3. Link ‘here’ and ‘elsewhere’ in terms of a relevant concern or idea.
e Concl usion F rom Denial to Growth? ARCHER TRIES TO AVOID REALITY HERE BUT WE KNOW HE WILL ‘HONOUR’ HIS MARRIAGE FROM CH 34
M AY A S S Y M B O L O F S O C I A L C O D E LOCKS OUT A R C H E R ’ S R O M A N T I C D E S I R E S
FADING ‘IT’S IMPOSSIBLE’ VISIONS CONVULSED HAND+DRUMMED&CLANGED VAIN EFFORT TO EXTEND THE SAME CONTROL
tick of tick of the clock the clock COUNTING DOWN THE last hours OF HIS VISIONS clock tick of the clock clock
a The passage is therefore significant in his ‘quest towards maturity’, a closing act to his romantic visions and an open door to his ‘dull duty’ — A LIFE OF THIS MAY. Reality beckons in this bildungsroman .
e The End All the Best for the Prelims. Don’t drop the skills. Please...
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