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Marina Spiazzi Marina Tavella Margaret Layton

Performer Culture & Literature 1+2 From the Origins to the Nineteenth Century

LINGUE

Marina Spiazzi Marina Tavella Margaret Layton

Performer Culture & Literature 1+2 From the Origins to the Nineteenth Century

LINGUE

Copyright © 2012 Zanichelli editore S.p.A., Bologna [9692] 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. L’acquisto della presente copia dell’opera non implica il trasferimento dei suddetti diritti né li esaurisce.

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Le autrici ringraziano il prof. Sergio Rusconi per i preziosi suggerimenti nella scelta dei testi di letteratura italiana. Realizzazione editoriale: – Redazione e ricerca iconografica: Lindy Russell – Collaborazione redazionale: Martine Buysschaert & Francesca Malerba, Milano con Laura Magda Barazza, Zino Malerba e Giacomo Serra – Redazione Text bank: CL’EM, Milano – Progetto grafico e impaginazione: Dario Zannier, Studio Indaco, Milano – Ricerca iconografica: Giorgia Tolfo – Cartine sezione “Mapping”: Bernardo Mannucci – Correzione bozze: Aaron Maines Contributi: – Rilettura: Maria Bellucci – Indice analitico: Laura Magda Barazza Realizzazione e-book: – Redazione: Lindy Russell – Progettazione esecutiva e sviluppo software: duDAT S.r.l. Copertina: – Progetto grafico: Miguel Sal & C., Bologna – Realizzazione: Roberto Marchetti – Immagine di copertina: The Golden Boys (Matthew Boulton, James Watt and William Murdoch), Birmingham. © ell brown Prima edizione: gennaio 2012

L’impegno a mantenere invariato il contenuto di questo volume per un quinquennio (art. 5 legge n. 169/2008) è comunicato nel catalogo Zanichelli, disponibile anche online sul sito www.zanichelli.it, ai sensi del DM 41 dell’8 aprile 2009, All. 1/B. File per diversamente abili L’editore mette a disposizione degli studenti non vedenti, ipovedenti, disabili motori o con disturbi specifici di apprendimento i file pdf in cui sono memorizzate le pagine di questo libro. Il formato del file permette l’ingrandimento dei caratteri del testo e la lettura mediante software screen reader. Le informazioni su come ottenere i file sono sul sito www.zanichelli.it/diversamenteabili Suggerimenti e segnalazione degli errori Realizzare un libro è un’operazione complessa, che richiede numerosi controlli: sul testo, sulle immagini e sulle relazioni che si stabiliscono tra essi. L’esperienza suggerisce che è praticamente impossibile pubblicare un libro privo di errori. Saremo quindi grati ai lettori che vorranno segnalarceli. Per segnalazioni o suggerimenti relativi a questo libro scrivere al seguente indirizzo: [email protected] Le correzioni di eventuali errori presenti nel testo sono pubblicati nel sito www.zanichelli.it/aggiornamenti Zanichelli editore S.p.A. opera con sistema qualità certificato CertiCarGraf n. 477 secondo la norma UNI EN ISO 9001:2008

Fotocomposizione: Fratelli Sala

Specification 1

The Birth of the Nation

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1

1.1

History Meet the Celts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Insights The origins of Halloween FCE Word Formation 1.2 Comparing Literatures Caesar and the Druids . . . . . . . . . . . . . . . . . . . . . . 4 De Druidibus by Iulius Caesar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Of the Druids by Julius Caesar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 1.3 History Roman Britain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 FCE Use of English – Part 1 FCE Writing – Part 1 An email 1.4 History The Anglo-Saxons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.5 The Arts Anglo-Saxon art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 FCE Reading – Part 1 Internet Lab The treasure of Sutton Hoo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 1.6 Literature Beowulf: a national epic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Beowulf and Grendel: the fight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Beowulf’s funeral. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Text Bank 1: Beowulf 6 1.7 Two Films About… Beowulf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 1.8 Cultural Issues Good vs evil. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Take off the Ring! from The Lord of the Rings by J.R.R. Tolkien . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 1.9 History The Viking attacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 FCE Use of English – Part 1 6 Text Bank 2: The elegy 1.10 Mapping History The Norman invasion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 FCE Speaking – Part 1 1.11 History The Domesday Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 FCE Listening – Part 1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Specification 2

Developing Society 2.1 2.2

2.3

2.4 2.5

2.6 2.7 2.8

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27

History A war of succession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 The Arts The Gothic cathedral. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 FCE Listening – Part 2 FCE Speaking – Part 2 History King John and the Magna Carta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Insights Habeas corpus 6 Text Bank 3: Robin Hood FCE Use of English – Part 2 Two Films About… Robin Hood. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Literature The medieval ballad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Bonny Barbara Allen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 6 Text Bank 4–5: Medieval ballads Music Modern ballads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 History The birth of Parliament . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Internet Lab Parliament . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Society The three orders of medieval society. . . . . . . . . . . . . . . . . . . . . . . . 40

FCE Reading – Part 2 6 Text Bank 6: Thomas Malory and the Knights of the Round Table 2.9 Literature Geoffrey Chaucer’s portrait of English society . . . . . 42 The Canterbury Tales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 6 Text Bank 7–10: The Canterbury Tales The Wife of Bath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 The Miller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 2.10 Comparing Literatures The narrator’s voice: Chaucer and Boccaccio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 When in April from The Canterbury Tales by G. Chaucer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 Proemio and Introduzione alla prima giornata from The Decameron by G. Boccaccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 2.11 Cultural Issues Giving identity a voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 The Wife of Bafa by P. Agbabi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 2.12 History The Black Death: a great human tragedy . . . . . . . . . . . . . . . . . . 52 2.13 Mapping History The Wars of the Roses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Specification 3

A Cultural Awakening

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57

3.1

History Meet the Tudors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 FCE Reading – Part 3 3.2 The Arts Portraits of Queen Elizabeth I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 FCE Use of English – Part 1 Internet Lab Portraits of Queen Elizabeth I . . . . . . . . . . . . . . . . . . . . . . . . . . 62 3.3 Two Films About… Queen Elizabeth I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 3.4 Society Elizabethan entertainment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Insights The most popular team sport Insights The origins of tennis FCE Writing – Part 2 An article 3.5 Science An expanding world. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 FCE Listening – Part 3 3.6 Literature The English Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 3.7 Literature The sonnet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 6 Text Bank 11–12: Shakespeare’s sonnets 3.8 Comparing Literatures The English and the Italian sonnet . . . 70 I find no peace by T. Wyatt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Pace non trovo by Petrarch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 3.9 Cultural Issues Woman, lady, mistress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 My Mistress’ Eyes by W. Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Anne Hathaway by C.A. Duffy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 3.10 Cultural Issues The shadow of death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74 FCE Listening – Part 3 Death be not proud by J. Donne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 6 Text Bank 13–14: John Donne Do not go gentle into that good night by D. Thomas . . . 77 3.11 History King by divine right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Insights The origin of Thanksgiving Day 3.12 Mapping History The Gunpowder Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Insights Guy Fawkes and Bonfire Night Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

III Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE 1+2 © Zanichelli 2012 From the Origins to the Nineteenth Century

4.11

Specification 4

William Shakespeare: England’s genius

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4.1 4.2

4.3 4.4

4.5

4.6

4.7

4.8 4.9

4.10

83

Culture Why study Shakespeare? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Literature William Shakespeare (1554–1616) . . . . . . . . . . . . . . . . . . . . . . . . 86 Insights Stratford-upon-Avon: Shakespeare’s birthplace 6 Text Bank 15–16: Julius Caesar Mapping Society Shakespeare’s London . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 FCE Reading – Part 1 Literature The structure of theatres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 FCE Use of English – Part 2 Internet Lab The Globe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 6 Text Bank 17: Christopher Marlowe Literature The world of drama. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 The balcony scene from Romeo and Juliet . . . . . . . . . . . . . . . . . . . . .93 To be or not to be from Hamlet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Text Bank 18–20: Hamlet 6 The bond from The Merchant of Venice . . . . . . . . . . . . . . . . . . . . . . . . .95 6 Text Bank 21–22: The Merchant of Venice My hands are of your colour from Macbeth . . . . . . . . . . . . . . . . . .95 Literature Opening scenes in Shakespeare’s plays . . . . . . . . . . . . . . 97 FCE Reading – Part 3 Romeo and Juliet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Two households . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Text Bank 23: Romeo and Juliet 6 Macbeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 The three witches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Text Bank 24–25: Macbeth 6 The Tempest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102 The Tempest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102 Text Bank 26: The Tempest 6 Literature Dramatic effect in Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 The ball from Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Duncan’s murder from Macbeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Prospero and Caliban from The Tempest . . . . . . . . . . . . . . . . . . . . .108 Two Films About… Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Literature Shakespeare’s soliloquies and monologues . . . . . . . . 111 With a kiss I die from Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . . . . 111 Macbeth’s last monologue from Macbeth . . . . . . . . . . . . . . . . . . . . 113 Prospero renounces his magic powers from The Tempest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Cultural Issues Illusion and reality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 FCE Use of English – Part 1 A Midsummer Night’s Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 The love potion from A Midsummer Night’s Dream . . . 116 The Fairies from A Midsummer Night’s Dream . . . . . . . . . . . .117 An ass-head from A Midsummer Night’s Dream . . . . . . . . . 119 We shadows from A Midsummer Night’s Dream . . . . . . . .120 The dream from Wise Children by A. Carter . . . . . . . . . . . . . . . . . 121

Comparing Literatures Reality and imagination: Shakespeare and Ariosto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Lovers and madmen from A Midsummer Night’s Dream by W. Shakespeare. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Per amor from Orlando furioso by L. Ariosto . . . . . . . . . . . . . . . 123 4.12 The Arts Shakespeare’s plays in painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 FCE Listening – Part 4 FCE Speaking – Part 3 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Specification 5

A Time of Upheaval 5.1

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129

History The Civil War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 FCE Use of English – Part 1 Insights The British and the monarchy today 5.2 Two Films About… The Civil War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 5.3 Society The Puritans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133 FCE Listening – Part 2 Insights The Puritan heritage in America 5.4 Mapping Society The war on witches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 5.5 Literature John Milton: Satan’s speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Paradise Lost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Satan’s speech. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 6 Text Bank 27: Paradise Lost 5.6 Comparing Literatures Satan in Milton and Dante. . . . . . . . . . . . . 139 Dante’s Lucifer from The Divine Comedy by D. Alighieri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 5.7 Cultural Issues The development of human rights. . . . . . . . . . . . . 141 The first two laws of nature from Leviathan by T. Hobbes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Of the state of nature from The Second Treatise by J. Locke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Internet Lab The Universal Declaration of Human Rights . 143 FCE Writing – Part 2 A report 5.8 Science The scientific revolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 FCE Use of English – Part 2 Insights The Royal Society today FCE Reading – Part 2 6 Text Bank 28: Francis Bacon 5.9 History The Restoration of the monarchy. . . . . . . . . . . . . . . . . . . . . . . . . . . .146 6 Text Bank 29: William Congreve 5.10 The Arts Sir Christopher Wren . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

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Shaping the English Character

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6.1

History The birth of political parties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 FCE Use of English – Part 2 Insights Modern political parties, the prime minister and the Cabinet 6.2 Mapping Society The English landscape garden . . . . . . . . . . . . . . . . 154 6.3 Society A golden age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 FCE Use of English – Part 3 FCE Speaking – Part 2 6.4 The Arts William Hogarth’s satire and social criticism . . . . . . . 158 FCE Listening – Part 2 Internet Lab William Hogarth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 FCE Speaking – Part 2 6.5 Literature The means for cultural debate. . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 FCE Reading – Part 1 Insights British newspapers 6.6 Comparing Literatures Two newspapers: ‘The Spectator’ and ‘Il Caffè’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 6.7 Literature The rise of the novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 6 Text Bank 30: Samuel Richardson 6 Text Bank 31: Henry Fielding 6 Text Bank 32: Laurence Sterne 6.8 Literature Daniel Defoe and the rise of the realistic novel . . . . 165 Robinson Crusoe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 The journal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Man Friday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169 Text Bank 33–34: Robinson Crusoe 6 Text Bank 35: Moll Flanders 6 6.9 Two Films About… Robinson Crusoe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171 6.10 Literature Jonathan Swift and the satirical novel . . . . . . . . . . . . . . . . . 172 Gulliver’s Travels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Gulliver and the Lilliputians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Text Bank 36–37: Gulliver’s Travels 6 Text Bank 38: A Modest Proposal 6 6.11 Cultural Issues Tourists, travellers and movers . . . . . . . . . . . . . . . . . . 176 About movers from Shame by S. Rushdie . . . . . . . . . . . . . . . . . . . 177 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Literature William Blake and the victims of industrialisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 London. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 The Chimney Sweeper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 The Chimney Sweeper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Text Bank 39–42: William Blake 6 7.5 Cultural Issues The long-term impact of the Industrial Revolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 A toxic event from White Noise by D. DeLillo . . . . . . . . . . . . . . 192 FCE Writing – Part 2 An article 7.6 History The American War of Independence. . . . . . . . . . . . . . . . . . . . . . .194 Insights America’s birthday FCE Listening – Part 3 Internet Lab The US government. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196 7.7 Mapping History The Boston Freedom Trail . . . . . . . . . . . . . . . . . . . . . . . 197 7.8 Two Films About… The American War of Independence. . . . 198 7.9 Philosophy and the Arts The sublime: a new sensibility . . . .199 FCE Reading – Part 3 FCE Speaking – Part 2 7.10 Literature The Gothic novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 6 Text Bank 43: The historical novel and Walter Scott 7.11 Literature Mary Shelley and the new interest in science . . . . 203 Frankenstein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 The creation of the monster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205 Text Bank 44: Frankenstein 6 7.12 Comparing Literatures The epistolary novel: M. Shelley and Foscolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Le viscere delle alpi from Ultime lettere di Jacopo Ortis by U. Foscolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Frankenstein and the monster from Frankenstein by M. Shelley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Specification 8

The Romantic Spirit 8.1 8.2 8.3

Specification 7

An Age of Revolutions 7.1 7.2 7.3

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History An age of revolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Mapping History Heroes of invention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Society Industrial society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 FCE Use of English – Part 2

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8.5

8.6

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Culture Is it Romantic? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Literature Emotion vs reason . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 FCE Use of English – Part 3 Literature William Wordsworth and nature . . . . . . . . . . . . . . . . . . . . . . . . . 216 Insights The Lake District Daffodils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 6 Text Bank 45–46: William Wordsworth Comparing Literatures Nature in Wordsworth and Leopardi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Canto notturno di un pastore errante dell’Asia by G. Leopardi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 My Heart Leaps Up by W. Wordsworth . . . . . . . . . . . . . . . . . . . . . . . . 219 Literature Samuel Taylor Coleridge and sublime nature . . . . 220 The Rime of the Ancient Mariner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 The killing of the Albatross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222 6 Text Bank 47: The Rime of the Ancient Mariner The Arts Romanticism in English painting . . . . . . . . . . . . . . . . . . . . . . . . . 226 FCE Reading – Part 1 Internet Lab John Constable and J.M.W. Turner . . . . . . . . . . . . . . . . . . 227

V Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE 1+2 © Zanichelli 2012 From the Origins to the Nineteenth Century

FCE Writing – Part 2 An article Mapping the Arts Constable Country . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228 History The Napoleonic Wars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Literature George Gordon Byron and the stormy ocean. . . . 230 Childe Harold’s Pilgrimage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 FCE Listening – Part 2 Apostrophe to the ocean. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 6 Text Bank 48–49: George Gordon Byron 8.10 Literature John Keats and unchanging nature . . . . . . . . . . . . . . . . . . . . . 234 Bright Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 6 Text Bank 50–51: John Keats 8.11 Literature Percy Bysshe Shelley and the free spirit of nature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236 Ode to the West Wind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 6 Text Bank 52: Percy Bysshe Shelley 8.12 Literature Jane Austen and the theme of love . . . . . . . . . . . . . . . . . . . . 240 Pride and Prejudice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Darcy proposes to Elizabeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 6 Text Bank 53: Pride and Prejudice 6 Text Bank 54–55: Sense and Sensibility 6 Text Bank 56–57: Northanger Abbey 8.13 Two Films About… Pride and Prejudice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 8.14 Cultural Issues Marriage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .247 Any wife is better than no wife from Brick Lane by M. Ali . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 FCE Speaking – Part 3 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 8.7 8.8 8.9

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The New Frontier

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9.11

Literature Herman Melville and Moby-Dick: an American epic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Moby-Dick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Moby Dick. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Text Bank 59–60: Moby-Dick 6 Text Bank 61–62: Nathaniel Hawthorne 6 9.12 Cultural Issues Taking challenges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274 The marlin from The Old Man and the Sea by E. Hemingway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276 FCE Speaking – Part 4 FCE Writing – Part 2 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279 Specification 10

Coming of Age 10.1

10.2 10.3 10.4

10.5

10.6 9.1

9.2

9.3 9.4 9.5 9.6 9.7

9.8

9.9 9.10

Society The beginning of an American identity . . . . . . . . . . . . . . . . . . . 254 FCE Reading – Part 2 6 Text Bank 58: Edgar Allan Poe Literature James Fenimore Cooper and the American frontier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 The Last of the Mohicans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 My tribe is the grandfather of nations . . . . . . . . . . . . . . . . . . . . . . . . . . 257 The Arts The Hudson River School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 FCE Use of English – Part 1 Mapping History Manifest Destiny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Internet Lab American Indians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 History The question of slavery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 FCE Listening – Part 1 Music American Negro spirituals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 History Abraham Lincoln. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 FCE Use of English – Part 2 Insights The Lincoln Memorial Comparing Literatures The exaltation of a political leader: Whitman and Carducci . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267 O Captain! My Captain! by W. Whitman. . . . . . . . . . . . . . . . . . . . . . .267 Alla morte di Giuseppe Mazzini by G. Carducci . . . . . . . . . 268 History The American Civil War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Two Films About… The American Civil War . . . . . . . . . . . . . . . . . . . . . . . 270

10.7 10.8 10.9

10.10 10.11

10.12 10.13

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History The life of young Victoria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282 FCE Reading – Part 3 Insights Victoria and Albert History The first half of Queen Victoria’s reign . . . . . . . . . . . . . . . . . . 284 Mapping History The building of the railways . . . . . . . . . . . . . . . . . . . 286 The Arts Victorian London. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288 FCE Listening – Part 3 Insights The British Museum Insights Buckingham Palace FCE Writing – Part 2 A review Society Life in the Victorian town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 FCE Use of English – Part 2 Coketown from Hard Times by C. Dickens. . . . . . . . . . . . . . . . . . . 291 Society Christmas: old and new . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 FCE Reading – Part 1 A Christmas Carol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 Scrooge’s Christmas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 6 Text Bank 63: A Christmas Carol Society The Victorian compromise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 FCE Use of English – Part 3 Literature The Victorian novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 6 Text Bank 64–66: Emily Brontë Literature Charles Dickens and children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Oliver Twist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Oliver wants some more. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 6 Text Bank 67: Oliver Twist Two Films About… Oliver Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Comparing Literatures The exploitation of children: Dickens and Verga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Rosso Malpelo from Vita dei campi by G. Verga . . . . . . . . 306 Society Victorian education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 FCE Listening – Part 4 Literature Charles Dickens and Charlotte Brontë: the theme of education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Hard Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 The definition of a horse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Jane Eyre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Punishment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 6 Text Bank 68: Jane Eyre

VI Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE 1+2 © Zanichelli 2012 From the Origins to the Nineteenth Century

Internet Lab Alice’s Adventures in Wonderland . . . . . . . . . . . . . . . . . . . . .315 6 Text Bank 69: Alice’s Adventures in Wonderland FCE Speaking – Part 2 10.14 Cultural Issues The role of the woman: angel or pioneer? . 316 Becoming a nurse from Atonement by I. McEwan . . . . . . 318 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Specification 11

A Two-Faced Reality 11.1

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323

History The British Empire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Insights Burma: the price of independence 11.2 Society The mission of the coloniser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326 The White Man’s Burden by R. Kipling . . . . . . . . . . . . . . . . . . . . . . . .326 11.3 Mapping History British imperial trading routes . . . . . . . . . . . . . . . . 328 Insights Greenwich Mean Time 11.4 Science and Philosophy Charles Darwin and evolution . . . . . 330 FCE Reading – Part 2 Man’s origin from The Descent of Man by C. Darwin . . 332 11.5 Literature Thomas Hardy and insensible chance . . . . . . . . . . . . . . . . 333 Jude the Obscure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 FCE Use of English – Part 3 Suicide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 6 Text Bank 70: Jude the Obscure 6 Text Bank 71–72: Tess of the D’Urbervilles 11.6 Literature Robert Louis Stevenson: Victorian hypocrisy and the double in literature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 The Strange Case of Dr Jekyll and Mr Hyde . . . . . . . . . . . . . . . . . . . . . . . . . . 338 The story of the door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 6 Text Bank 73: The Strange Case of Dr Jekyll and Mr Hyde 11.7 Cultural Issues Crime and violence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 FCE Speaking – Part 3 FCE Writing – Part 2 an essay The English detective from The Suspicions of Mr Whicher by K. Summerscale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .344 6 Text Bank 74: Robert Browning 6 Text Bank 75: Arthur Conan Doyle 11.8 The Arts New aesthetic theories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 FCE Use of English – Part 2 Internet Lab Pre-Raphaelite painters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .348 11.9 Literature Aestheticism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 FCE Listening – Part 4 11.10 Literature Oscar Wilde: the brilliant artist and the dandy . . . .351 The Picture of Dorian Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Basil’s studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 I would give my soul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 6 Text Bank 76–77: The Picture of Dorian Gray 6 Text Bank 78: The Ballad of Reading Gaol 6 Text Bank 79–80: The Importance of Being Earnest 6 Text Bank 81: George Bernard Shaw 11.11 Two Films About… Oscar Wilde. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 11.12 Comparing Literatures The Decadent artist: Wilde and D’Annunzio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 Andrea Sperelli from Il piacere by G. D’Annunzio. . . . . . . . 358 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Specification 12

Looking for a New Life

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361

12.1

History The Gilded Age Insights Yellowstone National Park, Wyoming, Montana and Idaho 12.2 Mapping History Destination USA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Insights Ellis Island FCE Writing – Part 2 a story 12.3 Society The new American businesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 FCE Use of English – Part 1 12.4 Science and Technology Scientific and technological inventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 FCE Listening – Part 3 12.5 Literature Social realism: class consciousness in American literature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 FCE Reading – Part 2 12.6 Literature Henry James and the modern psychological novel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 The Portrait of a Lady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 A young person of many theories. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 12.7 Two Films About… Henry James’s novels . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 12.8 Literature American regional realism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 FCE Use of English – Part 1 12.9 Literature Mark Twain: a regionalist writer . . . . . . . . . . . . . . . . . . . . . . . . . . 376 The Adventures of Huckleberry Finn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Huck’s doubt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378 12.10 Literature Kate Chopin: a woman’s awakening . . . . . . . . . . . . . . . . . . 380 The Awakening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 Insights Louisiana’s Creoles The last act . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 12.11 Comparing Literatures The need for women’s liberation: Chopin and Aleramo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .384 Pensare, pensare! from Una donna by S. Aleramo . . . . . .384 12.12 Literature Walt Whitman: the American bard . . . . . . . . . . . . . . . . . . . . . . 385 I Hear America Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 Song of the Open Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 Text Bank 82–83: Walt Whitman 6 12.13 Literature Emily Dickinson: poetry of isolation. . . . . . . . . . . . . . . . . . . 390 Hope is the thing with feathers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .392 There’s a certain Slant of light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Text Bank 84–87: Emily Dickinson 6 12.14 The Arts America en plein air . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 FCE Use of English – Part 3 Internet Lab American painting in the second half of the 19thcentury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 12.15 Cultural Issues The path towards personal independence . . 396 Out by himself from Jonathan Livingston Seagull by R. Bach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .398 FCE Speaking – Part 2 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .401 Literary Language Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

VII Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE 1+2 © Zanichelli 2012 From the Origins to the Nineteenth Century

Com’è fatto il libro Culture

Comparing Literatures Approfondimento o analisi critica di aspetti relativi alla cultura dei diversi periodi storico-sociali.

4.1 Culture

Why study Shakespeare? 1

LOOK at the pictures and read the quotations below. In pairs discuss the ways in which Shakespeare’s influence stretches well beyond the world of literature.

2

W

illiam Shakespeare has become a literary institution, seen by many as the unquestionable centre of English studies and a familiar figure to anyone who knows anything about literature. He is the only compulsory author on the national curriculum. This means that it is a legal requirement for anybody educated in the UK to study Shakespeare. He seems to be everywhere in British life. He is quoted in daily newspapers and adapted in advertising. Film studios make Shakespeare’s works to prove their artistic credentials. There is a national theatre company named after him which is regularly committed to the revival of his works. When you are driving down the M6 motorway, you pass signs indicating the new county you are entering, but when you enter Warwickshire, the sign says ‘Warwickshire: Shakespeare’s County’. Handing over a cheque guarantee card, one presents as a mark of its authenticity a hologram of Shakespeare’s head. In 1999 listeners of BBC Radio 4’s news and current-affairs programme, ‘Today’, voted Shakespeare the ‘British Person of the Millennium’. The English language is full of Shakespeare’s phrases. As the journalist Henry Bernard Levin (1928–2004) pointed out, if you have not slept a wink, refused to budge an inch, made a virtue of necessity, knitted your brows, stood on ceremony, had short shrift, cold comfort or too much of a good thing, you’re quoting Shakespeare. The Austrian philosopher Ludwig Wittgenstein (1889–1951) called him ‘an inventor of language’.

IN PAIRS discuss the reasons why we still study texts written a long time ago. Then write a list of the factors that may affect the reading of a text.

1 Alfa Romeo Giulietta billboard quoting Shakespeare’s Romeo and Juliet and The Tempest. 2 Classical Comics offer three versions of each play: the first uses Shakespeare’s own words, the second translates them into plain English, while the third is a ‘quick text’ version. This example is taken from Macbeth. 3 Henry Fuseli, The Three Witches, 1788. Kunsthaus Zürich, Zurich, Switzerland. 4 Poster for ‘Hamlet’, directed by Franco Zeffirelli and starring Mel Gibson, 1990.

5 Plácido Domingo as Othello on stage at the Royal Opera House, London, in 1992.

Shakespeare’s friend Ben Jonson (1572–1637) wrote that he ‘is not of an age, but for all time’; this might be the motto of the traditionalists’ argument for the study of Shakespeare. They assume that his plays are the greatest literary texts and that he is the best teacher of values. He is seen as a font of wisdom and a source of truth about human behaviour, both good and bad. What is particularly interesting is that people with very different values find their own values reflected in Shakespeare. Opposed to the traditionalist arguments are the cultural materialists, critics and thinkers who are mainly interested in the way material factors – like economic conditions and political struggles – have influenced or even created a text. They describe the development of Shakespeare’s reputation as the result of historical events. They oppose the view that texts transmit universal values applicable to all people at all times, saying that the time and place in which works were written and are being read are vitally important. One example of this is the popularity of Henry V. Interpreted as a patriotic play celebrating British victories abroad in adversity, it was very popular during World War II. In conclusion, regardless of why one thinks Shakespeare has remained relevant, he continues to be a very common presence both in our language and in our lives. His works live on, often providing insights into the relationship between art and politics, literature and history, and important issues like gender, sexuality, class, ethnicity and sexual identity.

3

4.10 Illusion and reality

20

25

Jane Austen Mansfield Park, Chapter 34

Confronti tra la letteratura italiana e inglese con esercizi di comparazione.

35

40

45

85

122

History Introduzione al contesto storico e sociale con esercizi legati all’esame del First Certificate (FCE). La rubrica Insights approfondisce un argomento di civiltà e Milestones un anno significativo dal punto di vista storico-sociale.

The British Empire 1

EXPLAIN the difference between the title of ‘queen’ and that of ‘empress’.

2

LOOK at picture 1. 1 What might it suggest to someone living in Victorian Britain about the British Empire? 2 Queen Victoria is presenting the Bible to the man kneeling in front of her. What does this symbolise?

3

Q Were there expressions of civic pride and national fervour among the British? A Yes, they were frequent in the late 19th century. Patriotism was deeply influenced by ideas of racial superiority. The British had only to look at their empire – at the variety of races and peoples they governed – to find apparent confirmation of this view. Q What did the British think of their role as colonisers? A 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 an obligation, ‘the white man’s burden’ (I11.2), imposed by God on the British to impose their superior way of life, their institutions, laws and politics on native peoples throughout the world.

READ the Q&A text. GLOSSARY square miles miglia quadrate scramble divisione subdued sottomisero burden fardello

4

1 Thomas Jones Barker, The Secret of England’s Greatness (Queen Victoria presenting a Bible in the Audience Chamber at Windsor), 1863. National Portrait Gallery, London.

During the reign of Queen Victoria, Great Britain ruled over a wide and powerful empire that brought the British in contact with various cultures. Q What size did the British Empire reach during Victoria’s reign? A In the last decades of the 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, although through the use of varying practices. Q When may Britain’s imperial activity be said to have begun? A It may be said to have begun during the second half of the 16th century. This was the time when Queen Elizabeth I, and later James I, encouraged ‘plantations’ – the settling of English and Scottish people in Ireland on land forcibly taken from the native Irish. In 1600, Elizabeth I also chartered the British East India Company, a trading concern that was eventually to rule over much of today’s India, Pakistan, Bangladesh and Sri Lanka. Q What happened after the 1857 Indian Mutiny? A India came under direct rule by Britain, and Queen Victoria was crowned Empress of India by the British prime minister, Benjamin Disraeli (1804–81), in 1877.

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IN PAIRS cover the answers ( A s) in the text. Take turns asking and answering the questions ( Q s), using the information that you have read.

Milestones

Q What other territories did the British occupy during the Victorian age? A The British also occupied Australia and New Zealand, seized parts of China – including Hong Kong in 1841 – and expanded their possessions in Africa and Southeast Asia – annexing Burma, for example, in 1886.

1877, Queen Victoria becomes Empress of India The title Empress of India was given to Queen Victoria in 1877 when India was formally incorporated into the British Empire. Victoria’s desire for such a title probably derived from jealousy of the imperial titles of some of her royal cousins in Germany and Russia. Prime Minister Benjamin Disraeli is usually credited with having given her the idea. When Victoria died and her son Edward VII ascended the throne, his title became Emperor of India. The title continued until India became independent from the United Kingdom in 1947.

Q Did they also expand in Africa? A Expansionist activity reached a crescendo with the ‘scramble for Africa’ in the 1880s and 1890s. This was a race among European powers to establish territorial rights to those parts of the continent as yet unclaimed. Britain took over Egypt to protect its routes to India through the Suez Canal in 1882 and then Sudan in 1884. From 1899 to 1902, Britain was at war in South Africa against the Dutch settlers, the Boers, over control of gold and diamond mines. The British eventually won, but with great difficulty. Q What kind of empire did Britain create? A Because the British came into contact with and subdued vastly different areas at different times, they were able to shape imperial and colonial policy gradually, adapting to different realities and producing an empire united in name but varied in fact.

3 Alexander Bassano, Queen Victoria, 1882. National Portrait Gallery, London.

2 Indian soldiers

faithful to the British, commanded by Major William Hodson. 4 A picture of Aung San

Suu Kyi, behind her the National League for Democracy flag.

Insights Burma: the price of independence Burma was annexed as a province of British India in 1886 and Burmese customs were weakened. In 1941 the Japanese invaded Burma, promising independence if the British were defeated. At the end of World War II, the leader Aung San negotiated independence from Britain, which was granted in 1948. From 1948 to 1962, Burma was a democratic republic, with U Nu as the first prime minister. In 1962 General Ne Win led a military coup d’état. He ruled for twenty-six years as a dictator, suspending the constitution and establishing military rule. Outside visitors were few and restricted to Rangoon, Mandalay and a handful of other tightly controlled towns close to the central plains. In July 1988, demonstrations broke out across the country during the so-called ‘Democracy Summer’. In 1988, Aung San Suu Kyi, daughter of the independence hero Aung San, founded the National League for Democracy (NLD). Her party quickly gathered country-wide support. Although committed to non-violence, Aung San Suu Kyi was placed under house arrest in July 1989 for ‘endangering the state’ and kept there for the next six years. Nevertheless, her party won the elections in 1990. In 1991 she was awarded the Nobel Peace Prize; in 2003, she was imprisoned once again and released in 2010. The humanitarian situation in Burma is disastrous and civil war still ravages the border areas. The effect of military rule has been an impoverished and underdeveloped nation; Burma is rated as the second least developed nation on the United Nations Development Index. Peace, democracy and the most basic human rights do not exist.

La relazione tra linguaggio letterario e cinematografico nell’analisi di due film per ogni Specification.

Literature 6

Literature

The Strange Case of Dr Jekyll and Mr Hyde (1886)

DISCUSS why most of the literature of the second half of the 19th century is based on the contrast between appearance and reality. You may also refer to section 10.7 to support your ideas.

The story The plot of Dr Jekyll and Mr Hyde is quite simple: the protagonist is a man divided against himself into two distinct characters. The first is a respectable being, Jekyll, and the second an evil genius, Hyde. These two beings are in a perpetual struggle, and it is the same act of secret chemistry that releases Hyde and restores Jekyll. Once Hyde is released from hiding, he achieves domination over the Jekyll aspect, so that the individual has only two choices: the man may choose a life of crime and depravity, or Jekyll must eliminate Hyde in the only way left – by killing himself. Hence Jekyll’s suicide is the final and only choice. Stevenson therefore implies that man’s salvation is based on the annihilation of one part of his nature – if he lives in a civilised society.

T

he Scottish writer Robert Louis Stevenson (1850–94) captured the mood of change of the last decades of the 19th century and expressed the moral dichotomy between good and evil in his classic psychological novel The Strange Case of Dr Jekyll and Mr Hyde (1886), in which hypocrisy is embodied by the double. The double, or doppelgänger, is a second self or alter ego, which appears as a distinct and separate being perceived by the physical senses but existing in a dependent relation to the original. ‘Dependent’ does not mean ‘subordinate’; in fact, the double often comes to dominate, control and usurp the functions of the subject. Stevenson created a symbiotic relationship between Dr Jekyll and Mr Hyde, the former locked in symbolic conflict with the sinister power he had released from within his own being.

Robert Louis Stevenson’s life Robert Louis Stevenson was born in Edinburgh in 1850. Because of his poor health, he spent most of his childhood in bed, terrified of the dark and tutored at home under the influence of his family’s Calvinism. In his adolescence he travelled a lot in search of a friendlier climate; he lived in the south of England, Germany, France and Italy. He took up engineering at university, following in his father’s footsteps, but he was not enthusiastic about it. He was in conflict with his social environment, the respectable Victorian world; he grew his hair long, his manners were eccentric and he became one of the first examples of a ‘bohemian’ (I11.9) in Britain, openly rejecting his family’s religious principles and their love for respectability. After giving up engineering, he graduated in law in 1875 and decided to devote himself to writing. He married an American woman, and since his health was deteriorating, they moved to Australia and Tahiti, settling down at Vailima in Samoa. He died of a brain haemorrhage in 1894. Stevenson became popular as a novelist in the 1880s, when he published Treasure Island (1883), The Strange Case of Dr Jekyll and Mr Hyde (1886), Kidnapped (1886) and The Master of Ballantrae (1889). His short stories, pervaded by a sense of suspense and supernatural, were collected as New Arabian Nights (1882). 1 A portrait of Robert Louis Stevenson, 1894. National Portrait Gallery, London.

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1

The story of the door The Strange Case of Dr Jekyll and Mr Hyde (1886) Chapter I

In the following passage the third-person narrator, who tells most of the story, closely follows the movements of Mr Utterson and introduces the protagonist, the monster Hyde.

4

7.1

10

15

2

FILL IN the table below to organise your knowledge about Stevenson’s life. Place of birth Childhood experiences Religious upbringing Education Journeys Attitude towards society Works Cause of death

Hyde’, directed by Rouben Mamoulian in 1931.

REFER to the description of ‘The story’ on the previous page and describe what you think JekyllHyde’s house and its door might look like. Then read the passage and check your predictions.

Robert Louis Stevenson

5

2 Fredric March in the film ‘Dr Jekyll and Mr

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Mr Utterson the lawyer was a man of a rugged countenance1, that was never lighted by a smile; cold, scanty2 and embarrassed in discourse; backward in sentiment3; lean, long, dusty, dreary, and yet somehow lovable. At friendly meetings, and when the wine was to his taste, something eminently human beaconed4 from his eye; something indeed which never found its way into his talk, but which spoke not only in these silent symbols of the after dinner face, but more often and loudly in the acts of his life. He was austere with himself: drank gin when he was alone, to mortify a taste for vintages5; and though he enjoyed the theatre, had not crossed the doors of one for twenty years. But he had an approved tolerance for others; sometimes wondering almost with envy, at the high pressure of spirits involved in their misdeeds6; and in any extremity inclined to help rather than to reprove. ‘I incline to Cain’s heresy,’ he used to say quaintly7: ‘I let my brother go to the devil in his own way.’ In this character it was frequently his fortune to be the last reputable acquaintance and the last good influence in the lives of downgoing men8. And to such as these, so long as they came about his chambers, he never marked a shade of change in his demeanour. No doubt the feat9 was easy to Mr Utterson; for he was undemonstrative at the best, and even his friendships seemed to be founded in a similar catholicity10 of goodnature. It is the mark of a modest man to accept his friendly circle ready made from the hands of opportunity; and that was the lawyer’s way. His friends were those of his own blood, or those whom he had known the longest; his affections, like ivy, were the growth of time, they implied no aptness11 in the object. Hence, no doubt, the bond that united him to Mr Richard Enfield, his distant kinsman, the well-known man about town. It was a nut to crack for many12, what these two could see in each other, or what subject they could find in common. It was reported by those who encountered them in their Sunday walks, that they said nothing, looked singularly dull13, and would hail with obvious relief the appearance of a friend. For all that, the two men put the greatest store14 by these excursions, counted them the chief jewel of each week, and not only set aside occasions of pleasure, but even resisted the calls of business, that they might enjoy them uninterrupted. It chanced on one of these rambles that their way led them down a by street in a busy quarter of London. The street was small and what is called quiet, but it drove

3 A 1930 illustration for

The Strange Case of Dr Jekyll and Mr Hyde by S.G. Hulme Beaman.

rugged countenance. Burbera espressione. 2 scanty. Reticente. 3 backward in sentiment. Introverso. 4 beaconed. Splendeva. 5 vintages. Vini eccellenti. 6 misdeeds. Misfatti. 7 quaintly. In modo bizzarro. 8 down-going men. Uomini sulla via della rovina. 9 feat. Impresa. 10 catholicity. Universalità, eclettismo. 11 aptness. Abilità, propensione. 12 a nut to crack for many. Problema difficile da risolvere per molti. 13 dull. Tristi. 14 put the greatest store. Davano la più grande importanza. 1

339

Storia e geografia intrecciate per scoprire luoghi importanti storicamente o socialmente.

The Arts Listening – Part 4

2 4 3.7

LOOK at the pictures. In pairs describe what you think is happening in each and consider the emotions they show.

MULTIPLE-CHOICE QUESTIONS. You will hear an interview with a gallery owner who has organised an exhibition of Henry Fuseli’s (1741–1825) drawings and paintings. For questions 1–7, choose the best answer (A, B or C). 1 ‘Art News’ is a weekly radio programme that A aims to give information about current arts events. B wants to introduce new artists to the public. C introduces and organises art exhibitions.

Henry Fuseli, Romeo at Juliet’s Deathbed, 1809. Dreyfus-Best Collection. Henry Fuseli, Hamlet and the Ghost, 1793. Fondazione Magnani Rocca, Parma, Italy.

ANALYSIS

YOUR TURN

1

2

MARK the lines which mirror the typical elements of Shakespeare’s A Midsummer Night’s Dream.

3

UNDERLINE the words and phrases emphasising the difference with Shakespeare’s play. y

7 DISCUSS. Do you prefer going to the cinema or to the theatre? Have you ever seen any of Shakespeare’s plays both at the theatre and at the cinema? Which version did you enjoy most?

4

DECIDE. What theme do Dora’s and Peregrine’s different views of the set point out?

5

TRY to explain the content of Dora’s reflection in your own words.

6

HIGHLIGHT the features of Carter’s style.

2 The guest on this programme has just A organised an exhibition called ‘Illustrating Shakespeare’. B opened a new art gallery in Holborn Court. C set up an exhibition of Henry Fuseli’s drawings and paintings. 3 What kind of education did the painter receive, according to Anita? A He was educated in England by his father, who was an artist. B He received a traditional education in Switzerland. C He travelled all over Europe before being educated in England.

5 What fascinated Fuseli most in literature? A Witches and evil characters. B Dreams and nightmares. C All that was outside normal reality. 6 What does Anita appreciate most about this painter? A The use of light and dark in his paintings. B The powerful way he shows strong emotions. C The lack of physical energy.

Henry Fuseli, Titania, Bottom and the Fairies, 1793–94. Kunsthaus Zürich, Zurich, Switzerland.

7 What is the presenter’s overall view of the artist? A His opinion is similar to his guest’s. B He doesn’t have time to explain his opinion. C He feels the artist used too much violence in his painting.

Specification 4 | William Shakespeare: England’s genius

1 The Dolly Sisters, ca 1923. The Sisters, Jenny and Rosie, like Dora and Nora in Wise Children, were twins and dancers famous for performing on stage and in films in the Twenties.

10

‘Tis strange my Theseus, that these lovers speak of. 15 More strange than true: I never may believe These antique fables, nor these fairy toys. Lovers and madmen have such seething1 brains, Such shaping fantasies, that apprehend More than cool reason ever comprehends. 20 The lunatic2, the lover and the poet Are of imagination all compact: One sees more devils than vast hell can hold, That is, the madman: the lover, all as frantic3, Sees Helen’s beauty in a brow of Egypt: The poet’s eye, in fine frenzy rolling4, Doth glance5 from heaven to earth, from earth to heaven; And as imagination bodies forth6

The forms of things unknown, the poet’s pen Turns them to shapes and gives to airy nothing A local habitation and a name. Such tricks hath strong imagination, That if it would but apprehend some joy, It comprehends some bringer of that joy; Or in the night, imagining some fear, How easy is a bush supposed a bear7! 1 2 3 4

seething. In ebollizione. lunatic. Folle. all as frantic. Altrettanto frenetico. in fine frenzy rolling. Roteando in sublime delirio.

5 6 7

Doth glance. Guarda. bodies forth. Dà forma, produce. How … bear! Quanto facilmente un cespuglio si trasforma in orso!

Per amor Ludovico Ariosto Orlando Furioso (1532) Canto I, Ottava II

Ludovico Ariosto will have to speak about Orlando’s love folly, but he is not sure he will be able to because he has fallen madly in love with a woman and his imagination is fading.

Dirò d’Orlando in un medesmo tratto cosa non detta in prosa mai, né in rima: che per amor venne in furore e matto, d’uom che sì saggio era stimato prima; se da colei che tal quasi m’ha fatto, che ‘l poco ingegno ad or ad or mi lima, me ne sarà però tanto concesso, che mi basti a finir quanto ho promesso.

5

Nello stesso tempo, racconterò di Orlando cose che non sono state mai dette né in prosa né in rima: che per amore, divenne completamente folle, lui che prima era considerato uomo così saggio; dirò queste cose se da parte di colei che mi ha quasi reso tale e che a poco a poco consuma il mio piccolo ingegno, me ne sarà concesso a sufficienza (di ingegno) che mi basti a finire l’opera che ho promesso.

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Specification 4 | William Shakespeare: England’s genius

1

4.9 Literature

Shakespeare’s soliloquies and monologues S

oliloquies and monologues are only some of the conventions used by Shakespeare that were natural on the Elizabethan stage, where the contact between actors and audience was very close.

DISCUSS in pairs. Do you think Shakespeare’s works should be adapted in order to be appreciated by a young audience? Or should teens be encouraged to appreciate his plays in their original form?

Romeo and Juliet

Romeo + Juliet

Directed by Franco Zeffirelli; UK/Italy 1968. With Leonard Whiting (Romeo); Olivia Hussey (Juliet); Laurence Olivier (Prologue Narrator).

T

his version of Romeo and Juliet’s famous love story was very successful because it contained more action, more humour and more sensuality than had ever been used before. It was filmed in Tuscany, in Pienza, Gubbio, Artena and in a palace once owned by the Borgias. It was the first time the two teenagers had been played by two unknown young actors whose age was very close to that of the lovers. Laurence Olivier lent his voice to the narrator, but the director was the real star since he managed to film the most stirring crowd scenes, public fights full of action and some unforgettable romantic moments, including Romeo and Juliet naked on their wedding night. The film won Oscars for costume design and cinematography.

Directed by Baz Luhrmann; USA 1996. With Leonardo DiCaprio (Romeo); Claire Danes (Juliet).

uhrmann’s is an unconventional adaptation of the classical love story of Romeo and Juliet. Even though the actors speak with an American accent and the script cuts out some scenes from Shakespeare’s play, the iambic pentameter is not lost and the dialogue employs street language just as the playwright intended in his own time. Key sentences are also visualised on boards and the names of the two families, the Capulets and the Montagues, are written in lights on buildings. The setting is not 16th-century Verona, but contemporary Verona Beach, California, patrolled by police helicopters which try to keep the brawls between rival gangs under control.

DISCUSS. What does the title of this extract make you think of? How do you feel about Romeo and Juliet?

2

READ the extract and do the exercises on page 112.

Romeo and Juliet Act V, Scene III

(1594–96)

This scene is set at night, in a graveyard with the Capulets’ vault in the background. The effect of Juliet’s potion is beginning to disappear. Romeo has opened Juliet’s vault to see his wife’s face and to take the ring from her finger.

4

Romeo

Ah, dear Juliet, Why art thou yet so fair? Shall I believe That unsubstantial death is amorous1, And that the lean abhorred2 monster keeps Thee here in dark to be his paramour3? For fear of that, I still will stay with thee, And never from this palace of dim night4 Depart again. Here, here, will I remain With worms5 that are thy chambermaids6. O, here Will I set up my everlasting rest7, And shake the yoke of inauspicious stars8 From this world-wearied flesh9. Eyes, look your last10. Arms, take your last embrace! and, lips, O you The doors of breath, seal with a righteous kiss A dateless bargain to engrossing Death11. […] Here’s to my love! [Drinks] O true apothecary12, Thy drugs are quick. Thus with a kiss I die. [He falls] […]

Juliet

What’s here? a cup, closed in my true love’s hand? Poison, I see, hath been his timeless end13. O churl14. Drunk all, and left no friendly drop To help me after? I will kiss thy lips. Haply15 some poison yet doth hang on them16 To make me die with a restorative17. [She kisses him] Thy lips are warm! […] Yea, noise? Then I’ll be brief. O happy dagger. This is thy sheath18. There rust19, and let me die. [She stabs herselff 20 and falls]

5

1 Olivia Hussey and Leonard Whiting in ‘Romeo and Juliet’, directed by Franco Zeffirelli in 1968.

10 1

What about accuracy? Swords become handguns in the film. Another major departure from the source occurs in the final scene, in which Juliet wakes before Romeo dies: if Romeo had just turned around before drinking the poison; if only Juliet had cried out in time! The sense of doomed tragedy that this change adds makes the ending more heartbreaking and even more cynical. Another crucial final difference is that Luhrmann never shows the families reuniting. In the play, Capulet and Montague agree to end their feud; in Zeffirelli’s film, the families converge visually. In the 1996 version, the parents have been relegated to the background all the way through, brought in only to reinforce their shortsighted authoritarianism.

William Shakespeare

2.25

2 3 4 5 6 7 8 9 10 11

12 14 15 16 17 18 19 20

110

With a kiss I die

1

L

What about accuracy? While based on the original play, numerous small details were changed in the film’s story. For example, near the end of the play, following Romeo’s and Juliet’s respective suicides, Friar Laurence is arrested and brought back to the tomb, where he reveals the truth about Romeo and Juliet’s clandestine wedding and his plans to unite them. In the film version, the Friar is not seen or heard after fleeing in terror from the tomb, and thus the revelation of the secret marriage is never shown.

unsubstantial … amorous. La morte senza corpo può innamorarsi. the lean abhorred. Lo scarno aborrito. to be his paramour. Per essere la sua amante. dim night. Oscura notte. worms. Vermi. thy chambermaids. Le tue ancelle. will … res rest. Fisserò il mio riposo eterno. shake … stars. Scuoterò il giogo delle stelle avverse. this world-wearied flesh. Questa carne stanca del mondo. look your last. Guardate per l’ultima volta. seal … Death. Suggellate con un bacio legittimo un contratto eterno con la morte ingorda. apothecary. Speziale. timeless end. Fine immatura. churl. Scortese, egoista. Haply. Forse. some poison … hang on them. Del veleno è ancora su di esse (labbra). with a restorative. Con un conforto. This is thy sheath. Questa è la tua guaina. There rust. Arrugginisci là. She stabs herself. Si trafigge.

15

20

25

111

Specification 4 | William Shakespeare: England’s genius

6

4.3 Mapping Society

Shakespeare’s London DISCUSS. What do you think London was like in the 16th century? Use the following phrases to answer.

2

Other buildings

St Paul’s Cathedral

Milk Street Ironmonger Lane

Cheapside

Mermaid Tavern

LOOK at the map and find the following places:

Bridge; t London Paul’s Cathedral; tt StCheapside; Eastcheap; Street and Milk Street; ttt Bread Ironmonger Lane; t The Globe, The Rose and the Swan.

Poultry

Bread Street

Eastcheap River

Tham

The Rose

The Swan

Southwark

es

The Globe

London Bridge Borough Market

Tower of London

Newington Butts Playhouse

3

SKIM the text on the following page to answer this question: why was London in the 1590s a vibrant and expanding town?

4

MULTIPLE-CHOICE QUESTIONS. You are going to read a text about Shakespeare’s London. For questions 1–8, choose the answer (A, B, C or D) which you think fits best according to the text.

n the 16th century, London had more than 200,000 residents, many of them living beyond the boundaries of the original walled city founded as Londinium by the Romans in 43 AD. ‘The City’ was bordered by the Thames to the south and enclosed by a semicircular wall. Within these boundaries lay a labyrinth of small streets crossed by two main roads, one running from east to west, the other leading from the north to London Bridge in the south. The bridge was the only route across the river, apart from the numerous boats that shuttled between its banks. On the top of a hill east of Ludgate stood the old St Paul’s Cathedral. There were large markets in Cheapside and Eastcheap, where Londoners could buy local produce and imported goods brought up the river by foreign merchants. London’s tradesmen were organised into guilds, and each of these was responsible for maintaining standards and setting prices. Many of the trades were associated with particular areas. Present street names, like Bread Street, Milk Street and Ironmonger Lane, are reminders of past trades. In Southwark, Shakespeare staged plays at the Globe

grammar school performance and choirboy practice, and were particularly popular at court. The three main boy companies were the Children of St Paul’s, the Chapel Children and the Children of the King’s Revels, and they made their biggest impact during the reign of James I. Shakespeare was part of the Lord Chamberlain’s Men. Later called the King’s Men, they worked in the Globe. Performing to a potential audience of 3,000 people, they required an interesting and varied stock of repertoire. Each day, the company presented a different play, rehearsing it in 1 Examples of Elizabethan fashion: soldiers, a noblewoman, halberdiers, a bishop and the Lord Mayor of London.

Reading – Part 1 1 In the 16th century, London had spread A north and south of the Thames. B south of the Thames. C north of the Thames. D within the walled area. 2 Evidence of the traditional trades can still be seen A in street names. B in trade guilds. C in particular areas. D in local markets. 3 What was the Londoners’ attitude towards the theatre at that time? A It was considered a privilege of the rich. B It was mainly for tradespeople. C It was popular with all Londoners. D Merchants and apprentices made up the audience. 4 Elizabethan theatres were situated A in the centre of the town. B on the outskirts of the town. C along the south bank of the river. D between the Tower of London and St Paul’s Cathedral.

88

ART LAB 4: WILLIAM LARKIN

I

Halls and other buildings used as theatres

a place of great crossroads t crowded t filthy t a city of spectacle t narrow roads

6

4 2.14 DICTATION: THE LORD CHAMBERLAIN’S MEN

INTERACTIVE MAP 4

City wall

1

5 Boy companies at Shakespeare’s time A were more successful than adult companies. B were less successful than adult companies. C only performed in schools. D became experienced rivals. 6 Why was London such a dreadful place to live in at that time? A Because of the terrible weather. B Because there were too many prostitutes. C Because there were too many companies. D Because it was particularly unhealthy. 7 Why were the London acting companies unwelcome in other towns? A Because they were considered unfair competition. B Because they spread bad morals. C Because they might be carrying disease. D Because they encouraged crime. 8 Overall, London in the 16th century could be considered A safe to live in. B unhealthy and overcrowded. C full of schools and markets. D isolated from the rest of the country.

2 A performance of Romeo and Juliet in John Madden’s film ‘Shakespeare in Love’, 1998. 3 Joseph Fiennes as Shakespeare in John Madden’s film ‘Shakespeare in Love’, 1998.

Theatre, built in 1599 west of London Bridge in an area known as Bankside. The Globe was not the first playhouse in Southwark. Others built there before it were the Newington Butts Playhouse (1580), The Rose (1587) and the Swan (1595). Playgoing had in fact become part of the city’s daily life, and all levels of society shared the experiences of the theatre. Aristocrats were familiar with the plays of the day from acting parts at school, seeing plays at court and, later, becoming patrons of the stage. Apprentices and merchants also enjoyed the theatre and often took an afternoon off work to go and see a play. Consequently, when Shakespeare began working in London, around 1588, the market was ready for new companies. Boy companies competed against the adult companies and were actually able to earn more money than their more experienced rivals. They evolved from a tradition of

the morning before performing it in the afternoon. The quick change in repertoire meant that theatre was produced in a very different way to today. From a disease standpoint, Shakespeare lived in the worst place and time in history. As London was overcrowded, ratinfested and sexually promiscuous, with raw sewage flowing in the Thames, it was devastated by the plague in the second half of the 16th century. The outbreaks in 1563 and 1603 were the most ferocious, each wiping out over one quarter of London’s population. When there were more than thirty deaths a week, the theatres were closed – the first victim of measures inspired more by the urge for moral order than any effective prevention of the disease. There were very few years when there were no closures, so London acting companies had to travel to other towns, where they were not always welcome, coming from a plague city.

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Specification 4 | William Shakespeare: England’s genius

11.7

Cultural Issues

Crime and violence

Henry Fuseli, Lady Macbeth sleepwalking, 1798. Musée du Louvre, Paris, France.

125

Approfondimenti di temi non solo letterari con mappe visive introduttive e analisi di testi da opere contemporanee.

6

6

TEXT BANK 74: ROBERT BROWNING

TEXT BANK 75: ARTHUR CONAN DOYLE

Speaking – Part 3 1

LOOK at the pictures and say what kind of crimes were common in Victorian times and why.

The crimes The Victorians believed in progress. One element of this faith was the conviction that crime could be beaten. Law and order was a major issue in Victorian times. The people living in big towns were worried about the rising crime rate. The Prison Acts of 1865 and 1877 brought all prisons under government control. The new police forces, established across the whole country and subject to annual inspections by Parliament, seemed successful in suppressing those forms of public behaviour that respectable Victorians considered rough and offensive. They may well also have had an impact on small theft on the streets. However, there were occasional panics linked to particularly appalling offences. In the 1850s and early 1860s, there were scares about street robbery, known then as ‘garrotting’. While the number of ‘garrotte’ robberies was small, the press created

4

How do these things cause problems?

1 Illustrations relating to the Whitechapel murders, or the murders of ‘Jack the Ripper’, from ‘The Illustrated Police News’, 6th October 1888, London.

2

342

READ the text and get ready to explain: 1 how the Victorians dealt with crime; 2 what created panics and why; 3 the attitudes towards domestic violence; 4 how criminals were viewed throughout the Victorian age.

COLLABORATIVE TASK. Here are some pictures of situations which might be considered criminal. Talk about how these things might cause problems for people living in big cities and then decide which two should be punished severely.

DISCUSS. Is it easy to break the law in your country? Think of some examples.

Specification 11 | A Two-Faced Reality

VIII Sp azz Tave a Lay on PERFORMER CULTURE & L TERATURE 1+2 © Zan che 2012 F om he O g ns o he N ne een h Cen u y

Expressing and justifying opinions

8 One thing (the other candidate) didn’t mention is …

Process language Writing – Part 2 an essay Introducing two different views on the one hand ... on the other hand …

FCE Writing – Part 2 5

AN ESSAY. Your teacher has asked you to write an essay about this statement:

Introducing contrast however, although, but, nevertheless

All criminals, even minor ones, deserve to go to prison.

Adding ideas furthermore, what’s more

Write your essay in 120–180 words using a suitable style.

Expressing results or conclusions for this reason, as a result, therefore

YOUR TURN

3

Process language Speaking – Part 3 8 Yes, that’s what I think too. 8 That’s an interesting idea, but … 8 Adding to what (the other candidate) has just said, I think …

sensations out of minor incidents. Parliament responded with legislation which provided f logging as well as imprisonment for offenders. The murders of Jack the Ripper in the autumn of 1888 were confined to a small area of London’s East End but similarly provoked a nation-wide panic increased by press sensationalism. Violence, especially violence with a sexual connotation, sold newspapers. Most offenders were young male thieves; the most common offences committed by women were linked to prostitution. Domestic violence rarely came before the courts. It tended to be committed in the private sphere of the home and had a degree of tolerance among some working-class communities, while the publicising of such behaviour within other classes would have been regarded as harmful to a family’s reputation.

The criminals The way ‘criminals’ were perceived varied across the 19th century. At the beginning of Victoria’s reign, key commentators equated the criminal offender with individuals in the lower reaches of the working class, since they were considered reluctant to do honest work for an honest wage and thought to prefer idleness, drink and an easy life. By the middle of the century, the term ‘criminal classes’ was more in vogue; it was used to suggest a social group stuck at the bottom of society. Towards the end of the century, due to the influence of social Dar winism and to developments in psychiatr y, the criminal came to be identif ied as an individual suffering from some form of behavioural abnormality that had been either inherited or encouraged by dissolute parents.

4 How could the artist’s life in England be described? A Professionally rewarding and profitable. B Initially very difficult. C Intense and fruitful, but only as a painter.

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28

Hippolyta Theseus

Romeo and Juliet

Analisi di opere d’arte per temi o autori anche con esercizi legati all’esame del First Certificate (FCE). Internet Lab propone itinerari guidati in Internet.

Shakespeare’s plays in painting

Henry Fuseli, Macbeth, Banquo and the Witches on the Heath, 1793–94. The National Trust, Petworth, UK.

27

3.6

Cultural Issues

The Arts

1

26

4 5

4.8 Two Films About…

Autori presentati tematicamente e testi dalle opere più significative. Anche qui esercizi legati all’esame del First Certificate (FCE). Per i generi letterari Literary Language, una sorta di information store e la sezione finale del volume Literary Language Reference.

TEXT BANK 73: THE STRANGE CASE OF DR JEKYLL AND MR HYDE

Specification 11 | A Two-Faced Reality

4.12

24

25

READ the texts by Shakespeare and Ludovico Ariosto (1474–1533) and explain what the lunatic, the lover and the poet have in common.

Mapping History/Society

Robert Louis Stevenson: Victorian hypocrisy and the double in literature 1

23

13

325

Specification 11 | A Two-Faced Reality

11.6

1

A Midsummer Night’s Dream (1594–96) Act V, Scene I

Two Films About…

History

11.1

21 22

Peregrine. Zio di Dora, fratello gemello di Melchior, suo padre. the merest whiff. Neanche l’ombra. glows. Brilla. the punters settle down. I barcaioli si acquietano. Thorny hedgehogs. Istrici spinosi. newts … snails. Tritoni, vermi, ragni, scarafaggi neri e lumache. ad lib at hand. Che improvvisano al bisogno. waiting for their cue to scatter. In attesa del segnale per spargersi. It took me donkey’s. Mi ci volle un sacco di tempo. batty old tarts. Vecchie eccentriche. glued. Incollati. Pluck the day. Cogli l’attimo.

COMPREHENSION

YOUR TURN

Specification 4 | William Shakespeare: England’s genius

20

29

William Shakespeare Hamlet, Act I, Scene V

84

Lovers and madmen 19

30

READ the extract and find out: 1 what kind of film set is described; 2 what it was like; 3 what made the wind blow; 4 what the speaker misses most; 5 why Peregrine liked the set; 6 what was waiting in cages; 7 what Dora wanted when she was young; 8 what she regrets now.

imagination all compact’. He means that it is imagination which makes people crazy, but it is also imagination which inspires people. Without imagination it would be much more difficult to enjoy a play.

William Shakespeare

You spotted snakes with double tongue, Thorny hedgehogs23, be not seen.

4 DISCUSS. Can you think of any author who is so central to studying the culture of your own country?

There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy.

T

he function of the final act of A Midsummer Night’s Dream is to challenge the audience’s notions about reality and imagination. Seeing the pathetic acting of the workers, Theseus remarks that ‘The lunatic, the lover, and the poet / Are of

And there they were, waiting in cages, snakes and hedgehogs, not to mention newts, worms, spiders, black beetles and snails24, with snake handlers and hedgehog handlers ad lib at hand25 to keep them happy, waiting for their cue to scatter26 this way and that across the set as soon as the fairy chorus started up. It was all too literal for me. It took me donkey’s27 till I saw the point but saw the point I did, eventually, though not until the other day, when we were watching The Dream again in Notting Hill, that time, couple of batty old tarts28 with their eyes glued29 on their own ghosts. Then I understood the thing I’d never grasped back in those days, when I was young, before I lived in history. When I was young, I’d wanted to be ephemeral, I’d wanted the moment, to live in just the glorious moment, the rush of blood, the applause. Pluck the day30. Eat the peach. Tomorrow never comes. But, oh yes, tomorrow does come all right, and when it comes it lasts a bloody long time, I can tell you. But if you’ve put your past on celluloid, it keeps. You’ve stored it away, like jam, for winter. That kid came up and asked for our autographs. It made our day. I could have wished we’d done more pictures.

GLOSSARY cheque guarantee card carta assegni hologram ologramma have not slept a wink non hai chiuso occhio to budge an inch spostarti di un pollice knitted your brow (hai) aggrottato le ciglia had short shrift (hai) trattato bruscamente

Shakespeare one gets acquainted with without knowing how. It is part of an Englishman’s constitution. His thoughts and beauties are so spread abroad that one touches them everywhere, one is intimate with him by instinct.

Comparing Literatures

Reality and imagination: Shakespeare and Ariosto

30

READ the text above and answer the following questions. 1 Why is Shakespeare so central to studying English culture? 2 Can you provide some examples of Shakespeare’s influence in everyday British life? 3 What are the traditional arguments for studying Shakespeare’s works? 4 What are some of the new ideas about how to approach Shakespeare’s works?

4.11

What I missed most was illusion. That wood near Athens was too, too solid for me. Peregrine19, who specialised in magic tricks, loved it just because it was so concrete. ‘You always pull a live rabbit out of a hat,’ he said. But there wasn’t the merest whifff20 about of the kind of magic that comes when the theatre darkens, the bottom of the curtain glows21, the punters settle down22, you take a deep breath ... none of the personto-person magic we put together with spit and glue and willpower. This wood, this entire dream, in fact, was custom-made and hand-built, it left nothing to the imagination.

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The Birth of the Nation Specif ication 1

Homepage

Top News

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927 Anglo-Saxon King Athelstan makes England

Is it good or evil?

Most Popular News

Spotlight The Arts

793 The Vikings attack monasteries in Britain

Sutton Hoo treasure unveiled

8th–11th centuries Anonymous Anglo-Saxon epic poem Beowulf is composed

1066 The Normans invade Britain

Cinema

See Beowulf on screen

Mapping History

Visit the places of the Norman invasion EXPLORE THE CULTURE Literature

History

The Arts

Comparing Literatures

Two Films About…

Cultural Issues

Mapping History

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1.1 History

Meet the Celts 1

LOOK at the pictures (1–4) and match them with the captions (A–D). a An iron weapon. b Queen Boadicea. c A hill fort. d A hut.

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IN PAIRS discuss what the pictures tell you about the Celts.

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READ the Q&A text below. GLOSSARY ditch fossato timberr legno, legname thatched di paglia plough aratro

During uring the Iron Age (ca 600 BC–50 AD), a Celtic culture established tablished itself throughout the British Isles. Q Who were the Celts? A The ‘Celts’ were tribes of warriors who shared a similar language, nguage, religion and culture. The Romans, who fought against them, reported their d about b th i culture lture but presented them as barbarians. Q When did they come to Britain? A It is not correct to say that they invaded Britain. They gradually settled in the country between about 500 and 100 BC.

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Q What was the basic unit of Celtic life? A It was the clan, which was like today’s extended family. Q Were clans bound together? A Yes, clans joined together with other clans to form tribes, d customs. toms each with its own social structure and Q Where did the Celts live? A They lived in huts made of timber with thatched roofs.

Q What did they bring to the British Isles? A They brought ironworking to the British Isles, which had amazing effects. It affected trade and helped develop local independence because iron was quite cheap and easily available.

Q Were they farmers? A The Celts practised agriculture when they were not fighting in wars. They introduced the iron plough, which made the cultivation of the soil easier. In the countryside in Britain it is still possible to see the long and narrow pattern of the Celtic field.

Q Did the Celts build hill forts? A We don’t know if the hill forts were built by the Celts as they moved into hostile territory or by the native Britons to defend themselves. Hill forts consisted of a small ditch and bank surrounding a hilltop.

Q What was the role of women? A They were almost equal to men. They could choose the man they wanted to marry and retained their own property. They could also lead other warriors in war, like Boadicea – a warrior queen of the early Britons who fought against the Romans.

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Insights The origins of Halloween October 31st is Halloween. This hi festivity f i i has h Celtic C l i origins: i i in i the 5th century BC, the Celts believed that summer ended on October 31st. The holiday was called Samhain and celebrated the start of winter and of the new year. The Celts believed that ghosts and witches returned on that night and that evil spirits entered the body of a person or animal. This is why they used to wear frightening costumes and make big fires to send the spirits away. Later, Christian practices replaced pagan ones; the Roman Catholic Church decided to call November 1st ‘All Hollows Day’ or ‘All Saints Day’ and the evening of October 31st became ‘All Hollows Eve’ – that is, Halloween. Nowadays at Halloween children and teenagers wear skeleton, witch, ghost and monster costumes for parties and ‘trick or treating’. They visit their neighbours’ houses and, when the door opens, they say ‘Trick or treat?’ and people usually give them sweets or money. This custom originated in the 9th century in Ireland, where on November 2nd – All Souls Day – Christians used to walk from village to village begging for ‘soul cakes’, made of bread with currants. The more ‘soul cakes’ the beggars received, the more prayers they promised to say for dead relatives. The custom of buying a big pumpkin and making a lantern comes from Irish folklore. Irish people put lit, hollowed-out turnips in front of their windows and in their garden to frighten evil spirits away.

Word Formation 4 Q Did the Celts write literature? A They relied on the oral transmission of culture, especially through bards. Much of what we know of their traditions comes to us today through the old tales and poems that were handed down for generations before being written down.

SUFFIXES change the function of a word from a verb into a noun (describe p description) or from a verb into an adjective (frighten p frightening). Complete the table below with words from the Q&A text. Verb

amaze

Q What did they worship? A They worshipped the natural elements, like the sun, the moon and water. They held their religious rites in the woods and near the sacred water of wells and springs.

depend cultivate reliance transmit worship

1 Maiden Castle, an Iron Age site in Dorchester, Dorset, England. 2 Spearhead found in the River Thames, England. Iron Age, 200–50 BC. The spearhead has been decorated with four strips of bronze in the La Tène style. The decoration may mean that the spear was not made for use in battle or hunting. 3 Bronze statue near Westminster Pier, London, as commissioned by Prince Albert

and executed by Thomas Thornycroft, completed in 1905. 4 Reconstructed Celtic village, Castell Henllys, Wales.

Noun invasion settlement amazement development

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Adjective invaded settled developed independent cultivated reliant transmitted worshipped

IN PAIRS cover the answers ( A s) in the text. Take turns asking and answering the questions ( Q s) using the information that you have read.

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1.2 Comparing Literatures

Caesar and the Druids C

ommentarii de Bello Gallico (Commentaries on the Gallic War, ca 50–40 BC), written by Julius Caesar (ca 100–44 BC), is the most important historical source of the Gallic Wars, a series of military campaigns against several Gallic tribes, lasting from 58 to 51 BC. Here is an extract from this work. In this extract Caesar speaks about the role of the Druids, the most influential figures in Celtic society. 1

READ the extract by Julius Caesar and the English translation, and then answer the following questions about the Druids. 1 How did the Druids differ from the military class? 2 How long did they study? 3 Why did they write in Greek? 4 What was their belief about souls? 5 What did they teach the young?

De Druidibus Iulius Caesar Commentarii de Bello Gallico (ca 50–40 a.C.n.) Liber VI, 14

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Druides a bello abesse consuerunt neque tributa una cum reliquis pendunt. Militiae vacationem omniumque rerum habent immunitatem. Tantis excitati praemiis et sua sponte multi in disciplinam conveniunt et a parentibus propinquisque mittuntur. Magnum ibi numerum versuum ediscere dicuntur. Itaque annos nonnulli vicenos in disciplina permanent. Neque fas esse existimant ea litteris mandare, cum in reliquis fere rebus, publicis privatisque rationibus, Graecis utantur litteris. Id mihi duabus de causis instituisse videntur, quod neque in vulgus disciplinam efferri velint neque eos, qui discunt, litteris confisos minus memoriae studere, quod fere plerisque accidit ut praesidio litterarum diligentiam in perdiscendo ac memoriam remittant. In primis hoc volunt persuadere non interire animas, sed ab aliis post mortem transire ad alios, atque hoc maxime ad virtutem excitari putant metu mortis neglecto. Multa praeterea de sideribus atque eorum motu, de mundi ac terrarum magnitudine, de rerum natura, de deorum immortalium vi ac potestate disputant et iuventuti tradunt.

1 A ‘wicker man’. According to Julius Caesar, these were used by the Druids for human sacrifice, by burning them in effigy.

3 The Romans, under Suetonius Paullinus, massacre the Druids on the island of Anglesey (now Wales), their spiritual home, in ca 60 AD.

2 Cassivellaunus surrenders to Julius Caesar. Cassivellaunus was probably the chief of the Catuvellauni, a tribe living in southeastern Britain before the Roman conquest. He led an alliance of tribes against Julius Caesar in 54 BC.

4 Klaus Maria Brandauer and Christopher Lambert as Julius Caesar and Vercingetorix in the film ‘Druids’, directed by Jacques Dorfmann in 2001. Vercingetorix was a chieftain who united the Gauls in a revolt against the Roman forces.

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4 1.1 DICTATION: THE DRUIDS

Of the Druids Julius Caesar Commentaries on the Gallic War (ca 50–40 BC) Book VI, Chapter 14 Translated by W.A. McDevitte and W.S. Bohn

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The Druids do not go to war, nor pay tribute together with the rest; they have an exemption from military service and a dispensation in all matters. Induced by such great advantages, many embrace this profession of their own accord, and [many] are sent to it by their parents and relations. They are said there to learn by heart a great number of verses; accordingly some remain in the course of training twenty years. Nor do they regard it lawful to commit these to writing, though in almost all other matters, in their public and private transactions, they use Greek characters. That practice they seem to me to have adopted for two reasons; because they neither desire their doctrines to be divulged among the mass of the people, nor those who learn, to devote themselves the less to the efforts of memory, relying on writing; since it generally occurs to most men, that, in their dependence on writing, they relax their diligence in learning thoroughly, and their employment of the memory. They wish to inculcate this as one of their leading tenets, that souls do not become extinct, but pass after death from one body to another, and they think that men by this tenet are in a great degree excited to valour, the fear of death being disregarded. They likewise discuss and impart to the youth many things respecting the stars and their motion, respecting the extent of the world and of our earth, respecting the nature of things, respecting the power and the majesty of the immortal gods.

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1.3 History

Roman Britain 1

DISCUSS in pairs. 1 Do you know when the Romans invaded Britain? 2 Did they conquer the whole of the British Isles? 3 What aspects of civilisation did the Romans bring with them?

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READ the text and check your answers to exercise 1.

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READ the text again and use the prompts below to report about the effects of the Roman invasion. 1 The administration of the province; 2 the growth of towns; 3 town dwellings; 4 the centre of the town; 5 baths; 6 roads; 7 the first ‘London Bridge’; 8 Londinium.

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n 55 BC Julius Caesar (ca 100–44 BC) invaded Britain (I1.2), but the real conquest of the country took place in the years 43–47 AD under Emperor Claudius (10 BC–54 AD). One of the first things the Romans did was involve the conquered tribes in the administration of the province. The Romans encouraged the growth of towns near their army bases and established special towns as settlements for retired soldiers. They persuaded the ruling class of Celtic aristocrats to build town dwellings, and they turned the towns into centres of vibrant commercial activity.

Roman towns and roads Town boundaries contained a regular network of streets. Most towns were surrounded by stone walls. The centre of a Roman town was the forum, or civic centre, which gave access to the basilica, or town hall. It was here that courts of justice were held, though it could also be used for merchants’ assemblies. Every town had public baths. They were open to both sexes, though at different times of day, and served as a healing spa and meeting place.

Roads joined the towns together. The Romans built over 9,600 kilometres of roads in Britain. They weren’t always straight, but they were amazingly well built and made troop movement, and later the movement of commercial goods, much easier. Possibly the most important monument built by the Romans in Britain was Hadrian’s Wall, constructed as a defensive fortification and customs barrier from the east coast to the west coast between England and Scotland.

The origins of London The beginnings of London can be dated to the invasion of the Romans in 43 AD. A bridge was built across the River Thames. This first ‘London Bridge’ proved a convenient central point for the new network of roads which soon spread out like a fan from the crossing place. The Roman settlement on the north side of the bridge, called Londinium, quickly became important as a trading centre for goods brought up the river by boat and unloaded at wooden docks by the bridge. 1 Roman mosaic floor in the Corinium Museum, Cirencester, Gloucestershire, England. 2 Roman coin with laureate head of Domitian, 86 AD. Around it, there is an inscription that reads: IMP CAES DOMIT AVG GERM COS XII CENS PER PP. Museum of London, London. 3 The Roman Baths complex in the English city of Bath. A well-preserved Roman site for public bathing, the Baths are a major tourist attraction and receive more than one million visitors a year.

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Cycling itineraries?

Use of English – Part 1 4

MULTIPLE-CHOICE CLOZE. Read the National Trust’s tourist advertisement for Hadrian’s Wall. For questions 1–12, read the text and decide which answer (A, B, C or D) best fits each gap. Facilities available?

More details?

Where to stay?

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do by A job A was A the A to A complete A checked A than A heating A forward A forgettable

get from B feat B has Ba B from B all B saw B as B heat B in B forgotten

make to C act C is C any C until C entire C watched C that C heater C on C unforgettable

an idea of what life was like when If you really want to (1) the Romans were around, come (2) Hadrian’s Wall. This amazing (3) of engineering (4) built following a visit by Roman Emperor Hadrian in 122 AD. It is 80 Roman miles (about 73 modern miles) long, 8–10 feet wide and 15 feet high. If you think that was (5) achievement, it was not all – no, in addition to the wall, the Romans built a system of small forts, called ‘milecastles’, which housed garrisons of up (6) 60 men and were placed one every Roman mile along its (7) length. Sixteen larger forts holding from 500 to 1,000 troops were built into the wall too, and the best-known, Housesteads, is now a magnificent open air museum which can show you what life was like for the soldiers who (8) the empire against barbarian raids from the north. You may be surprised to find it was not as cruel a fate (9) you imagined – no, the soldiers had underground (10) in their sleeping quarters and public hot baths! Come and let your imagination take you (11) to those distant times in an area tourists have been coming to since the 2nd and 3 rd centuries. Let’s go back two thousand years! For an (12) experience come to Hadrian’s Wall! need d in D skill D were D an D against D total D guarded D like D heated D back D unforgotten

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Writing – Part 1 5

AN EMAIL. You are going to visit the North East of England in the near future. Read the advertisement about Hadrian’s Wall and the notes you have made. Then write an email (120–150 words) to the National Trust using your notes.

Process language Writing – Part 1 an email Greeting 8 Dear (Mr / Ms + surname) Reasons for writing 8 I’m writing to … 8 I recently (visited your website) … 8 Could you please tell me … ? Closing 8 Looking forward to hearing from you. Salutation 8 Best wishes

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1.4 History

The Anglo-Saxons

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fter the withdrawal of the Roman army from Britain in 410 AD, the Romanised Celts were left alone to fight against peoples from Germany and Scandinavia who invaded the island in the 5th century and destroyed the Roman British towns. They were the Angles, the Saxons and the Jutes, and gave the larger part of Britain its new name: ‘England’, that is, ‘the land of the Angles’.

Anglo-Saxon society Most Anglo-Saxon invaders were farmers looking for richer lands, but many of them were also deep-sea fishermen used to hunting seals and whales in the stormy ocean. They were organised in family groups, called ‘clans’, in which the most important social bond was loyalty to the other members and to the lord of the tribe. They exalted physical courage and personal freedom and they also had a highly developed sense of beauty. They made fine ornaments and enjoyed feasting and drinking. The Christianisation of Britain At the end of the 6th century, Pope Gregory I the Great (540–604) sent a monk, Augustine (early 6th cent. – ca 604), to bring Christianity back to England. Augustine first went to Canterbury and he became the first Archbishop of Canterbury. Soon monasteries progressed and turned into important centres of communal life and culture. The Kingdom of England Politically, the general pattern was that a large number of small political entities gradually conquered or merged with each other. This status quo remained until 865 when it was violently disturbed by Danish armies, commonly known as Vikings (I1.9). They quickly conquered East Anglia, Northumbria, part of Mercia and nearly all of Wessex until the organisational skill of Alfred the Great of Wessex (ca 848–899) halted their advance. In ca 879 Mercia accepted Alfred’s lordship and a ‘Kingdom of Anglo-Saxons’ was born. The England Alfred dreamt of was a family project, built over generations in a series of developments in state-building, local organisation, the construction of towns, the issuing of coinage, the making of English law and the promotion of learning and literacy. Alfred’s son Edward (ca 874–924) was a great war leader who extended his power into the Midlands and East Anglia. It was Athelstan, Edward’s son, who completed the task in 927, conquering Northumbria. 1 Whitby Abbey, in Yorkshire, England. The first monastery here was founded in 657 AD by the Anglo-Saxon king of Northumbria. 2 The Heptarchy, a name applied to the seven Anglo-Saxon kingdoms.

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1

SCAN the text and see if you can find where the term ‘AngloSaxon’ came from.

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READ the text and the Milestones, and get ready to report orally on the following points: 1 the origin of the name England; 2 the Anglo-Saxon economy; 3 Anglo-Saxon values; 4 the monk Augustine; 5 Alfred the Great; 6 Athelstan and the year 927. GLOSSARY withdrawal ritiro bond legame merge with fondersi con issuing emissione coinage conio, moneta

Milestones 927, Athelstan made England Few English kings have as direct a claim as Athelstan to be described as the father of the English state. 927 AD was a turning point, the year when he created a kingdom of all England by establishing the idea of royal authority, law and coinage. Diplomacy was a fascinating aspect of his rule. Disorder was the great terror of the age. He tried to achieve peace across western Europe through a series of diplomatic alliances, including the marriage of four of his sisters to European rulers. This is why in the 12th century Athelstan was remembered as a kind of English Charlemagne – an image echoed in several medieval romances and even on the Elizabethan stage.

1.5 The Arts

Anglo-Saxon art 1

LOOK at the pictures and discuss the objects in pairs. 1 What do you think they are made of? 2 Do you find them attractive? Why or why not?

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MATCH the pictures (1–6) with the words below. a Gold buckle. ....... b Sword. ....... c Shoulder-clasp. ....... d Shield decoration (x2). ....... ....... e Ceremonial helmet. .......

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ART LAB 1: ANGLO-SAXON METALWORK

1–6 Objects found at the Sutton

Hoo ship-burial in Suffolk, England. British Museum, London.

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1.5 Anglo-Saxon art

The treasure of

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SKIM the article and answer the question: why is Sutton Hoo considered one of the most important archaeological discoveries of modern times?

Reading – Part 1 4

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MULTIPLE-CHOICE QUESTIONS. Read the article about the discovery of the Sutton Hoo burial ground. For questions 1–8, choose the answer (A, B, C or D) which you think fits best according to the text. 1 Sutton Hoo is famous because A it was discovered in 1939. B it is near the Suffolk coast. C an Anglo-Saxon ship-burial was found there. D it dates from the 6th and 7th centuries. 2 The objects recovered at Sutton Hoo are now A in a local museum. B displayed at the site of the burial. C kept in the British Archives. D in a museum in London. 3 The findings are particularly significant because A historians knew little about this period. B the objects belonged to a great warrior. C the objects were in a ship. D the ship had come from Sweden. 4 The words ‘ghostly oarsmen’ in line 19 refer to A the corpses of the crew of the ship. B the corpses of the grave robbers. C the imaginary men who led the man to the other world. D the man’s relatives. 5 The ship-burial is reminiscent of Beowulf because A it contained poetry. B it was the tomb of a hero. C he was buried there. D it is not English. 6 The presence of Christianity is seen in A two silver spoons. B a silver cross. C a medallion. D gold and gems. 7 Artefacts found in the burial showed evidence of A feasting. B fighting and entertainment. C hunting and travelling. D a difficult lifestyle. 8 What is a surprising fact about Beowulf? A It was written in English. B None of the people in it are English. C It was a story about a great hero. D It took place in Denmark.

Sutton Hoo, a few miles from the Suffolk coast in England, is the site of two Anglo-Saxon cemeteries from the 6th century and early 7th century. Discovered in 1939, the undisturbed shipburial in one of the mounds is probably the most important archaeological find of modern times. It contained a wealth of Anglo-Saxon artefacts of outstanding art-historical and archaeological significance, which are now held in the British Museum in London. The remarkable find forced historians to view the period after the Romans left Britain in a completely new light. While the wood of the ship and the flesh of the man had dissolved in the acidic Suffolk soil, the gold, silver and iron of his wealth remained. For the first time, historians had a chance to see the sort of objects that a great man of the 7th century had in his hall. From a range of war gear and displays of wealth to feasting equipment, the man had all he needed to live in eternity as he had on earth. His boat was pointing west and in his purse were forty gold pieces – one for each of the ghostly oarsmen who would row him to the other line 19 place. Although it is not certain, the mound is thought to be the burial chamber of Rædwald, who was the most powerful king in all England around 620. He played a dynamic part in the establishment of Christian rule in England. From the time of its discovery, the ship-burial has prompted comparisons with the world described in the heroic Old English poem Beowulf (I1.6), which is set in southern Sweden. It is in that region, especially at Vendel, that close archaeological parallels to the ship-burial are found, both in its general form and in details of the military equipment that the burial contains. The most significant artefacts from the ship-burial are those found in the burial chamber, including a suit of metalwork dress fittings in gold and gems, a ceremonial helmet, shield and sword, a lyre and many pieces of silver plate from the Eastern Roman Empire. There were also two silver spoons, possibly from Byzantium itself, of a type bearing the names of

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Internet Lab

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DIVIDE into groups of two or three per computer. g Each group will work on one of the following assignments: 1. The Ghost-Ship of the Wuffings; 2. The Royal Burial-Chamber; 3. The Royal Sword Blade; 4. The Royal Sword Hilt; 5. The Royal Sword Belt; 6. The Royal Money Belt; 7. The Royal Shoulder Mounts; 8. The Royal Helm; 9. The Royal Shield.

the Apostles – proof of the connection with early Christianity. One of the most iconic objects found was the ‘crested’ and masked helmet. It is the helmet of a hero, and together with the cauldrons, drinking horns and musical instruments, highly decorated weapons and lavish skins and furs, and not least the treasure of gold and silver, was evidence that Beowulf, far from being just a poetic invention, was a surprisingly accurate memory of a splendid, lost, preliterate world. Yet not a single character in Beowulf is English. They are Swedes and Danes, warriors from the whole of northern Europe. So both the treasure of Sutton Hoo and the foundation stone of English poetry show us a world that was connected to many others from the eastern Mediterranean to India, a world where the island of Britain was already being shaped by influences from all over the globe.

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TYPE www.wuffings.co.uk and click on ‘Sutton Hoo: Burial a ground of the Wuffings’.

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FIND the word you have to click on in order to see what the king % would have looked like wearing his regalia.

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CLICK on the picture of the king and find out the names of the & objects indicated below; write them down.

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RETURN to the homepage and click on the key word of your ( assignment. Read the page and collect the information in a table

1 Richard Hook, Artist’s impression of the Anglo-Saxon ship-burial at Sutton Hoo, 20th century. 2–3 Photos of the excavation of the ship-burial site, 1939.

similar to the one below. Group 1 Picture description Materials Design Ornaments Function

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SHARE these tables with the rest of the class and create a folder z about the treasure of Sutton Hoo in your copybook.

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1.6 Literature

Beowulf: a national epic B

eowulf is the oldest surviving AngloSaxon epic poem. Its origins are mysterious: the identity of its author is unknown and scholars are unsure of its precise date of composition. It tells of legendary people and events and describes a warrior society in which the relationship between the leader, or king, and his warriors, called thanes, is founded on provision and service. This society is strongly defined in terms of kinship.

Literary language The epic poem The most important features of an epic poem are: 8 a long narrative; 8 elevated style; 8 celebration of the deeds of a hero; 8 description of an aristocratic, military society; 8 type-scenes: the banquet, the battle, the voyage and the funeral.

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DISCUSS these questions before reading the text. 1 Do you know what an epic poem is? 2 Which epic poems do you know? What do you remember about them? 3 What sort of society does epic poetry describe? 4 What values do epic poems promote?

Date and place of composition It is thought to have been composed by a single Christian author for a Christian audience in Anglo-Saxon England any time from the 8th to the 11th century, but the first recorded written version dates from the 11th century. During the time in between, composers and singers, or scops, would memorise this long, heroic tale and tell it at the fireside as a form of entertainment. The actions of the poem take place in Scandinavia, but the poem itself was probably written in Northumbria, an important Anglo-Saxon kingdom and home to Roman Catholic monks who reinterpreted the story in a Christian way. Settings The settings draw us to a place and time when warrior tribes fought against one

TEXT BANK 1: BEOWULF

another, when change and death were inevitable, when all that really mattered was not if you died, but how and when. The first actions take place in a Danish kingdom ruled by King Hrothgar. There, in Heorot, the mead hall of the king, Beowulf confronts a monster that has been terrorising the king and his men for twelve years. Later, Beowulf dives into a misty lake and fights the monster’s mother. The scene of the action then shifts fifty years later to the land of the Geats in Sweden, where an elderly Beowulf confronts a dragon terrorising his own land.

The supernatural characters of the poem Beowulf is praised for his courage, endurance and generosity, which determine his nobility and establish the courtly ideal of the warrior. Superhuman powers are attributed to him: he kills monsters which live underwater and underground, which can fly and which breathe fire. During the poem several monsters appear. The first one is Grendel. His physical appearance is left to the reader’s imagination – the only clues are that he is a descendant of Cain, the first murderer of the Old Testament of the Bible, and ‘a fiend of hell’. He is described as a being ‘of the night’:

READ the text about the AngloSaxon epic poem Beowulf and answer these questions. 1 What kind of society is presented in Beowulf? 2 When was the poem written down? 3 What are the many settings of the poem? 4 How are the various characters presented? 5 What themes are they linked with?

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wherever he moves he is surrounded by darkness. He is bloodthirsty and keeps the Danish kingdom of King Hrothgar under siege for twelve years, killing both warriors and civilians. Grendel’s mother, who has no name of her own, looks a bit like a woman. She lives with her son in a supernatural lake filled with sea-dragons, and the poison in her blood dissolves any sword used against her. The last monstrous creature, faced by an ageing Beowulf, is a winged, fire-breathing, serpentine dragon.

Themes Life is a continuous struggle between good and evil. Beowulf represents goodness, while the three monsters that he kills stand for evil. The greatness of a human being is judged by the greatness of his deeds and his noble ancestry.

Loyalty to one’s lord or neighbour is the primary value. Beowulf risks his life to help a neighbour – King Hrothgar – in trouble.

Legend and history The poem deals with legends and real historical events. Burial mounds and ancient carvings suggest that the myth of Beowulf could be more than an epic legend: archaeological excavations in Scandinavia have found a great hall with three rooms, each about 50 metres long, built in the mid-6th century, exactly the time of Beowulf. At Sutton Hoo in England (I1.5), the burial mounds have given more evidence about Beowulf’s world: weapons and artefacts which look like those described in the epic poem were found in a rich ship-burial.

The people and the places of Beowulf The Geats: Beowulf’s clan, a seafaring tribe living in the south of Sweden. The Danes: the residents of Denmark. Beowulf: the hero. His strength is underlined by the etymology of his name: Beowulf = Bee-Wolf, i.e. ‘Bear’. Hrothgar: the king of a Danish realm terrorised by a monster. Grendel: a monster that terrorises Heorot. Grendel’s Mother: a monster that strikes after Beowulf defeats Grendel. Dragon: a monster in the land of the Geats. Wiglaf: the warrior who helps Beowulf fight the dragon. Heorot: a communal meeting place for feasting and drinking.

1 Beowulf during his fight with Grendel’s mother in the film ‘Beowulf’, directed by Robert Zemeckis in 2007. 2 Beowulf and Wiglaf in another still from the film ‘Beowulf’ by Robert Zemeckis.

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1.6 Beowulf: a national epic

Beowulf and Grendel: the fight Anonymous

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Beowulf (ca 11th century) Lines 710–717; 738–753; 793–804; 814–827

The extract you are going to read is from the modern translation by Seamus Heaney (2001). It deals with the fight between Beowulf and the monster Grendel.

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In off the moors1, down through the mist-bands God-cursed Grendel came greedily loping2. The bane3 of the race of men roamed forth, Hunting for a prey in the high hall. Under the cloud-murk he moved towards it Until it shone above him, a sheer keep4 Of fortified gold. Nor was that the first time He had scouted the grounds5 of Hrothgar’s dwelling – […]

BEFORE READING the extract, refer to the text about Beowulf on pages 12–13 and make predictions about: 1 the setting of the fight; 2 the actions performed by the hero and those by Grendel; 3 who is going to win the fight.

Nor did the creature keep him [Higelac’s kinsman] waiting But struck suddenly and started in6; He grabbed and mauled7 a man on his bench, Bit into his bone-lappings8, bolted down9 his blood and gorged on him in lumps10, leaving the body utterly lifeless, eaten up hand and foot. Venturing closer11, his talon was raised to attack Beowulf where he lay on the bed, he was bearing in with open claw12 when the alert hero’s comeback and armlock forestalled him utterly13. The captain of evil discovered himself In a handgrip14 harder than anything He had ever encountered in any man On the face of the earth. Every bone in his body quailed and recoiled15, but he could not escape. […] Time and again, Beowulf’s warriors worked to defend Their lord’s life, laying about them16 As best they could, with their ancestral blades17. Stalwart18 in action, they kept striking out On every side, seeking to cut Straight to the soul. When they joined the struggle There was something they could not have known at the time,

moors. Brughiere. came … loping. Giunse a grandi passi. bane. Flagello. a sheer keep. Una fortezza a picco.

5 6 7

had … grounds. Aveva perlustrato i terreni. struck … in. Attaccò e colpì all’improvviso. grabbed and mauled. Afferrò e straziò.

bone-lappings. Giunture delle ossa. 9 bolted down. Trangugiò. 10 gorged … lumps. Si ingozzò della sua carne a pezzi. 11 Venturing closer. 8

1 Illustration of Beowulf fighting Grendel by Hans W. Schmidt, 1904.

Avvicinandosi. claw. Artigli. 13 comeback … utterly. Reazione e presa lo anticiparono totalmente. 14 handgrip. Morsa, stretta. 12

Specification 1 | The Birth of the Nation Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012

quailed and recoiled. Tremò e indietreggiò. 16 laying about them. Menando colpi all’impazzata. 17 blades. Spade. 18 Stalwart. Forti, coraggiosi. 15

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that no blade on earth, no blacksmith’s art could ever damage their demon opponent. He had conjured the harm from the cutting edge Of every weapon19. […] The monster’s whole body was in pain; a tremendous wound appeared on his shoulder. Sinews split20 and the bone-lappings burst. Beowulf was granted the glory of winning; Grendel was driven under the fen-banks21, fatally hurt, to his desolate lair22.

He … weapon. Aveva privato tutte le armi della loro lama. 20 Sinews split. I tendini si strapparono. 21 fen-banks. Le rive della palude. 22 desolate lair. Tana solitaria. 19

COMPREHENSION

2

READ the extract carefully and make notes under the following headings: 1 the setting in time and place; 2 the characters involved; 3 Grendel’s intentions; 4 the winner of the fight.

5

FIND the lines where Grendel has both animal characteristics and supernatural powers.

6

LINES 1–15 describe Grendel killing a sleeping soldier. 1 Underline the verbs. What do they have in common? 2 Is this description concrete or abstract? 3 It creates an atmosphere of ∏ gloom. ∏ horror. ∏ uncertainty.

7

FIND the lines where Beowulf ’s heroic strength is described. What contrast is established between Beowulf and Grendel?

8

LINES 25–36 introduce Beowulf ’s earls. What did they do to defend their lord?

ANALYSIS

3

4

ALLITERATION is the repetition of initial consonant sounds in a line. In Old English poetry it linked the two halves of a line. Highlight examples of alliterative lines. What is their function? ∏ They help to memorise the poem. ∏ They underline particular concepts. ∏ They increase the musicality of the poem. A KENNING is a metaphorical name for something. Find the kenning used to describe the monster in the first seven lines. Underline other words and phrases describing the monster. What aspect of Grendel’s character do they emphasise?

YOUR TURN

9

DISCUSS in pairs.

1 What is a hero? Explain your definition and give examples. 2 What is courage? How would most people today define courage? 3 What qualities do you believe a hero should possess? How does the contemporary concept of a hero differ from the Anglo-Saxon one? 4 There are several cartoon versions of Beowulf. Here are some drawings from the graphic novel Beowulf by Gareth Hinds (2007). Point out the elements that correspond to the extract you have read.

15 Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012

1.6 Beowulf: a national epic

Beowulf’s funeral

2

Anonymous

3 4

Beowulf (ca 11th century) Lines 3136–3172

5

According to Beowulf’s wishes, his people burn his body on a huge funeral pyre and then bury him with a great treasure in a barrow overlooking the sea.

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The Geat people built a pyre for Beowulf, stacked and decked1 it until it stood foursquare2, hung with helmets, heavy war-shields and shining armour, just as he ordered. Then his warriors laid him in the middle of it, Mourning3 a lord far-famed and beloved. On a height they kindled4 the hugest of all funeral fires: fumes of woodsmoke billowed5 darkly up, the blaze roared6 and drowned out7 their weeping, wind died down and flames wrought havoc8 in the hot bone-house9, burning it to the core. They were disconsolate and wailed aloud10 for their lord’s decease. A Geat woman too sang out in grief; with hair bound up11, she unburdened herself12 of her worst fears, a wild litany of nightmare and lament: her nation invaded, enemies on the rampage13, bodies in piles, slavery and abasement14. Heaven swallowed15 the smoke. Then the Geat people began to construct a mound16 on a headland17, high and imposing, a marker that sailors could see from far away, and in ten days they had done the work. It was their hero’s memorial; what remained from the fire they housed inside it, behind a wall as worthy of him as their workmanship18 could make it. And they buried torques19 in the barrow, and jewels and a trove20 of such things as trespassing men21 had once dared to drag from the hoard22. They let the ground keep that ancestral treasure, gold under gravel23, gone to earth, as useless to men now as it ever was. Then twelve warriors rode around the tomb, Chieftains24’ sons, champions in battle, all of them distraught25, chanting in dirges26 Mourning his loss as a man and a king.

7

9 10 11 12 13 14 15 16 17 18 19 20 21 22

23 24 25 26

stacked and decked. Ammassarono e ricoprirono. foursquare. Quattro metri quadrati. Mourning. Piangendo. kindled. Appiccarono. billowed. Fluttuavano in grandi volute. the blaze roared. La fiamma ruggì. drowned out. Soffocò. wrought havoc. Generarono devastazione. bone-house. Corpo. wailed aloud. Piansero forte. bound up. Raccolti, legati. unburdened herself. Si liberò. on the rampage. Scatenati. abasement. Umiliazione. swallowed. Inghiottì. mound. Tumulo. headland. Promontorio. workmanship. Abilità. torques. Collane. trove. Arc.: treasure. Tesoro. trespassing men. Trasgressori. to drag … hoard. Tirare fuori dal tesoro. gravel. Sabbia. Chieftains. Capitribù. distraught. Sconvolti dal dolore. dirges. Canti funebri.

1

DISCUSS. What kind of funeral do you expect Beowulf to have? What will the reaction of his people be?

COMPREHENSION

2

READ the extract and find out: 1 what the Geats built for Beowulf; 2 what the soldiers hung on it; 3 where Beowulf’s corpse was laid; 4 what the warriors kindled; 5 what their mood was like; 6 who joined them in their grief; 7 where the barrow the Geats built was and how long they took to build it; 8 what its function was; 9 what was buried in the barrow; 10 how the twelve warriors expressed sorrow for their loss.

ANALYSIS

3

FIND the three different kinds of characters presented in this extract: Beowulf, his thanes and a mournful Geat woman. For each of them point out: • their role in the text; • the value(s) they embody.

4

DECIDE if the heroic code expressed in Beowulf is in contrast with a Christian sensibility.

Specification 1 | The Birth of the Nation Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012

YOUR TURN

5

LOOK at the picture and explain the connection between the extracts you have read and contemporary reality.

1.7 Two Films About…

Beowulf 1

DISCUSS. Two films have recently been made based on Beowulf. Do you think it is possible to translate the poem into a film? What do you think the problems would be?

Beowulf and Grendel

Beowulf

Directed by Sturla Gunnarsson; USA 2005. With Gerard Butler (Beowulf); Stellan Skarsgård (Hrothgar); Sarah Polley (Selma); Ingvar Sigurdsson (Grendel).

Directed by Robert Zemeckis; USA 2007. With Ray Winstone (Beowulf); Anthony Hopkins (Hrothgar); Robin Wright Penn (Hrothgar’s wife); Angelina Jolie (Grendel’s mother).

T

T

he film is the tale of a Norse warrior’s battle against the murderous troll, Grendel. Out of allegiance to the Danish King Hrothgar, the much respected lord of the Geats, Beowulf leads a troop of warriors across the sea to free a village from the monster. The monster, Grendel, is not a creature of mythical powers, but one of flesh and blood, driven by revenge. Beowulf has become increasingly troubled by the myth rising up around his exploits, and his desire to kill becomes weaker when it becomes clear that the king is responsible for the death of Grendel’s father. Beowulf’s relationship with a witch, Selma, creates deeper confusion. The story is set in a barbarous northern Europe where the reign of the many-gods is giving way to Christianisation. Beowulf is a man caught between sides in this great change, his simple code transforming and falling apart before his eyes. Revenge, loyalty and mercy powerfully mix with beautiful Icelandic scenery and cruel fights. What about accuracy? While some of the film remains true to the original poem, three new characters are introduced: Grendel’s father, the witch Selma and Grendel’s son. In the poem, Grendel dies about a quarter of the way into the narrative, but he remains alive for most of the film. Keeping the monster alive also fits perfectly with the actionfilm formula in which a hero fights a villain while learning some life lessons. The message here is that Grendel is not a mythical force with a direct line back to Cain, but similar to a persecuted ethnic minority. Grendel kills not because he is a demon, but because a Danish king murdered his father. At the end of the film, Beowulf, with Grendel’s son watching from behind some rocks, buries Grendel and builds him a marker honouring him.

he film deals with Beowulf’s battles with three demonic creatures, but it takes some liberties in the telling of those stories. It begins in Denmark, in the 6th century, where King Hrothgar and his much younger queen are celebrating with their warriors in Heorot. As the party gets on, the horrible monster Grendel kills several soldiers. Beowulf, a brave warrior from Geatland, arrives with his men and succeeds in defeating Grendel. Everyone believes that peace has been restored, until Beowulf realises that he must confront Grendel’s mighty mother. After a fight with her, the film jumps into the future, where we see an ageing Beowulf, now king, as he prepares to battle with what appears to be a new offspring of Grendel’s mother. Beowulf stabs the dragon in the chest but he is mortally wounded. The hero is then given a Norse funeral. What about accuracy? Some of the changes made in the film include the portrayal of Beowulf as a man with defects and of Hrothgar as an alcoholic. Beowulf becomes ruler of Denmark instead of his native Geatland, and Grendel’s mother is presented as a beautiful seductress who bears Grendel as Hrothgar’s child and the dragon as Beowulf’s child. The blame for Grendel’s violence is shifted to the humans, who sinned against him earlier and brought the vengeance upon themselves. Grendel is even visually altered after his injury to look like an innocent little child.

17 Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012

1.8 Cultural Issues

Good vs evil 1

COMPLETE the diagrams with what you associate with the idea of ‘good’ and that of ‘evil’.

Good

Evil

2

LOOK at the pictures below and answer the questions. 1 Have you ever read The Lord of the Rings or seen the films based on it? 2 What do you know about this story? 3 Describe the setting, genre and characters.

he epic poem Beowulf (ca 11th century, I1.6) and the novel The Lord of the Rings (1954–55) written by John Ronald Reuel Tolkien (1892–1973) have many elements in common. Tolkien was a noted scholar of ancient and medieval literature at Oxford University, who transferred ideas about virtue and heroism into a romantic structure that appealed to modern sensibilities. Tolkien recreated authentic Celtic- and Anglo-Saxon-sounding languages for his fantasy world full of the positive forces of nature and magic. The basic theme of both works is the struggle of good and evil. Beowulf fights the monsters Grendel, Grendel’s mother and the fire-breathing dragon, and the free people of Tolkien’s Middle-Earth – Elves, Dwarves and Men – fight the evil Lord Sauron and his Orcs. Tolkien’s Orcs are quite similar to Grendel in their origin. Tolkien even took the word ‘orc’ from Old English. The evil creatures in both works share traits other than mere physical deformation. They cannot stand the sun and attack only at night. They have large sums of treasure hidden away in barrows that they fiercely defend from outsiders. Beowulf is a lament for the past. The poet looks back to the way things used to be – the great treasure-giving kings, the struggle between men and monsters, good and evil – and sees a loss. So does Tolkien in his masterpiece. Tolkien looks back at an ancient world – before memory – and creates a wish for the things of old and of ‘myth’ in the hearts of many readers. Both stories end with a shift from the mythical world to the world of men: Beowulf dies and the Swedes will soon be attacking his people. When the Ring is destroyed, the Elves lose their power in Middle-Earth and die; thus Middle-Earth too will be ruled by Men.

T

1 Aragorn, Legolas and Gandalf in ‘The Lord of the Rings: the Two Towers’, directed by Peter Jackson in 2002. 2 Frodo Baggins and Sam in ‘The Lord of the Rings: the Two Towers’, directed by Peter Jackson in 2002. 3 Gollum in ‘The Lord of the Rings: the Return of the King’, directed by Peter Jackson in 2003.

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Specification 1 | The Birth of the Nation Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012

3

READ the text about The Lord of the Rings and answer the questions below. 1 In which ways does The Lord of the Rings remind us of an Anglo-Saxon world? 2 What are the forces of good in the novel? 3 What are the forces of evil? 4 What elements of magic are present in the novel? 5 What is Frodo’s aim in the novel?

The Lord of the Rings (1954–55) The title of the novel refers to the story’s main antagonist, the Dark Lord Sauron, who created the One Ring to rule the other Rings of Power as the ultimate weapon in his campaign to conquer and rule over all. Sauron is defeated in battle, and the Ring is lost in the River Anduin, where, over two thousand years later, it comes into the hands of the hobbit Sméagol. He hides under the mountains, where the Ring transforms him over the course of hundreds of years into a suspicious, corrupted being called Gollum. Like in the Norse sagas, there is a sense of evil that has to be overcome through struggles and trials. The monsters here are not dragons but Dark Lords commanding armies of evil beasts and wolves. The Ring is a symbol of power that can be used for tremendous evil in the wrong hands. In Tolkien’s earlier work, The Hobbit (1937), Gollum has lost the Ring, which is

Take off the Ring! J.R.R. Tolkien

1

found by Bilbo Baggins and kept hidden from the Dark Lord in the Shire. The Lord of the Rings begins as Frodo Baggins inherits the Ring from his cousin Bilbo. Sauron, meanwhile, has taken on a new physical form and reoccupied Mordor, his old realm. He needs the Ring to regain his full power and sends forth the Ringwraiths, his dark, fearsome servants, to seize it. The wizard Gandalf the Grey advises Frodo to take the Ring away from the Shire, which is now in danger. Frodo leaves on the dangerous journey to return the Ring to the fire where it was forged, in the heart of Mordor. Through the frequent and terrible dangers of his mission, Frodo is accompanied by the Fellowship of the Ring, made up of three hobbits and their chief allies and travelling companions: Aragorn, a Human ranger; Boromir, a Human soldier; Gimli, a Dwarf warrior; Legolas, an Elven archer; and Gandalf himself.

READ the following extract from The Lord of the Rings and do the exercises on page 20.

The Lord of the Rings (1954–55) Volume 1, Book 2, Chapter 10

In the following extract the Fellowship have already travelled through the Old Forest, the Elven kingdom of Rivendell, the Misty Mountains and the terrible Mines of Moria, where Gandalf dies. After the Elven forest of Lothlórien, they travel down the River Anduin to the hill of Amon Hen, where Boromir surprisingly attacks Frodo to take the Ring. Shocked and frightened, Frodo breaks from the Fellowship to continue the quest to Mordor alone. While escaping, Frodo slips on the Ring, making himself invisible – but more visible to the Dark Lord.

4

1.5

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10

But everywhere he looked he saw the signs of war. The Misty Mountains were crawling like anthills1: Orcs were issuing out of a thousand holes. Under the boughs2 of Mirkwood there was deadly strife3 of Elves and Men and fell4 beasts. The land of the Beornings was aflame; cloud was over Moria; smoke rose on the borders of Lorien. Horsemen were galloping on the grass of Rohan; wolves poured5 from Isengard. From the havens6 of Harad ships of war put out to sea; and out of the East Men were moving endlessly: swordsmen, spear-men, bowmen upon horses, chariots of chieftains and laden wains7. All the power of the Dark Lord was in motion. Then turning south again he beheld8 Minas Tirith. Far away it seemed, and beautiful: white-walled, many-towered, proud and fair upon its mountain-seat; its battlements glittered with steel9, and its turrets were bright with many banners10. Hope leaped in his heart. But against Minas Tirith was set another fortress, greater and more strong.

4 Frodo in ‘The Lord of the Rings: the Return of the King’, directed by Peter Jackson in 2003. crawling … anthills. Striscianti come formicai. 2 boughs. Rami. 3 strife. Lotta. 4 fell. Feroci. 5 poured. Si riversavano. 6 havens. Porti sicuri. 7 swordsmen … wains. Spadaccini, lancieri, arcieri, cocchi di condottieri e carri carichi. 8 beheld. Vide. 9 battlements … steel. Spalti brillavano per le armi. 10 banners. Stendardi. 1

19 Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012

1.8 Good vs evil

1 Poster for the film ‘The Lord of the Rings: the Fellowship of the Ring’, directed by Peter Jackson in 2001.

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Thither11, eastward, unwilling his eye was drawn. It passed the ruined bridges of Osgiliath, the grinning12 gates of Minas Morgul, and the haunted Mountains, and it looked upon Gorgoroth, the valley of terror in the Land of Mordor. Darkness lay there under the Sun. Fire glowed amid the smoke. Mount Doom was burning, and a great reek13 rising. Then at last his gaze was held: wall upon wall, battlement upon battlement, black, immeasurably strong, mountain of iron, gate of steel, tower of adamant14, he saw it: Barad-dur, Fortress of Sauron. All hope left him. And suddenly he felt the Eye. There was an eye in the Dark Tower that did not sleep. He knew that it had become aware of his gaze. A fierce eager will15 was there. It leaped towards him; almost like a finger he felt it, searching for him. Very soon it would nail him down16, know just exactly where he was. Amon Lhaw it touched. It glanced upon Tol Brandir – he threw himself from the seat, crouching17, covering his head with his grey hood. He heard himself crying out: Never, never! Or was it: Verily I come, I come to you? He could not tell. Then as a flash from some other point of power there came to his mind another thought: Take it off! Take it off! Fool, take it off! Take off the Ring! The two powers strove in him. For a moment, perfectly balanced between their piercing points, he writhed18, tormented. Suddenly he was aware of himself again. Frodo, neither the Voice nor the Eye: free to choose, and with one remaining instant in which to do so. He took the Ring off his finger. He was kneeling in clear sunlight before the high seat. A black shadow seemed to pass like an arm above him; it missed Amon Hen and groped19 out west, and faded. Then all the sky was clean and blue and birds sang in every tree.

11 12 13 14 15 16 17 18 19

Thither. (Arc.) Là. grinning. Sogghignanti. reek. Odore acre. of adamant. Inamovibile. eager will. Volontà appassionata. it would nail him down. L’avrebbe individuato. crouching. Rannicchiandosi. writhed. Si contorse. groped. Brancolava nel buio.

COMPREHENSION

ANALYSIS

YOUR TURN

2

READ lines 1–8 and identify who is involved in the war.

6

UNDERLINE the verbs in lines 1–7. What impression do you get of the scene?

11

3

READ up to line 20 and name the two fortresses Frodo sees. What do they represent?

7

4

DESCRIBE. How does Frodo react at this sight?

A SIMILE is an explicit comparison of two seemingly unlike things, using ‘as’ or ‘like’. Find the similes in: paragraph 1 paragraph 3 paragraph 5 What are their meanings?

5

READ the extract to the end and say: 1 what Frodo felt; 2 what he thought; 3 which two powers were fighting in Frodo; 4 how he won against the evil Eye; 5 how the nature around him changed.

8

FIND words connected with the two fortresses in lines 9–20. What contrast do they introduce?

9

DESCRIBE. What power does the Ring have?

10

DESCRIBE. What does this text have in common with the text ‘Beowulf and Grendel’ (I1.6) from Beowulf ?

Specification 1 | The Birth of the Nation Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012

DISCUSS. Do you know any films, books or videogames that were influenced by The Lord of the Rings?

1.9 History

The Viking attacks 1

DISCUSS. Do you know where the Vikings came from?

2

LOOK at pictures 1–3 and discuss the possible reasons for the Vikings’ violent attacks on Britain.

Use of English – Part 1 3

MULTIPLE-CHOICE CLOZE. For questions 1–12, read the text and decide which answer (A, B, C or D) best fits each gap. There is an example at the beginning (0).

0 1 2 3 4 5 6 7 8 9 10 11 12

A

4

DISCUSS. What reason for the Vikings’ violent raids does the text provide?

journey A time A wave A break A president A subjugation A part A guilt A points A opposition A earned A scale A during

trip B era B variety B final B boss B death B clan B penalty B scores B game B gained B quantity B prolonged B

raid C moment C file C difficulty C ruler C education C community C correction C strikes C challenge C checked C number C lasted C

voyage D hour D amount D fall D manager D destruction D family D calamity D targets D battle D lost D limit D was D

1 A carved stone which depicts Viking warriors attacking the Holy Island of Lindisfarne, England. 2 Viking statue in Jarrow, Tyne and Wear, England. Jarrow experienced some of the earliest Viking raids on mainland Britain when it was invaded in 794 AD.

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TEXT BANK 2: THE ELEGY

Why did the Vikings attack? A savage (0) RAID on the Holy Island of Lindisfarne in 793 marked the beginning of England’s Viking (1) . Lindisfarne was the first of a (2) of similar attacks on monasteries in northern Britain. Why such hatred? And why 793? We need to examine the political situation in northern Europe at the time. The main political powers in the world were: Byzantium in the east; the Muslims, whose expansion had driven them eastward as far as Turkistan and Asia Minor; and the Franks, who had become the dominant tribe among the successor states after the (3) of the Roman Empire in the west. Charlemagne, the (4) of the Franks, expended a huge amount of energy on the (5) of the heathen Scots on his northeast border. He had been crowned emperor in Rome by Pope Leo III in 800 – emperor of the abstract conception of Christendom as a single (6) . The cultural subjugation of the Saxons followed: death was the (7) for following heathen rites or rejecting baptism. How should the heathen Scandinavians react to the threat? Should the Vikings wait for Charlemagne’s armies to arrive and convert them or should they fight to defend their culture? The Christian monasteries in northern Europe were symbolically important and, in the words used by modern terrorism, ‘soft (8) ’. The Christian annalists who documented Viking violence viewed the conflict as a (9) between religious cultures. In 865 ‘the Great Heathen Army’ arrived, a force which after 15 years had (10) control of England from York down to East Anglia. By 927 much of the lost territory had been regained by the Wessex Kings Alfred the Great, Edward and Athelstan. Large- (11) Viking violence returned to England in the 990s. The policy of the Danegeld – protection money paid in return for being left alone – was practised regularly. In 1012 the Archbishop of Canterbury was captured and murdered, and within two years a Danish king, Sven Forkbeard, was on the throne. By 1028 his son, Cnut, was the ruler of a North Sea empire that included Denmark, Norway and all England. Danish rule (12) less than thirty years. Its memories were wiped out by William of Normandy’s conquest in 1066 (I1.10).

3 Bow of a Viking ship, 9th century. Musée des Terres-Neuvas et de la Pêche,

Fécamp, France.

21 Spiazzi, Tavella, Layton PERFORMER. CULTURE & LITERATURE © Zanichelli 2012