11 Reading For Study (Part 2)

panui mo te ako

 

Life’s not fair, it never was, it isn’t now and it won’t ever be. Do not fall into the trap, the entitlement trap, of feeling like you’re a victim. You are not.

– Matthew McConaughey

 

te ao Māori principles

There are five key principals that we as an English Department consider important as part of a holistic study at school. Please read through these and know that we will come back to them as we begin looking at texts.

  • Kaitiakitanga: Guardianship of natural resources and elements of sustainability
  • Rangatiratanga: Leadership, authority, Mana, empowerment, Respect
  • Manaakitanga: The process of showing respect, generosity and care for others.
  • Whanaungatanga: A relationship through shared experiences and working together which provides people with a sense of belonging.
  • Tikanga: The customary system of values and practices that have developed over time and are deeply embedded in the social context.

Key Terms

  • Consolidation
the action or process of combining a number of things into a single more effective or coherent whole.
  • Study
the devotion of time and attention to gaining knowledge of an academic subject, especially by means of books.
  • Academic
relating to education and scholarship.
  • Explanation
a statement or account that makes something clear.
  • Expository
intended to explain or describe something.
  • Description
a spoken or written account of a person, object, or event.

Learning Objectives

  • Explain how reading can affect study techniques.
  • Identify key elements in their own writing for consolidation.
  • Highlight key points from a given text.
  • Organise work into logical ‘chunks’.

Exercises

Spelling

laboratory distribution actor musician convince foreigner
mystery alcohol reliable evil editorial prior
analyst historical device arrangement typical diplomatic
priority wage emotional thorough tournament protein
attractive heal leap cinema aspect civilian

Pangram

Remember, to become faster at writing, you should practise writing out the following phrase as many times as possible for 5 minutes.

  • Few black taxis drive up major roads on quiet hazy nights.

Reading Warm Up

Read the following passage. Pay special attention to the underlined words. Then, read it again, and complete the activities. Use your English book for your written answers.

It can be difficult having a famous father. I know that might seem hard to believe, but it’s true. My dad is a movie star. He’s good-looking, famous, and charming. Everyone wants to be in the same room with him. Everyone likes it when he’s around. He plays all the mighty heroes and adventurers in the movies. He’s always beating up the bad guys and is seldom defeated. After all, heroes rarely lose. When he does lose, the kids in my class are sure to give me a hard time.

“Hey Will, what happened to your father?” was the first thing I heard when I walked into the school cafeteria on the Monday after Revenge of the Creatures came out.

“That monster tossed your dad around like a marshmallow,” my friend Jake said. “I thought your dad’s style was playing the tough guy. He didn’t look too tough in Revenge of the Creatures.”

Jake laughed hysterically, and the rest of the table laughed too. I failed to find the humour in it. It just wasn’t funny. Don’t these guys know that movies aren’t real?

I wanted to run away, but if I fled, I knew that it would just make it worse. I was desperate to come up with something snappy to say back to Jake, but I couldn’t think of anything. Angrily, I snatched my lunch out of my backpack and sat down to eat. I was mad at my dad for making a movie in which he didn’t win, and I was mad at Jake for acting so rudely.

After a few minutes, Jake came over and apologized. I forgave him. Sometimes, though, I do wish my father just went in to an office like everybody else’s dad.

 

Questions

  1. What is the phrase that proves that the narrator’s father is charming.
  2. Name the the nearby word that has a similar meaning to seldom. List something you seldom do.
  3. What is Will’s father’s style. Describe what style is.
  4. Write down the words that tell you that Jake did find humour in the situation.
  5. Give the words that have nearly the same meaning as fled.
  6. Write a sentence describing desperate.
  7. Using a synonym for snatched, write a sentence describing Will’s action of taking his lunch out of his backpack.
  8. Write a sentence giving an example of how Jake was acting rudely. What is the opposite of behaving rudely?

Reading for Study (Part 2)

panui mo te ako

The Memory Palace

Memory

Did you know that your memory has a language? The language of your memory (and every other function of your brain) is images. One of the other default settings of your learning capacity that can be harnessed is your brain’s powerful tendency and ability to see images.

The more you can visualize information, the easier it is to recall. Some good news is that you already think in images. You may not have realized it consciously, but you do. If I asked you to recall 50 things about your living room right now, what would you do? That’s right, you would just see a mental image of your living room! By doing so, you’d be able to recall tons of detail, even though you’ve never memorized your living room.

Learn to trust that ability—we’re going to start developing it right now.

Let’s redo that baseline test, only with a small twist.

1. unicorn
2. electrical outlet
3. tricycle
4. truck
5. hand

6. beer
7. hockey stick
8. spider
9. baseball
10. dime

11. chopsticks
12. roses
13. black cat
14. gold
15. dollar sign

16. candles
17. wizard
18. golf green
19. sauna
20. dartboard

 

Okay, two twists: We broke it up, and now we’ve got numbers. Seeing/knowing the numbers with each item can, all by itself, create an association that’s beneficial. See it?

Most of the numbers do have a logical connection with the item that represents them —1 and unicorn, 3 and tricycle, 12 (a dozen) roses. In fact, the technique you’re learning right now is called basic association, and it’s a valid technique to begin with. Infinitely more valuable, however, is when you create a vivid image of each item in your mind. Even without a logical association (for example #15 is a stretch, #17 is really a stretch, and there is none at all for #19), the image is what your brain needs.

So you’ll take the test again, but first follow the simple directions. You’re going to walk through the exact same 20 items, but this time you’re going to see the images in your mind as vividly and clearly as you can. Let me emphasize:

See the images as vividly and clearly as you can. Don’t just say “ya, I got it.” Just take a few seconds with each one, then write them down in your exercise book. See these images in your mind, and study for no more than three minutes.

1. See a brilliant white unicorn with his 1 horn.
2. See the American beige electrical outlet with its 2 slots.
3. See the red tricycle with its 3 black rubber wheels and a 3-year-old kid on it.
4. See the truck with its 4 wheels, its 4 doors, and the for sale sign in the window.
5. See your hand with its 5 fingers.
6. See that 6-pack of beer (you choose your favorite brand).
7. See the wooden hockey stick shaped like a 7.
8. See that big black spider with its 8 legs.
9. See that round baseball being tossed around by the 9 players on the field for 9 innings.
10. See that 10 cents, the thin, silver, shiny dime.

Let me just pause for a moment to let you review in your mind the images you just created, and remind you to see these images as clearly and vividly as you can.

Moving on:

11. See those thin chopsticks that look like the number 11 being pulled out of their wrapper.
12. See those 12 beautiful red roses in a bouquet.
13. See that black cat on Friday the 13th.
14. Vividly see that 14-carat gold coin (or bar or nugget or ring; you choose).
15. Take the two digits of number 15 and squeeze them together into a dollar sign.
16. See 16 flaming candles on a birthday cake. Maybe even sing the song…
17. See that young wizard with the round glasses graduating from Hogwarts at age 17. (I said it was a stretch).
18. See that golf green with its perfectly cropped green grass on the 18th hole.
19. See 19 sweaty guys in that sauna. (I said there’s no logical connection, but you’re seeing it anyway, aren’t you?)
20. See that round, light-up dartboard with the 20 scoring stripes and the number 20 on the top.

Now take a moment to review in your mind and see the images vividly and clearly. Ready? Now go to the next page and without looking back, write down the 20 items on the unicorn list. If you get stuck on one, don’t freak out, just skip it and come back to it a little later. Go for it.

***

How did it go this time? Better, I would guess.

Every year, the average score the second time through jumps from about six to about 18, and most everyone gets them all. Why?

First off: True it’s the second time through, which is an automatic advantage. You also do have that logical numerical connection for most of the items, which also helps. Most importantly, however, you created a vivid image for each of the items—you actually spoke the language of your memory.

But wait…

That list was pretty rigged. It was organised to be of greater benefit to you as a newbie to this concept. In life things aren’t so tightly arranged.

There is a system for that too.

Filing Systems

Pretty much everything you can think of has a the option of being a filing system. The houses here at school are in order of

Upham

Snell

TK

Hillary

Kupe

Rutherford

Mansfield

Batten

And these are already known to you. So you can attribute ideas to each of these and – presto – you have a filing system.

 

You also have your body…. Don’t judge the process, do evaluate your results.

You’ll use 10 body files, in the following order:

  1. Your soles (of your feet)
  2. Your shins
  3. Your legs
  4. Your butt
  5. Your tummy
  6. Your ribs
  7. Your collarbone
  8. Your mouth
  9. Your nose
  10. Your forehead

Note: Your tummy creates what we call a center or midpoint file. At that point you’re halfway through this list of 10 files. This creation of a center file is not necessary, but it’s really helpful as it takes advantage of the principle of chunking. We recommend it every time you create a filing system.

A quick note

  1. If you’re feeling a little awkward, understand that is a normal and required part of learning something new.
  2. You will break through. Don’t judge the process; do evaluate your results. Sometimes results come quickly, sometimes they take a little longer. Everyone learns at their own pace.
  3. I’m sure you’ve heard the saying that anything worth doing is worth doing well. Anything worth doing is worth doing poorly, at first. Seriously, think about anything you’re good at now and that you love. You had to go through a learning curve with it just like anything else. If learning more effectively is important to you, embrace that learning curve when it comes to improving your recall and your life.
  4. Depending on your learning style, you may just learn some skills better from seeing something done than by reading it in here. Talk about with your family and your friends. The more you know about how you can learn, the better!

 

Now that you’ve got some places to store information, it’s time to get your brain revved up and store some information there. We’ll start with one of the simplest examples we teach, which is a simple shopping list. It’s a good one to start with, because the items are concrete and tangible, plus you’ll be able to use the technique lots of times.

You need to hit the grocery store, and here’s what you need to get.

  • Oil (specifically, fish oil and flax oil)
  • Avocados
  • Walnuts
  • Salmon
  • Spinach
  • Blueberries
  • Beans
  • Broccoli
  • Some form of superfruit (pomegranate, acai, mangosteen, or the like)
  • Green tea
  • Yogurt
  • Vitamins

Before we do this exercise, here are two keys to maximizing the effectiveness and efficiency of any mental filing system:

Key #1

Always start from the same file, and always go in the same order. Don’t waste even one iota of energy trying to determine where the most logical place to file something is. Your brain doesn’t care! Whatever is first on the list goes on the first file. One of the keys to developing speed is to streamline your thinking. So just do it in order.

Key #2

Use strong glue, and lots of it. The glue is the association you make with that idea. It is the action and emotion that you connect.  The more action you give your images, the more vivid and crazy you make them, the stickier they will be. Since it’s your first shot, I’ll guide you up your files. Here we go.

1. On your soles—see oil (specifically fish oil and flax oil) gooshing all over them.
2. On your shins—take an avocado and smoosh it all over them.
3. On your legs—crush some walnuts between them.
4. On your butt—see yourself sitting on a salmon.
5. On your tummy—fill up your tummy with spinach.

(By now you should know that halfway through is a great time to review,
so take a moment and mentally review the images you have on those files.)

6. On your ribs—see enormous blueberries jumping around staining your ribs purple.
7. On your collarbone—see beans jumping all around.
8. On your mouth—jam a stalk of broccoli in it.
9. On your nose—see Superman eating some fruit.
10. On your forehead—sits a green teapot full of yogurt and vitamins.

 

Take a moment and review what you see on those files and now quiz yourself:

Body Files Grocery List Quiz:
What did you store on your:

1. (Soles) _____
2. (Shins) _____
3. (Legs) _____
4. (Butt) _____
5. (Tummy)_____
6. (Ribs) _____
7. (Collarbone) _____
8. (Mouth) _____
9. (Nose) _____
10. (Forehead) _____

If you’re interested here is a TED talk on memory.

The Feynman Technique

The Feynman Learning Technique is a simple way of approaching anything new you want to learn.

Why use it? Because learning doesn’t happen from skimming through a book or remembering enough to pass a test. Information is learned when you can explain it and use it in a wide variety of situations. The Feynman Technique gets more mileage from the ideas you encounter instead of rendering anything new into isolated, useless factoids.

When you really learn something, you give yourself a tool to use for the rest of your life. The more you know, the fewer surprises you will encounter, because most new things will connect to something you already understand.

Ultimately, the point of learning is to understand the world. But most of us don’t bother to deliberately learn anything. We memorize what we need to as we move through school, then forget most of it. As we continue through life, we don’t extrapolate from our experiences to broaden the applicability of our knowledge. Consequently, life kicks us in the ass time and again.

To avoid the pain of being bewildered by the unexpected, the Feynman Technique helps you turn information into knowledge that you can access as easily as a shirt in your closet.

Let’s go.

***

The Feynman Technique

“Any intelligent fool can make things bigger, more complex, and more violent. It takes a touch of genius—and a lot of courage—to move in the opposite direction.” —E.F. Schumacher

There are four steps to the Feynman Learning Technique, based on the method Richard Feynman originally used. We have adapted it slightly after reflecting on our own experiences using this process to learn. The steps are as follows:

  1. Pretend to teach a concept you want to learn about to a student in primary school.
  2. Identify gaps in your explanation. Go back to the source material to better understand it.
  3. Organize and simplify.
  4. Transmit (optional).

Step 1: Pretend to teach it to a child or a rubber duck

Take out a blank sheet of paper. At the top, write the subject you want to learn. Now write out everything you know about the subject as if you were teaching it to a child or a rubber duck sitting on your desk. You are not teaching to your smart adult friend, but rather a child who has just enough vocabulary and attention span to understand basic concepts and relationships.

Or, for a different angle on the Feynman Technique, you could place a rubber duck on your desk and try explaining the concept to it. Software engineers sometimes tackle debugging by explaining their code, line by line, to a rubber duck. The idea is that explaining something to a silly-looking inanimate object will force you to be as simple as possible.

It turns out that one of the ways we mask our lack of understanding is by using complicated vocabulary and jargon. The truth is, if you can’t define the words and terms you are using, you don’t really know what you’re talking about. If you look at a painting and describe it as “abstract” because that’s what you heard in art class, you aren’t displaying any comprehension of the painting. You’re just mimicking what you’ve heard. And you haven’t learned anything. You need to make sure your explanation isn’t above, say, a year 5 reading level by using easily accessible words and phrases.

When you write out an idea from start to finish in simple language that a child can understand, you force yourself to understand the concept at a deeper level and simplify relationships and connections between ideas. You can better explain the why behind your description of the what.

Looking at that same painting again, you will be able to say that the painting doesn’t display buildings like the ones we look at every day. Instead it uses certain shapes and colors to depict a city landscape. You will be able to point out what these are. You will be able to engage in speculation about why the artist chose those shapes and those colors. You will be able to explain why artists sometimes do this, and you will be able to communicate what you think of the piece considering all of this. Chances are, after capturing a full explanation of the painting in the simplest possible terms that would be easily understood by a primary student, you will have learned a lot about that painting and abstract art in general.

Some of capturing what you would teach will be easy. These are the places where you have a clear understanding of the subject. But you will find many places where things are much foggier.

Step 2: Identify gaps in your explanation

Areas where you struggle in Step 1 are the points where you have some gaps in your understanding.
Identifying gaps in your knowledge—where you forget something important, aren’t able to explain it, or simply have trouble thinking of how variables interact—is a critical part of the learning process. Filling those gaps is when you really make the learning stick.

Now that you know where you have gaps in your understanding, go back to the source material. Augment it with other sources. Look up definitions. Keep going until you can explain everything you need to in basic terms.

Only when you can explain your understanding without jargon and in simple terms can you demonstrate your understanding. Think about it this way. If you require complicated terminology to explain what you know, you have no flexibility. When someone asks you a question, you can only repeat what you’ve already said.

Simple terms can be rearranged and easily combined with other words to communicate your point. When you can say something in multiple ways using different words, you understand it really well. Being able to explain something in a simple, accessible way shows you’ve done the work required to learn. Skipping it leads to the illusion of knowledge—an illusion that can be quickly shattered when challenged.

Identifying the boundaries of your understanding is also a way of defining your circle of competence. When you know what you know (and are honest about what you don’t know), you limit the mistakes you’re liable to make and increase your chance of success when applying knowledge.

Step 3. Organize and simplify

Now you have a set of hand-crafted notes containing a simple explanation. Organize them into a narrative that you can tell from beginning to end. Read it out loud. If the explanation sounds confusing at any point, go back to Step 2. Keep doing it until you have a story that you can tell to anyone who will listen.

If you follow this approach over and over, you will end up with a binder full of pages on different subjects. If you take some time twice a year to go through this binder, you will find just how much you retain.

Step 4: Transmit (optional)

This part is optional, but it’s the logical result of everything you’ve just done. If you really want to be sure of your understanding, run it past someone (ideally someone who knows little of the subject). The ultimate test of your knowledge is your capacity to convey it to another. You can read out directly what you’ve written. You can present the material like a lecture. You can ask your friends for a few minutes of their time while you’re buying them dinner. You can volunteer as a guest speaker in your child’s classroom or your parents’ retirement residence. All that really matters is that you attempt to transmit the material to at least one person who isn’t that familiar with it.

The questions you get and the feedback you receive are invaluable for further developing your understanding. Hearing what your audience is curious about will likely pique your own curiosity and set you on a path for further learning. After all, it’s only when you begin to learn a few things really well do you appreciate how much there is to know.

***

The Feynman Technique is not only a wonderful recipe for learning but also a window into a different way of thinking that allows you to tear ideas apart and reconstruct them from the ground up.

When you’re having a conversation with someone and they start using words or relationships that you don’t understand, ask them to explain it to you like you’re eight.

Not only will you supercharge your own learning, but you’ll also supercharge theirs.

Conclusion

Knowing something is valuable. The more you understand about how the world works, the more options you have for dealing with the unexpected and the better you can create and capitalize on opportunities. The Feynman Learning Technique is a great method to develop mastery over sets of information. Once you do, the knowledge becomes a powerful tool at your disposal.

 

In some classes this term (and each term following) you will be reading through some texts together. This is part of a wider reading programme that you will be required to follow throughout the term.

Each chapter will have some questions on books that you may like to think about. If your class is not studying a text, you may like to look at these questions yourself.

  1. What type of text is it? (ie novel, short stories, poems etc)
  2. What is the name of the book?
  3. What image is on the cover?
  4. Based on the name and the image on the cover, what do you think the book is about?
  5. How does the blurb add to your knowledge?
  6. What is the genre of the story? (ie action, romance, adventure)

After reading the first chapter

  1. From whose perspective is the story told?
  2. Who do you think is the main character?
  3. What do you learn in the first chapter?

You may also like to try using Reading Circles of five people. Each person is given one of the following roles and you can work through the story together.

  • “The Leader” – facilitates the discussion, preparing some general questions and ensuring that everyone is involved and engaged.
  • “The Summariser” – gives an outline of the plot, highlighting the key moments in the book. More confident readers can touch upon its strengths and weaknesses.
  • “The Word Master” – selects vocabulary that may be new, unusual, or used in an interesting way.
  • “The Passage Person” – selects and presents a passage from that they feel is well written, challenging, or of particular interest to the development of the plot, character, or theme.
  • “The Connector” – draws upon all of the above and makes links between the story and wider world. This can be absolutely anything; books, films, newspaper articles, a photograph, a memory, or even a personal experience, it’s up to you. All it should do is highlight any similarities or differences and explain how it has brought about any changes in your understanding and perception of the book.

An extract from A Christmas Carol by Charles Dickens

MARLEY’S GHOST.

Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it: and Scrooge’s name was good upon ’Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.

Mind! I don’t mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country’s done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door-nail.

Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don’t know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain.

The mention of Marley’s funeral brings me back to the point I started from. There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet’s Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot—say Saint Paul’s Churchyard for instance—literally to astonish his son’s weak mind.

Scrooge never painted out Old Marley’s name. There it stood, years afterwards, above the warehouse door: Scrooge and Marley. The firm was known as Scrooge and Marley. Sometimes people new to the business called Scrooge Scrooge, and sometimes Marley, but he answered to both names. It was all the same to him.

Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn’t thaw it one degree at Christmas.

External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn’t know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often “came down” handsomely, and Scrooge never did.

Nobody ever stopped him in the street to say, with gladsome looks, “My dear Scrooge, how are you? When will you come to see me?” No beggars implored him to bestow a trifle, no children asked him what it was o’clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blind men’s dogs appeared to know him; and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, “No eye at all is better than an evil eye, dark master!”

But what did Scrooge care! It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call “nuts” to Scrooge.

Once upon a time—of all the good days in the year, on Christmas Eve—old Scrooge sat busy in his counting-house. It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them. The city clocks had only just gone three, but it was quite dark already—it had not been light all day—and candles were flaring in the windows of the neighbouring offices, like ruddy smears upon the palpable brown air. The fog came pouring in at every chink and keyhole, and was so dense without, that although the court was of the narrowest, the houses opposite were mere phantoms. To see the dingy cloud come drooping down, obscuring everything, one might have thought that Nature lived hard by, and was brewing on a large scale.

The door of Scrooge’s counting-house was open that he might keep his eye upon his clerk, who in a dismal little cell beyond, a sort of tank, was copying letters. Scrooge had a very small fire, but the clerk’s fire was so very much smaller that it looked like one coal. But he couldn’t replenish it, for Scrooge kept the coal-box in his own room; and so surely as the clerk came in with the shovel, the master predicted that it would be necessary for them to part. Wherefore the clerk put on his white comforter, and tried to warm himself at the candle; in which effort, not being a man of a strong imagination, he failed.

“A merry Christmas, uncle! God save you!” cried a cheerful voice. It was the voice of Scrooge’s nephew, who came upon him so quickly that this was the first intimation he had of his approach.

“Bah!” said Scrooge, “Humbug!”

He had so heated himself with rapid walking in the fog and frost, this nephew of Scrooge’s, that he was all in a glow; his face was ruddy and handsome; his eyes sparkled, and his breath smoked again.

“Christmas a humbug, uncle!” said Scrooge’s nephew. “You don’t mean that, I am sure?”

“I do,” said Scrooge. “Merry Christmas! What right have you to be merry? What reason have you to be merry? You’re poor enough.”

“Come, then,” returned the nephew gaily. “What right have you to be dismal? What reason have you to be morose? You’re rich enough.”

Scrooge having no better answer ready on the spur of the moment, said, “Bah!” again; and followed it up with “Humbug.”

“Don’t be cross, uncle!” said the nephew.

“What else can I be,” returned the uncle, “when I live in such a world of fools as this? Merry Christmas! Out upon merry Christmas! What’s Christmas time to you but a time for paying bills without money; a time for finding yourself a year older, but not an hour richer; a time for balancing your books and having every item in ’em through a round dozen of months presented dead against you? If I could work my will,” said Scrooge indignantly, “every idiot who goes about with ‘Merry Christmas’ on his lips, should be boiled with his own pudding, and buried with a stake of holly through his heart. He should!”

“Uncle!” pleaded the nephew.

“Nephew!” returned the uncle sternly, “keep Christmas in your own way, and let me keep it in mine.”

“Keep it!” repeated Scrooge’s nephew. “But you don’t keep it.”

“Let me leave it alone, then,” said Scrooge. “Much good may it do you! Much good it has ever done you!”

“There are many things from which I might have derived good, by which I have not profited, I dare say,” returned the nephew. “Christmas among the rest. But I am sure I have always thought of Christmas time, when it has come round—apart from the veneration due to its sacred name and origin, if anything belonging to it can be apart from that—as a good time; a kind, forgiving, charitable, pleasant time; the only time I know of, in the long calendar of the year, when men and women seem by one consent to open their shut-up hearts freely, and to think of people below them as if they really were fellow-passengers to the grave, and not another race of creatures bound on other journeys. And therefore, uncle, though it has never put a scrap of gold or silver in my pocket, I believe that it has done me good, and will do me good; and I say, God bless it!”

The clerk in the Tank involuntarily applauded. Becoming immediately sensible of the impropriety, he poked the fire, and extinguished the last frail spark for ever.

“Let me hear another sound from you,” said Scrooge, “and you’ll keep your Christmas by losing your situation! You’re quite a powerful speaker, sir,” he added, turning to his nephew. “I wonder you don’t go into Parliament.”

“Don’t be angry, uncle. Come! Dine with us to-morrow.”

Scrooge said that he would see him—yes, indeed he did. He went the whole length of the expression, and said that he would see him in that extremity first.

“But why?” cried Scrooge’s nephew. “Why?”

“Why did you get married?” said Scrooge.

“Because I fell in love.”

“Because you fell in love!” growled Scrooge, as if that were the only one thing in the world more ridiculous than a merry Christmas. “Good afternoon!”

“Nay, uncle, but you never came to see me before that happened. Why give it as a reason for not coming now?”

“Good afternoon,” said Scrooge.

“I want nothing from you; I ask nothing of you; why cannot we be friends?”

“Good afternoon,” said Scrooge.

“I am sorry, with all my heart, to find you so resolute. We have never had any quarrel, to which I have been a party. But I have made the trial in homage to Christmas, and I’ll keep my Christmas humour to the last. So A Merry Christmas, uncle!”

“Good afternoon!” said Scrooge.

“And A Happy New Year!”

“Good afternoon!” said Scrooge.

His nephew left the room without an angry word, notwithstanding. He stopped at the outer door to bestow the greetings of the season on the clerk, who, cold as he was, was warmer than Scrooge; for he returned them cordially.

“There’s another fellow,” muttered Scrooge; who overheard him: “my clerk, with fifteen shillings a week, and a wife and family, talking about a merry Christmas. I’ll retire to Bedlam.”

This lunatic, in letting Scrooge’s nephew out, had let two other people in. They were portly gentlemen, pleasant to behold, and now stood, with their hats off, in Scrooge’s office. They had books and papers in their hands, and bowed to him.

“Scrooge and Marley’s, I believe,” said one of the gentlemen, referring to his list. “Have I the pleasure of addressing Mr. Scrooge, or Mr. Marley?”

“Mr. Marley has been dead these seven years,” Scrooge replied. “He died seven years ago, this very night.”

“We have no doubt his liberality is well represented by his surviving partner,” said the gentleman, presenting his credentials.

It certainly was; for they had been two kindred spirits. At the ominous word “liberality,” Scrooge frowned, and shook his head, and handed the credentials back.

“At this festive season of the year, Mr. Scrooge,” said the gentleman, taking up a pen, “it is more than usually desirable that we should make some slight provision for the Poor and destitute, who suffer greatly at the present time. Many thousands are in want of common necessaries; hundreds of thousands are in want of common comforts, sir.”

“Are there no prisons?” asked Scrooge.

“Plenty of prisons,” said the gentleman, laying down the pen again.

“And the Union workhouses?” demanded Scrooge. “Are they still in operation?”

“They are. Still,” returned the gentleman, “I wish I could say they were not.”

“The Treadmill and the Poor Law are in full vigour, then?” said Scrooge.

“Both very busy, sir.”

“Oh! I was afraid, from what you said at first, that something had occurred to stop them in their useful course,” said Scrooge. “I’m very glad to hear it.”

“Under the impression that they scarcely furnish Christian cheer of mind or body to the multitude,” returned the gentleman, “a few of us are endeavouring to raise a fund to buy the Poor some meat and drink, and means of warmth. We choose this time, because it is a time, of all others, when Want is keenly felt, and Abundance rejoices. What shall I put you down for?”

“Nothing!” Scrooge replied.

“You wish to be anonymous?”

“I wish to be left alone,” said Scrooge. “Since you ask me what I wish, gentlemen, that is my answer. I don’t make merry myself at Christmas and I can’t afford to make idle people merry. I help to support the establishments I have mentioned—they cost enough; and those who are badly off must go there.”

“Many can’t go there; and many would rather die.”

“If they would rather die,” said Scrooge, “they had better do it, and decrease the surplus population. Besides—excuse me—I don’t know that.”

“But you might know it,” observed the gentleman.

“It’s not my business,” Scrooge returned. “It’s enough for a man to understand his own business, and not to interfere with other people’s. Mine occupies me constantly. Good afternoon, gentlemen!”

Seeing clearly that it would be useless to pursue their point, the gentlemen withdrew. Scrooge resumed his labours with an improved opinion of himself, and in a more facetious temper than was usual with him.

Meanwhile the fog and darkness thickened so, that people ran about with flaring links, proffering their services to go before horses in carriages, and conduct them on their way. The ancient tower of a church, whose gruff old bell was always peeping slily down at Scrooge out of a Gothic window in the wall, became invisible, and struck the hours and quarters in the clouds, with tremulous vibrations afterwards as if its teeth were chattering in its frozen head up there. The cold became intense. In the main street, at the corner of the court, some labourers were repairing the gas-pipes, and had lighted a great fire in a brazier, round which a party of ragged men and boys were gathered: warming their hands and winking their eyes before the blaze in rapture. The water-plug being left in solitude, its overflowings sullenly congealed, and turned to misanthropic ice. The brightness of the shops where holly sprigs and berries crackled in the lamp heat of the windows, made pale faces ruddy as they passed. Poulterers’ and grocers’ trades became a splendid joke: a glorious pageant, with which it was next to impossible to believe that such dull principles as bargain and sale had anything to do. The Lord Mayor, in the stronghold of the mighty Mansion House, gave orders to his fifty cooks and butlers to keep Christmas as a Lord Mayor’s household should; and even the little tailor, whom he had fined five shillings on the previous Monday for being drunk and bloodthirsty in the streets, stirred up to-morrow’s pudding in his garret, while his lean wife and the baby sallied out to buy the beef.

Foggier yet, and colder. Piercing, searching, biting cold. If the good Saint Dunstan had but nipped the Evil Spirit’s nose with a touch of such weather as that, instead of using his familiar weapons, then indeed he would have roared to lusty purpose. The owner of one scant young nose, gnawed and mumbled by the hungry cold as bones are gnawed by dogs, stooped down at Scrooge’s keyhole to regale him with a Christmas carol: but at the first sound of

“God bless you, merry gentleman!
May nothing you dismay!”

Scrooge seized the ruler with such energy of action, that the singer fled in terror, leaving the keyhole to the fog and even more congenial frost.

At length the hour of shutting up the counting-house arrived. With an ill-will Scrooge dismounted from his stool, and tacitly admitted the fact to the expectant clerk in the Tank, who instantly snuffed his candle out, and put on his hat.

“You’ll want all day to-morrow, I suppose?” said Scrooge.

“If quite convenient, sir.”

“It’s not convenient,” said Scrooge, “and it’s not fair. If I was to stop half-a-crown for it, you’d think yourself ill-used, I’ll be bound?”

The clerk smiled faintly.

“And yet,” said Scrooge, “you don’t think me ill-used, when I pay a day’s wages for no work.”

The clerk observed that it was only once a year.

“A poor excuse for picking a man’s pocket every twenty-fifth of December!” said Scrooge, buttoning his great-coat to the chin. “But I suppose you must have the whole day. Be here all the earlier next morning.”

The clerk promised that he would; and Scrooge walked out with a growl. The office was closed in a twinkling, and the clerk, with the long ends of his white comforter dangling below his waist (for he boasted no great-coat), went down a slide on Cornhill, at the end of a lane of boys, twenty times, in honour of its being Christmas Eve, and then ran home to Camden Town as hard as he could pelt, to play at blindman’s-buff.

Scrooge took his melancholy dinner in his usual melancholy tavern; and having read all the newspapers, and beguiled the rest of the evening with his banker’s-book, went home to bed. He lived in chambers which had once belonged to his deceased partner. They were a gloomy suite of rooms, in a lowering pile of building up a yard, where it had so little business to be, that one could scarcely help fancying it must have run there when it was a young house, playing at hide-and-seek with other houses, and forgotten the way out again. It was old enough now, and dreary enough, for nobody lived in it but Scrooge, the other rooms being all let out as offices. The yard was so dark that even Scrooge, who knew its every stone, was fain to grope with his hands. The fog and frost so hung about the black old gateway of the house, that it seemed as if the Genius of the Weather sat in mournful meditation on the threshold.

Now, it is a fact, that there was nothing at all particular about the knocker on the door, except that it was very large. It is also a fact, that Scrooge had seen it, night and morning, during his whole residence in that place; also that Scrooge had as little of what is called fancy about him as any man in the city of London, even including—which is a bold word—the corporation, aldermen, and livery. Let it also be borne in mind that Scrooge had not bestowed one thought on Marley, since his last mention of his seven years’ dead partner that afternoon. And then let any man explain to me, if he can, how it happened that Scrooge, having his key in the lock of the door, saw in the knocker, without its undergoing any intermediate process of change—not a knocker, but Marley’s face.

Marley’s face. It was not in impenetrable shadow as the other objects in the yard were, but had a dismal light about it, like a bad lobster in a dark cellar. It was not angry or ferocious, but looked at Scrooge as Marley used to look: with ghostly spectacles turned up on its ghostly forehead. The hair was curiously stirred, as if by breath or hot air; and, though the eyes were wide open, they were perfectly motionless. That, and its livid colour, made it horrible; but its horror seemed to be in spite of the face and beyond its control, rather than a part of its own expression.

As Scrooge looked fixedly at this phenomenon, it was a knocker again.

To say that he was not startled, or that his blood was not conscious of a terrible sensation to which it had been a stranger from infancy, would be untrue. But he put his hand upon the key he had relinquished, turned it sturdily, walked in, and lighted his candle.

He did pause, with a moment’s irresolution, before he shut the door; and he did look cautiously behind it first, as if he half expected to be terrified with the sight of Marley’s pigtail sticking out into the hall. But there was nothing on the back of the door, except the screws and nuts that held the knocker on, so he said “Pooh, pooh!” and closed it with a bang.

The sound resounded through the house like thunder. Every room above, and every cask in the wine-merchant’s cellars below, appeared to have a separate peal of echoes of its own. Scrooge was not a man to be frightened by echoes. He fastened the door, and walked across the hall, and up the stairs; slowly too: trimming his candle as he went.

You may talk vaguely about driving a coach-and-six up a good old flight of stairs, or through a bad young Act of Parliament; but I mean to say you might have got a hearse up that staircase, and taken it broadwise, with the splinter-bar towards the wall and the door towards the balustrades: and done it easy. There was plenty of width for that, and room to spare; which is perhaps the reason why Scrooge thought he saw a locomotive hearse going on before him in the gloom. Half-a-dozen gas-lamps out of the street wouldn’t have lighted the entry too well, so you may suppose that it was pretty dark with Scrooge’s dip.

Up Scrooge went, not caring a button for that. Darkness is cheap, and Scrooge liked it. But before he shut his heavy door, he walked through his rooms to see that all was right. He had just enough recollection of the face to desire to do that.

Sitting-room, bedroom, lumber-room. All as they should be. Nobody under the table, nobody under the sofa; a small fire in the grate; spoon and basin ready; and the little saucepan of gruel (Scrooge had a cold in his head) upon the hob. Nobody under the bed; nobody in the closet; nobody in his dressing-gown, which was hanging up in a suspicious attitude against the wall. Lumber-room as usual. Old fire-guard, old shoes, two fish-baskets, washing-stand on three legs, and a poker.

Quite satisfied, he closed his door, and locked himself in; double-locked himself in, which was not his custom. Thus secured against surprise, he took off his cravat; put on his dressing-gown and slippers, and his nightcap; and sat down before the fire to take his gruel.

It was a very low fire indeed; nothing on such a bitter night. He was obliged to sit close to it, and brood over it, before he could extract the least sensation of warmth from such a handful of fuel. The fireplace was an old one, built by some Dutch merchant long ago, and paved all round with quaint Dutch tiles, designed to illustrate the Scriptures. There were Cains and Abels, Pharaoh’s daughters; Queens of Sheba, Angelic messengers descending through the air on clouds like feather-beds, Abrahams, Belshazzars, Apostles putting off to sea in butter-boats, hundreds of figures to attract his thoughts; and yet that face of Marley, seven years dead, came like the ancient Prophet’s rod, and swallowed up the whole. If each smooth tile had been a blank at first, with power to shape some picture on its surface from the disjointed fragments of his thoughts, there would have been a copy of old Marley’s head on every one.

“Humbug!” said Scrooge; and walked across the room.

After several turns, he sat down again. As he threw his head back in the chair, his glance happened to rest upon a bell, a disused bell, that hung in the room, and communicated for some purpose now forgotten with a chamber in the highest story of the building. It was with great astonishment, and with a strange, inexplicable dread, that as he looked, he saw this bell begin to swing. It swung so softly in the outset that it scarcely made a sound; but soon it rang out loudly, and so did every bell in the house.

This might have lasted half a minute, or a minute, but it seemed an hour. The bells ceased as they had begun, together. They were succeeded by a clanking noise, deep down below; as if some person were dragging a heavy chain over the casks in the wine-merchant’s cellar. Scrooge then remembered to have heard that ghosts in haunted houses were described as dragging chains.

The cellar-door flew open with a booming sound, and then he heard the noise much louder, on the floors below; then coming up the stairs; then coming straight towards his door.

“It’s humbug still!” said Scrooge. “I won’t believe it.”

His colour changed though, when, without a pause, it came on through the heavy door, and passed into the room before his eyes. Upon its coming in, the dying flame leaped up, as though it cried, “I know him; Marley’s Ghost!” and fell again.

Taken from “https://www.gutenberg.org/files/46/46-h/46-h.htm”

 

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YEAR 9 ENGLISH PROGRAMME Copyright © 2021 by Christopher Reed. All Rights Reserved.

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