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Great Expectations: Achieving the Minimum Core (Penguin Readers)

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en Limba Engleză Paperback – February 2008

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Classic / British English Pip is a poor orphan whose life is changed forever by two very different meetings -- one with an escaped convict and the other with an eccentric old lady and the beautiful girl who lives with her. And who is the mysterious person who leaves him a fortune?
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Specificații

ISBN-13: 9781405865289
ISBN-10: 1405865288
Pagini: 116
Dimensiuni: 127 x 193 x 8 mm
Greutate: 0.14 kg
Ediția: Revizuită
Editura: Pearson Education
Seriile Penguin Readers , Penguin Readers: Level 6

Locul publicării: London, United Kingdom

Notă biografică

Charles Dickens was a brilliant and prolific writer, probably the most famous nineteenth-century English novelist. He was very successful during his lifetime and his books have never been out of print. The exciting plots and fantastic characters in his books have meant they have all been adapted (in some cases, many times over) for television or the big screen. Charles Dickens was born on 7 February 1812 in Portsmouth. He was one of eight children, and at first his family enjoyed a happy life in the countryside of Kent. But Dickens' father was not very good at managing his money, and when the family fell into financial difficulties they had to move to London. In Dickens' time people who could not pay their debts were sent to a kind of prison, and Dickens' father eventually ended up in one of these debtor's prisons, called the Marshalsea. Charles was forced to leave school and go to work in a 'blacking factory' where he pasted labels on to pots for many hours a day. Even though Charles was only twelve at this time, he understood that without education he would never escape the poverty that had so entrapped his family. Charles often used his childhood experiences in his books. For instance, in David Copperfield, the hero Davy is taken out of school by his cruel stepfather and sent to work in a similar factory. Another novel, Little Dorrit, is set in and around the Marshalsea prison. Fortunately Charles was eventually sent back to school. He went to work as a lawyer's clerk, and then as a political reporter. In 1833 he began to publish short stories and essays in newspapers and magazines. His first book, The Pickwick Papers, was published in instalments in a monthly magazine, and was a roaring success. Even before this book was finished, Charles began writing another novel, Oliver Twist. This is one of his most famous books - perhaps you've read it, or seen the musical or one of the film adaptations? Many other novels followed and Dickens became a celebrity in America as well as Britain. He also set up and edited the journals Household Words (1850-9) and All the Year Round (1859-70). Dickens used his books to highlight the suffering of the poor, the inadequate support provided to them, and the massive inequalities between the different ranks of society. This social and political commentary was very influential and it is believed Dickens' work did a great deal to reform workhouses, prisons, and most particularly public opinion of the working classes. Charles travelled all over Britain and America giving public readings from his books. He was a wonderful performer(at one point he had wanted to be an actor) and his readings were said to be electrifying - women in the audience would scream and faint when he read about the murder of Nancy from Oliver Twist. His readings were therefore extremely popular, and on some occasions Dickens only charged a penny for tickets so that poorer people could also attend. In later years, these energetic readings took a terrible toll on his failing health. Dickens died after stroke on 9 June 1870, leaving his last novel, The Mystery of Edwin Drood, unfinished. He is buried in Westminster Abbey.

Extras

Chapter I.


My father's family name being Pirrip, and my christian name Philip, my
infant tongue could make of both names nothing longer or more explicit than
Pip. So, I called myself Pip, and came to be called Pip.


I give Pirrip as my father's family name, on the authority of his tombstone
and my sister – Mrs. Joe Gargery, who married the blacksmith. As I never saw
my father or my mother, and never saw any likeness of either of them (for
their days were long before the days of photographs), my first fancies
regarding what they were like, were unreasonably derived from their
tombstones. The shape of the letters on my father's, gave me an odd idea
that he was a square, stout, dark man, with curly black hair. From the
character and turn of the inscription, "Also Georgiana Wife of the Above,"
I drew a childish conclusion that my mother was freckled and sickly. To
five little stone lozenges, each about a foot and a half long, which were
arranged in a neat row beside their grave, and were sacred to the memory of
five little brothers of mine – who gave up trying to get a living exceedingly
early in that universal struggle – I am indebted for a belief I religiously
entertained that they had all been born on their backs with their hands in
their trousers-pockets, and had never taken them out in this state of
existence.


Ours was the marsh country, down by the river, within as the river wound,
twenty miles of the sea. My first most vivid and broad impression of the
identity of things, seems to me to have been gained on a memorable raw
afternoon towards evening. At such a time I found out for certain, that
this bleak place overgrown with nettles was the churchyard; and that Philip
Pirrip, late of this parish, and also Georgiana wife of the above, were
dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and
Roger, infant children of the aforesaid, were also dead and buried; and
that the dark flat wilderness beyond the churchyard, intersected with dykes
and mounds and gates, with scattered cattle feeding on it, was the marshes;
and that the low leaden line beyond was the river; and that the distant
savage lair from which the wind was rushing, was the sea; and that the
small bundle of shivers growing afraid of it all and beginning to cry, was
Pip.


"Hold your noise!" cried a terrible voice, as a man started up from among
the graves at the side of the church porch. "Keep still, you little devil,
or I'll cut your throat!"


A fearful man, all in coarse grey, with a great iron on his leg. A man with
no hat, and with broken shoes, and with an old rag tied round his head. A
man who had been soaked in water, and smothered in mud, and lamed by
stones, and cut by flints, and stung by nettles, and torn by briars; who
limped, and shivered, and glared and growled; and whose teeth chattered in
his head as he seized me by the chin.


"Oh! Don't cut my throat, sir," I pleaded in terror. "Pray don't do it,
sir."


"Tell us your name!" said the man. "Quick!"


"Pip, sir."


"Once more," said the man, staring at me. "Give it mouth!"


From the Trade Paperback edition.

Recenzii

At a recent department meeting, it became evident that Dickens is an author who can divide a room. 'Let's teach some Dickens at key stage three,' some argued. 'I can't imagine anything worse,' others said. 'Too difficult', 'too wordy', 'enough to put anyone off'. 'But the stories are great,' I argued. It's easy to see both sides of the argument. As someone who has dipped in and out of Dickens over the years, I have always been delighted by the actual reading of the novel, but sometimes it has taken a considerable effort of will to start the thing. Many are long, all are complex, and there is some truth in the assertion that they are too difficult-not for all, certainly, but for some children at key stage three, Dickens could sound the death knell for reading pleasure. There is a case, then, for a differentiated Dickens, and here, as with other literary classics, Real Reads provides a helpful solution. The series currently includes nine of the major novels: Bleak House, A Christmas Carol, David Copperfield, Hard Times, Oliver Twist and Great Expectations, The Old Curiosity Shop, A Tale of Two Cities and Little Dorrit. All follow the same format-a couple of pages introducing the characters with some delightful illustrations by Karen Donnelly, forty-seven pages of narrative and a 'Taking Things Further' section at the back. Like other Real Reads, too, the novels are not designed to replace the originals, but to complement them. The publisher's hope is that for some readers, the Real Reads are a springboard into the original texts; for others it is to broaden their range of cultural experience and introduce them to a world of wonderful plots and characters. What makes these retellings particularly appealing from a classroom point of view is that significant attention is paid to the language use characteristic of the authors. The novels are retold with some integrity to the original-that is that some of the cadence of Dickens is retained; that some of the vocabulary remains authentic, and that some of those seminal passages remain relatively unaltered. Take the opening of A Tale of Two Cities as an example, 'It was the best of times, it was the worst of times; it was the age of wisdom, it was the age of foolishness; it was the season of wealth, it was the season of poverty. In short, it was a time very much like the present.' In short, it is very much like the original. The retellings go some way to preserving Dickens's characters and while there are of course casualties, the characters that remain are rounded and engaging. For Oliver we feel pity as he pleads with Sikes 'P-p-p-please don't make me steal,' in the face of Sikes terrifying whisper 'Quiet, vermin'. We long for Nancy to be saved by Mrs Maylie and feel the poignancy of her departure: 'You must take Oliver to safety. I must return to my life.' We sense the justice in Fagin's wait for death 'his face so distorted and pale, his eyes so bloodshot, that he already looked more dead than alive as he awaited his punishment.' Of course, we also feel the delight and relief as 'Oliver and Mr Brownlow walked hand in hand to their carriage.' Some of Dickens's humour is preserved: Mrs Joe is to be found bringing Pip up by hand and at the birth of David Copperfield, Peggotty's 'bosom swelled with such joy and pride that two buttons popped from her bodice and flew across the room.' The heartbreak remains too: 'As he wasted away over the next few days, Little Dorrit didn't leave her father's side. His spirit was like a maimed bird, able to think only of the place that had broken its wings. Finally, his spirit broke free of all earthly concerns. Little Dorrit wept bitterly. The 'Filling in the Spaces' section at the back of each book provides a helpful resource for teachers. Elements of the plot that have been omitted in order to contain the retelling in such a thin volume are listed here and can provide a useful point of departure to read some of the original text. There is some contextual material pertinent to the text, so for Little Dorrit we learn that Dickens's father was sent to Marshalsea Prison when Dickens was twelve and for Hard Times we can read about the rise of steam power and the way in which machinery in factories gave rise to mass migration to cities. There is also a two-page section called 'Food for thought' that provides points for discussion, themes, style and symbols and would neatly help shape classroom discussion and activity. In The Old Curiosity Shop, for example, 'Oscar Wilde said that Nell's death makes the reader laugh, whereas critics in Dickens' time were usually overcome by grief. Which is closer to your own reaction? Why?' would lend itself very well to paired, group or whole-class debate. Thinking about how the symbols of fog, hands, light and shadow and city and countryside match the action in Bleak House immediately suggests ways in which pupils might track language against action as they read. At the lower end of the price range for class readers, the excellent and durable quality of the books presents a good investment at GBP4.99 RRP for individual texts. -- Jane Campion Use in English

Textul de pe ultima copertă

In this unflaggingly suspenseful story of aspirations and moral redemption, humble, orphaned Pip, a ward of his short-tempered older sister and her husband, Joe, is apprenticed to the dirty work of the forge but dares to dream of becoming a gentleman. And, indeed, it seems as though that dream is destined to come to pass because one day, under sudden and enigmatic circumstances, he finds himself in possession of "great expectations." In telling Pip's story, Dickens traces a boy's path from a hardscrabble rural life to the teeming streets of 19th-century London, unfolding a gripping tale of crime and guilt, revenge and reward, and love and loss.
Written in the last decade of Dickens' life, "Great Expectations" was praised widely and universally admired. It was his last great novel, and many critics believe it to be his finest. Readers and critics alike praised it for its masterful plot, which rises above the melodrama of some of his earlier works, and for its three-dimensional, psychologically realistic characters characters much deeper and more interesting than the one-note caricatures of earlier novels."

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