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Copywork
About This Passage
Burnett’s most delicate moral passage in the chapter: a sick child’s performance of doom runs into a well friend’s refusal to perform sympathy. The adverbs do the work — ‘resentful,’ ‘unsympathetically,’ ‘boasted’ — locating the moral content not in event but in tone. Mary’s bluntness is the chapter’s quietest act of love.
“I couldn’t go on the moor,” he said in a resentful tone. Mary was silent for a minute and then she said something bold. “You might—sometime.” He moved as if he were startled. “Go on the moor! How cou...
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Discussion Questions
Narration Prompt
Retell Chapter 14 in your own words. Begin with Martha’s panic when Mary confesses she has found Colin, move through Colin’s tyrannical command of Martha, Mary’s doubled tales of the Rajah and of Dickon, and end with the arrival of Dr. Craven and Mrs. Medlock upon the laughing children.
Discussion Questions
- Martha reaches for ‘bewitched’ as the only available vocabulary for what Mary has done; Mary answers, ‘I’ve heard about Magic in India, but I can’t make it.’ What is Burnett suggesting about the moral imagination of a household in which simple human attention has become so absent that its return registers as witchcraft?
- Colin narrates his own death ‘indifferently’ and, as Mary observes, almost ‘boasted about it.’ Burnett is deploying the adverb as her instrument of diagnosis. How does the undercutting adverb — ‘indifferently,’ ‘fretfully,’ ‘resentfully’ — become the novel’s moral syntax, and what does this technique allow Burnett to do that direct narratorial commentary could not?
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Vocabulary Builder
Item 1
Enchanted as if by a spell; figuratively, transformed by an influence one cannot explain
Item 2
In a stubborn, unyielding manner; refusing to be moved from one’s position
Item 3
Without pity or emotional accommodation; refusing the conventional gesture of sympathy
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Critical Thinking
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