Hello, welcome to today's lesson, Chapter 1: The Story of the Door.

My name is Mr. Barnsley.

Let's get started.

Right, so our outcome today, by the end of today's lesson, you'll be able to explore the importance of the setting in the opening chapter of "The Strange Case of Dr.

Jekyll and Mr. Hyde." So let's have a look at our four keywords that we should expect to both see and use during our discussions today.

They are symbol, concealment, facade, and threshold.

I'm gonna share the definitions of these four words on the screen with you now.

It's really important that you read through each of these carefully, pausing the video if you need to, to make sure you understand what each of these words mean.

As I said, these are words we should expect to encounter in today's lesson, and words that we should be trying to use in our discussion.

Okay, let's look at the outline of today's lesson.

Well, we are gonna be reading the rest of Chapter 1: The Story of the Door.

So in our first learning cycle, we're gonna read the rest of the chapter, and then in our second learning cycle, we're gonna do some discussion based on what we have read.

So let's get started with the reading.

Before we do, I want us to have a very quick discussion.

What might a door be a symbol of? I'm gonna give you a hint.

Well, the title of this chapter is called The Story of the Door, so we know a door is gonna be quite important here.

What might a door be a symbol of? Okay, so pause your video.

If you've got a partner, I'd like you to have a discussion with them.

If you're working by yourself, you can just make a few notes.

So give this a go, have a discussion, and press play when you are ready to continue.

Fantastic.

I heard some really lovely ideas there.

I heard some ideas of people saying a new beginning.

You are opening a new beginning.

I heard some people talking about secrets and maybe hiding and locking things away.

So well done if you said either of those things.

And I'm sure you might have been able to come up with many, many different interpretations of what a door could be a symbol of.

We're gonna develop these ideas later in today's lesson.

Okay, so we're gonna continue reading Chapter 1.

So before we do any close reading, as ever, I want us to just read through the text for meaning.

So I'm gonna read this through, and all I want you to do is listen carefully and make sure and think about, do you understand what is happening here? "Two doors from one corner, on the left hand going east, the line was broken by the entry of a court, and just at that point, a certain sinister block of building thrust forward its gable on the street.

It was two stories high, showed no window, nothing but a door on the lower story and a blind forehead of discoloured wall on the upper.

And bore in every feature, the marks of prolonged and sordid negligence.

The door, which was equipped with neither bell nor knocker, was blistered and distained.

Tramps slouched into the recess and struck matches on the panels.

Children kept shop upon the steps.

The schoolboy had tried his knife on the mouldings.

And for close honour generation, no one had appeared to drive away these random visitors or to repair their ravages." Okay, we're gonna do a check for understanding of our initial reading.

So after your initial reading, which of the statements below appears to be the most accurate description of what is happening in the extract? Is it A, in this extract, Stevenson is describing the streets of London, in particular one creepy looking building? Is it B, Stevenson describes a sinister, windowless building.

The door to the building was old and distressed.

It looked like no one had taken care of the building's upkeep? Or is it C, in this extract, Mr. Enfield is describing a sinister looking building to Utterson.

The building has no windows and only one, distressed door? Pause the video.

Which do you think is the most accurate description of what is happening in the extract? And press play when you are ready to continue.

Yes, well done if you said B.

This is Stevenson's description.

Okay, we know Enfield is going to be telling us a story, but here this is Stevenson's words, his description, and it's describing this building.

It's not got any windows.

It feels quite sinister.

It's old, it's distressed, and it looks like no one has been taking care of it.

Okay, well done if that was your understanding of that initial reading.

Now we're gonna have a look at this extract in a little bit closer detail.

So I'm gonna ask you some questions to get you really thinking about what Stevenson is trying to say to us as the reader in this extract.

So let's start with a definition for you.

In this section it says, "A certain sinister block of building thrust forward its gable onto the street." Now a gable is a triangular upper part of the wall at the end of a ridged roof.

You might often see these over a doorway or over windows.

So it's important that we understand what that is.

Okay, my first question for you then.

I want to look at this adjective.

The building is described as being sinister.

Why might someone say this is a foreboding adjective? Pause the video, have a discussion or have a think if you're by yourself, and press play when you are ready to continue.

Yes, I heard some lovely ideas here.

This adjective "sinister" suggests that there is something about this building that is not quite right, potentially something dangerous, potentially it's hiding some secrets.

But it's a very interesting adjective to describe a building.

It's foreboding that maybe there is something not quite right about this building.

I want you to think, though, Stevenson has used this word very specifically.

How might our understanding change if Stevenson had had used the adjective "scary" here to describe the building, rather than "sinister"? Pause the video and have a discussion, and press play when you are ready to continue.

Some fantastic ideas there, both "scary" and "sinister" imply there is something to be feared about this building.

But "sinister" kind of suggests there's something more deliberately, potentially evil about the building, that perhaps it holds some form of secrets or there is something inside it.

"Scary" just suggests it doesn't look very nice on the outside.

Whereas "sinister" suggests there is something deliberately evil about it.

So we always have to think about when we're looking at an author's language choices, why have they chosen that specific word? Well done.

Some fantastic discussions there.

Okay, now let's have a think about the lack of a window.

Why might the lack of window make this building feel more sinister? Pause the video, have a discussion or think about it to yourself, and press play when you are ready to continue.

I heard some fantastic ideas there.

People talking about a window being transparency.

They let us see inside, they reveal what's inside.

So the lack of window means we have no idea what's going on in there.

It creates this sense of secrecy, and whatever is in there is very much hidden away.

Well done if you said something similar.

Okay, let's do a check for understanding then.

Why does the lack of window create a foreboding atmosphere? Select the most thoughtful response.

The lack of window allows the owner to conceal what happens inside.

This creates a foreboding atmosphere as the reader wonders what lies inside.

Without a window, there is no way to look inside, which creates a sense of mystery.

Or C, by concealing what happens inside this building, there is a greater sense of mystery.

All of these are good responses.

Which do you think is the most thoughtful? Pause the video, give this a go, and press play when you are ready to continue.

Yes, well done if you said A.

I particularly liked how A and C used a keyword, which the keyword was concealment, but that word comes from the verb to conceal.

And so the lack of window is allowing the owner to conceal what is happening inside.

And that is foreboding.

We want to know as a reader what is going on in this building.

Well done if you selected A.

Okay, let's have a look at this other definition for you.

So we know that the walls have been described as having marks of prolonged and sordid negligence.

Sordid means dirty or squalid, but it can also mean immoral or dishonourable.

So if you're describing someone's behaviour as sordid, you are often saying that they have immoral or dishonourable behaviour.

So a very interesting choice to describe the wall as being sordid, which can mean dirty and squalid, but can also mean immoral.

So what extra inferences can we make about the owner of the building due to Stevenson's use of this adjective? Pause the video, discuss or think to yourself, and press play when you are ready to continue.

I heard some fantastic ideas there.

Yes, this is a very foreboding adjective, a very interesting choice from Stevenson suggesting that the owner's behaviour or the person who owns this building, perhaps their behaviour is immoral or dishonourable.

They are maybe a character we should fear.

Okay, we've talked about the lack of window.

Now let's have a think about the lack of bell or knocker.

So why might the lack of bell or the lack of a knocker create a foreboding atmosphere? Pause the video, discuss, and press play when you are ready to continue.

Well done.

I really want to spotlight those ideas where people were saying it really means this door is very unwelcoming.

There is no way of letting the person inside know that you are there.

It almost suggests that the person inside doesn't want or is not inviting any visitors in, again, creating this foreboding atmosphere.

What is going on inside this building? Why might the owner not want visitors or not want anyone to come in? Okay, I'm gonna hand over to you now and you are going to be doing some reading of your own.

Whenever we're reading a text that we're studying, it's really important that we are doing some active reading, which means we're not just passively sitting there and listening, if someone else is reading to us, or if we're reading to ourselves, we are not just kind of scanning the page.

We need to really be engaging with what we're reading to check we're understanding.

So here are some tips or things that you can do as you are reading, either as a class or individually, to make sure that you are really engaged with your reading.

So the first thing you can do is circle any key vocabulary that appears, any vocabulary that you might want to revisit.

Underlining important words or phrases, quotations that you think, "This really tells me a lot about the character" or, "This is a really juicy quotation that I might be able to use in my analysis in future." Putting square brackets around will help you draw attention to key paragraphs.

So if something really important happens in a paragraph and you think this is really important to the plot, you can put square brackets around that so you know to return to that paragraph.

Putting a star next to a key idea as well can be really helpful to remind you, "Okay, the whole paragraph isn't important, but these kind of couple of sentences here are, so I'm gonna just star these." And you can also, whenever you kind of circle or put square brackets or put a star, make a little note in the margin.

These annotations are gonna help you remember why you identified these in the first place.

Let me show you an example of interactive reading from the extract we've just looked at together.

So you can see I've underlined some phrases that I thought were really important.

And I've starred this phrase, "neither bell nor knocker," because for me this is something that I really, really kind of thought was really important.

So the notes that I made for myself is, "Description of the building suggests concealment of what is happening behind the facade of respectable London homes." Okay? So this setting here is really important because, whilst we see all these respectable, beautiful houses in London, this description gives me a hint that even within these respectable facades, there is concealment of truth and secrecy.

Okay, before we get onto our reading, let's do one final check for understanding.

What is the impact of the juxtaposition of this building in comparison to the other buildings on the street? Again, we're selecting the most thoughtful response.

A, it's shocking as a reader.

We would not expect this building to be in a street like this.

B, the juxtaposition is foreboding, something terrible may happen in this area of London.

Or C, the juxtaposition is unnerving as it could imply there is a sinister individual who lives amongst the wealthy and upper class Victorian families.

Pause the video, give this a go, and press play when you are ready to continue.

Congratulations if you said C.

It's unnerving seeing this building in comparison to some of the other more regal and respectable buildings.

It suggests, or it's a reminder that whoever lives here and whatever evil they may be committing, again, we're guessing now from the adjective "sinister," it suggests that this person is living amongst the wealthy and the upper classes of Victorian families.

Well done if you said that, if you selected that response.

Okay, so over to you now to do some reading.

You may be reading as a class or you may be reading individually, but you are gonna read from the line in Chapter 1, "Mr. Enfield and the lawyer were on the other side of the by-street," and you're gonna read all the way to the end of Chapter 1 now.

As ever, I'm gonna set you some questions because it's really important that you are asking yourselves questions as you are reading to check you are understanding.

So you're not gonna wait until the end of the reading to answer these questions.

You're gonna read, pause, and either discuss, or if you're working by yourself, make some notes on the following questions.

So here are the questions that you need to be answering as you read.

What does the man do to the young child? What are the witnesses' reactions to the man? What did the man get from inside the building? How did Enfield believe he got hold of the check? And what decisions do Utterson and Enfield make at the end of the chapter? So I'd like you to pause at the video now, read through the rest of the chapter, either as a class or by yourself, and press play when you are ready to continue and find out the answers to these questions.

Good luck.

Over to you.

Off you go, pause the video, and see you soon.

Okay, welcome back.

Fantastic reading there.

Like I said, this is a challenging text with some challenging vocabulary, so well done for reading to the end of the chapter.

Now let's double check that we've understood the chapter by answering these questions.

So what do we know? What does the man do to the young child? So he accidentally runs into a small child, but after doing that, he calmly tramples over her fallen body.

He's being described as being like a juggernaut, and this suggests that he's almost unstoppable, incredibly powerful.

Well done if you said something similar to that.

And what were the witnesses' reactions to the man? Well, they were all disgusted by the appearance of the man and his behaviour.

They find his appearance so alarming, however, that they want to cause harm to him.

They say he's so disturbing-looking, they want to cause harm.

The descriptions of him are quite vague.

No one explicitly says what he looks like, although he is described as almost being like Satan, the devil.

So well done if you picked out any of those things.

So what did the man do? What did he get from inside the building? Well, he entered a door which is described as being blistered and distained.

And he used a key, which suggests that he was the owner there.

He returns with a check, a genuine check signed by the signature of an unknown but respectable man.

So it is believed that the signature on this check isn't the man who trampled on the young girl, but someone else's signature.

The signature of a respectable gentleman.

So how did Enfield believe that this man got hold of the check? Well, he believes that the man, who turns out to be Hyde, has blackmailed the owner of the house.

He believes that Hyde must know about some misdemeanour, something that the respectable man did in his youth, and he's using that to blackmail him.

And that's how he got his hands on a check that was signed by this man.

So by the end of the chapter, what decisions do Utterson and Enfield make? Well, utters alludes to the fact that he knows the name of the man that signed the check.

Even though he's not seen the check, he wasn't there, remember, he's just hearing a story.

He says, "I think I can guess who signed this check.

However, I never want us to discuss this incident again." And he asks Enfield to make sure he doesn't discuss this either.

And both men agree to silence.

Interesting why he would not want to discuss this incident ever again.

Okay, well done if you've got all those correct and you showed a really good understanding of the text as a whole.

Pause video now.

You may have made some other annotations.

If you are working in pair, if you're working as a class, this is a perfect time to share some of the other annotations and things that you had drawn attention to whilst you were reading.

Press play when you are ready to continue.

Okay, welcome back.

We did some fantastic reading in our first learning cycle.

Now it's time to do some discussion on Chapter 1.

So I want us to discuss what the blistered and distained door symbolise.

At the beginning of the lesson, we talked about the doors as being a symbol.

Now I want us to be much more specific.

What do you think this specific door in Chapter 1, the blistered and distained door might symbolise? Let's have a discussion.

Pause the video, discuss with your partner, or if you're working by yourself, you can make some notes to yourself, and press play when you are ready to continue.

Well done.

I heard some really, really interesting ideas there.

I just want to shine a spotlight on some of the best things that I heard.

So this blistered and distained door, well, well done for those of you who said that this could symbolise concealment, and particularly the concealment of some form of criminal activity.

Well done.

You might have said something about the disregard for the facade of the respectability and the expected behaviour of Victorian upper classes.

We know this door, whilst it's on a dark and dingy backstreet in this neighbourhood, we know this neighbourhood backs onto a very lively and bustling and upper class street.

So there is this facade of these buildings on the main street of being really respectable, yet just round the corner we have this blistered and distained door that is potentially concealing some criminal activity.

And perhaps this is a facade showing that sometimes this respectability that we see from the upper classes is just that, it's not a reality.

Sometimes they're hiding other things.

Well done if you said something along those lines.

And well done if you use our other keyword, this is a threshold.

There's a distinction between the respectability and criminality.

And actually, this door represents a threshold where those two things become blurred.

Like, who is respectable and who are the criminals? We don't know at this point, but it suggests that these two things are much more closely linked than we maybe first thought.

Fantastic ideas.

Well done if you've said any of those things in your discussions.

Okay, a check for understanding now.

True or false? The blistered and distained door is an important symbol in Chapter 1? Pause the video, give us a go, and press play when you are ready to continue.

Well done if you said true.

This is a very important symbol.

Let's justify our response.

So it potentially represents the concealment of criminality in this upper class London neighbourhood.

It represents poverty in London and how London is a divided city between the different social classes.

Okay, both of these could be justifiable.

Which ones do you think is the best justification? Pause the video, give it a go, and press play when you're ready to continue.

Yes, well done if you said A.

The door could of course suggest poverty.

We know that there was poverty.

Within London there were plenty of people living below the poverty line, and that is definitely a contrast within the city of London.

However, I think the better response here, the better justification is that actually it represents the concealment of criminality, and actually this criminality can happen in areas where the upper class lived.

Well done if you selected A.

Okay, we are gonna finish today's lesson then with a discussion.

Whatever we discuss, it's really important we just get our thoughts out quickly and then we'll move on to formalising our ideas.

So very quickly, how does Stevenson use setting to create an ominous atmosphere? So pause the video, have a very quick discussion, just get your ideas out there, and then press play when you are ready to formalise your thoughts.

Okay, wonderful.

I heard some great ideas.

But now it is time to make our responses sound more formal.

So we're gonna use the discussion grid below to formalise our ideas.

And what we're gonna do is we're gonna be developing our ideas and adding emphasis.

So I want you to use sentence starters like, more specifically, more precisely, in particular, or indeed.

All of these are gonna take our initial inferences and ideas and they're gonna encourage us to develop them further or add emphasis.

Let me show you an example.

"Perhaps the door represents a boundary between the respectable upper classes and the criminal underclass.

In particular, in this chapter, the door could be a threshold where the difference between respectability and criminality becomes blurred.

So you can see how that phrase in particular forces me to add more detail to my initial response.

Okay, pause the video and continue your discussions, this time making sure you are developing your ideas and adding emphasis.

Press play when you are ready to continue.

Well done.

I heard some fantastic ideas.

Now I think it's a really great opportunity for us to share and collect those responses.

And if we want to, we can make a note, so we've got these ideas for future analysis.

So let's think about the setting in Chapter 1.

Well, things that you may have said.

"The title of the chapter.

." You may have talked about the title of chapter.

"Well, it really illustrates how important the setting is, specifically the door in this chapter." Well done if you said something like that.

Some of you talked about the juxtaposition between the blistered door and the well polished brasses of the other houses, and you highlighted how actually the upper classes cannot escape from the crime.

"In particular.

." Well done if you talked.

Some of you used some of our key vocabulary today, keywords, when you said that this chapter in the door could be a threshold.

And it really represents the difference between respectability and criminality, which we might think as two very separate ideas, but actually they become blurred here within this chapter.

And well done if you said that the setting helps create a foreboding atmosphere.

It suggests that the upper classes are not safe from crime.

And even it could suggest that actually it's the rich who are the criminals themselves.

Well done if you discuss any of those ideas you can see on the screen.

And of course, fantastic if you brought any other ideas to this discussion.

Okay, well done.

That's it.

We are now at the end of today's lesson, Chapter 1: The Story of the Door.

On the screen, you can see a summary of all of the key learning that's happened in today's lesson.

Please do read through that carefully, pausing the video if you need to, making sure that you agree, "Yes, I understand all of those things, I've learnt all of those things today." I've been so pleased that you've joined me today.

I really hope you can join me for future lessons in this unit.

See you all soon.

Goodbye.