Hello, thank you so much for joining me in today's lesson.

My name's Mr. Barnsley, and today, we're gonna be having a closer look at chapter seven, The Incident of the Window.

Now, this is only a very short chapter, but it's gonna give us an opportunity to explore a quite a tricky concept.

It's gonna be difficult, it's gonna be challenging, but I know you are up for the challenge.

Really looking forward to exploring this with you, let's dive in.

And the outcome of today's lesson then is that by the end of our reading of chapter seven, you are gonna be able to explain how Stevenson uses liminality within this chapter.

Now don't worry, I don't expect you to recognise this word.

It's in bold for a reason, it is one of our key words of the lesson, but it's gonna be a real focus for us, okay? So don't worry if you don't understand it now, by the end of the lesson, you should feel super confident in explaining how Stevenson uses it.

So here are our keywords of the day.

As you can see, liminality is the first, there are three others, they are pivotal, motif and twilight.

In a second, the definitions are gonna appear on the screen.

You can pause the video if you need to, read through, jot them down, just make sure you understand what each of those four words mean so you feel confident when you come across them in today's lesson.

But don't worry if that first word, liminality still feels a bit tricky at the definition stage.

We are gonna look at it in a lot, lot more detail during the lesson.

Okay, here are the definitions, pause the video if you need to.

So we're gonna be reading chapter seven today.

We're gonna start the first half of the lesson by looking reading chapter seven.

Chapter seven is quite a short chapter.

And then in the second half of the lesson, we are gonna do some discussion around chapter seven.

So let's start by thinking about reading.

But before we do that, as I promised, we want to look at this key word, liminality in a little bit more detail.

It is a very important feature of gothic literature, but it is a challenging one and a difficult one to get our heads around.

So luckily for us, we've got two of the pupils, Jun and Sophia, who are gonna help us work out a little bit more what this might mean.

So Jun says that the concept of liminality is quite a difficult one, he acknowledges, like I said, it's quite a tricky idea, but he likes to think of it as the boundary between two opposing states.

So like good and evil or the living and the dead or madness and sanity.

Liminality is that boundary, that part in between, that bit where they meet.

Now Sophia says she uses the adjective liminal.

So the adjective liminal comes from that noun liminality.

And she says she could use this to describe places, objects, or symbols, which represent this boundary between two states, where these two opposing ideas meet.

So in text we might see either places or objects which can represent these, which can end up acting as symbols for where the boundaries between two opposing states meet.

Still a tricky idea, but we're gonna continue to work through it.

In fact, Jun's gonna share an idea and hopefully this will help you understand it in a little bit more detail.

So Jun says, for example, secondary school could be described as a liminal time.

He says this because this is where you cross the boundary from childhood into adulthood.

So if you think of yourself on that first day in year seven, walking up to your school gates and a picture yourself leaving at the end of your exams, and think about that journey you've been on and how school has acted as that boundary between those two states of childhood and adulthood.

So you could say it's a liminal time.

Now Sophia's got a question for you.

So I want you to discuss why might twilight, so twilight remember was one of our key words, it's that moment between sunset and the darkness really setting in in the evening.

Why might twilight be a liminal time of day? Okay, so what boundary might that represent? So why might twilight be a liminal time of day? And a challenge question a bonus one, see if you can push yourself onto this one, why might twilight be quite a useful time of day in gothic literature? What could it represent in gothic literature? Okay, pause the video.

If you've got a partner to discuss with, fantastic, you can have a chat together.

If you're working by yourself, don't worry, you can sit and think to yourself or you can even make a couple of notes.

Anyway, it's time to pause the video and press play when you are ready to continue.

Really, really, really well done.

I know this is a challenging idea, so it was great to see you getting stuck in.

I really liked it when people were referring back to Jun's example to help them try and justify their own ideas around twilight.

We're gonna do a check for understanding now to see how those discussions went.

So I've got two definitions here or summaries here of why twilight might be described as a liminal time of day.

I want you to read through them both and then think about which one does the best job at summarising why twilight might be a liminal time of day.

Let's read through them both together.

So a says, twilight is actually the time of day when the world hovers between two states, day and night.

Day and night are two different states because they happen at two different times.

Or the second one here, twilight is a time when the world sits between two states.

Not only does the world hover between the states of night and day, but also between light and dark.

Which one of those is the best at summarising why twilight's a liminal time of day? Pause the video, give this a go and press play when you are ready to continue.

Yes, well done, I saw you giving that a really good go and you were right to say both of these do a good job of describing why twilight is a liminal time of day.

But congratulations if you identified b as being the more successful answer.

So twilight not only represents the transition, that boundary between night and day, but also between light and dark.

So when we think about why twilight's a really interesting time and actually very useful for gothic literature is because that transition between night and day and light and dark could be a symbol or symbolic of that transition between good and evil.

And we know already in The Strange Case of Dr.

Jekyll and Mr. Hyde, we see the young girl trampled on in the middle of the night.

We see Sir Danvers Carew murdered at night.

So we know many of Hyde's act of evil do happen at night, and so we're transitioning from maybe the safety of the day to the danger of the night.

So one of the many ways that we can interpret Stevenson's use of twilight or any gothic writer's use of twilight in their literature.

Okay, over to you now, you're gonna read chapter seven yourself.

You might be doing this independently or you might be doing this as a class, but either way, we know whenever we read any text, it's really important that we continue to ask ourselves questions to check our understanding.

I am gonna provide you with five questions that I think you should focus on that will help you check that you've understood chapter seven.

But of course, you should always ask, you can ask yourself many more questions than the ones you see on the screen.

Because if you're ever really struggling and think, I can't answer this, all it means is you need to pause, go back, read a section and see if you can break it down and understand it then.

Okay, let's have a look at these questions then, shall we? So the first question, what does Mr. Enfield tell Mr. Utterson about the door? The second one, how is Dr.

Jekyll described when the men see him at the window? Third question, how does Jekyll respond when Utterson asks him to join them on their walk? Fourth question, what shocking event happens towards the end of the chapter? And five, why do you think Utterson, sorry, Stevenson decided to set this chapter during twilight? Okay, pause the video, whether you're reading independently or whether you are working as a class, I really want you to think about these questions as you read, you may wish to just discuss the answers, you might wish to just think about them or you may wish to write them down.

Pause the video and I'll see you at the end of this chapter.

Welcome back, some fantastic reading going on there and well done to all those of you who if you were struggling on the questions, just took a moment to step back and reread.

I think that's really, really important skill to tackling complex texts.

So let's have a look at the things that you may have written or that you may have discussed as you have worked through these questions whilst reading this chapter.

So what does Mr. Enfield tell Mr. Utterson about the door? So at the beginning of the chapter, when Utterson and Enfield walk past the blistered and distained door from chapter one, Enfield apologises to Utterson because he says, I didn't realise it at the time, but I know this door or that door that I talked about in chapter one is the back entrance of Jekyll's property.

So we know that Utterson had his suspicions right from the beginning, but we now know for sure that that door, that Enfield saw Hyde entering and leaving from actually is the back entrance to Jekyll's property.

So how is Dr.

Jekyll described when the men see him at the window? Well, he's described as looking incredibly down and depressed.

He's described of having an infinite sadness of mien, so his appearance looks infinitely sad, like the sadness will never ever end.

He also looks like some disconsolate prisoner.

Prisoner, really interesting, and this is a really interesting simile disconsolate means, again, really sad and he's a prisoner here trapped in his own laboratory.

These two quotations, again, are some super useful quotations that I know we will revisit and you will want to use time and time again in your analysis.

So they are really super useful quotations.

Okay, question three then.

How does Jekyll respond when Utterson asked him to join on their walk? Well, he says he's glad to see Utterson and he would really like to join them, but he says he dare not, and at the same time, he can't invite them inside.

So it's a little bit of a strange reaction here.

We see Jekyll pleased to see the men, but he's very reluctant to get any closer to them to either join them on their walk or to invite them into his house.

So there is definitely a sense of secrecy and that word that you will have come across in this unit, concealment from Jekyll's response.

But it's unclear why he doesn't want to spend any more time or don't want to get any closer to the two men.

So what shocking event then happens towards the end of the chapter? Well, mid-conversation, the smile is struck off Jekyll's face and it's replaced by an expression of abject terror and despair.

So massive change there in his appearance from looking quite happy to see the men to looking absolutely terrified.

And then Jekyll slams down the window that he was sitting at and he disappears.

Now, this moment leaves Utterson and Enfield feeling very shocked and actually quite scared themselves.

In fact, it froze the very blood of both men.

However, did they do anything about it? No, they walk off, quickly leaving in silence.

And then our final question was taking us back to this idea of twilight, which we discussed earlier in the lesson.

So let's think about why Stevenson decided to set this chapter during twilight.

Well, well done if you said anything like this.

First of all, fantastic, if you use our other keyword today, liminality, or particularly the adjective liminal.

So we know that twilight is a liminal time of day.

So perhaps, notice I'm being tentative here.

I'm not saying this is definite, I'm making an educated guess.

Perhaps Stevenson uses this setting 'cause he wants to represent how Jekyll is currently sitting between two states.

Remember, liminality is the boundary between two different states.

So we can say that Twilight represents how Jekyll is between two states and maybe those two states are secrecy and concealment, keeping everything wrapped up and truth and honesty.

There seems to be this moment where Jekyll wants to have this conversation with the two men, but he changes his mind and slams the window shut.

And so my interpretation, or one interpretation that you might have is Stevenson uses twilight to represent this moment where Jekyll could go two ways, he could tell the truth or he could hide the truth away from these two men.

It feels like it could be a really pivotal moment, a really important moment.

Remember that key word pivotal means important.

It could be a really pivotal moment that Utterson might finally find out the truth that about the strange case and the relationship between Jekyll and Hyde.

But that's not what happens because when Jekyll slams the window shut and refuses and chooses secrecy and concealment, so does Utterson.

He doesn't go and knock on the door, he doesn't go and try and get in and see if his friend is okay and try and get to the bottom of the truth, he chooses to walk away in silence.

So we have a moment here where both men appear to be choosing concealment and secrecy over truth and honesty, but it's a liminal point.

They're at that boundary.

It feels like they could find out the truth, but unfortunately and frustratingly, they choose secrecy.

Well done if you said any of those things.

Like I said, liminality is a complex idea.

So if you manage to start bringing the idea of liminality into your response, that is absolutely fantastic, well done.

Okay, we're gonna discuss now, we're gonna dive into discussing chapter seven in a little bit more detail.

So I've kind of alluded to in that last learning cycle, but whilst chapter seven is only a very short chapter some will argue it's actually a very pivotal moment, and actually it ends up being this missed opportunity in solving the case.

In fact, Jun says he finds this chapter so frustrating.

Why does Utterson walk away? It feels like he has this opportunity to solve the case, but he doesn't take it.

Okay, let's have a quick discussion.

Do you agree with Jun? Why do you think Utterson chose to walk away? Pause the video, have a discussion and press play when you are ready to continue.

Welcome back, I heard so many of you feeling the same frustrations of Jun, it was like why Utterson? Why didn't you try and find out more? Why did Jekyll slam the window? So I really like that and I, but I did hear some of you building on and starting to build out why you think Utterson may have walked away and those key words, concealment and reputation, reputation, a key word from this unit, not from today's lesson, but it's one that we will have used throughout the unit, reputation, protecting, preserving the reputation of Jekyll.

He worries if he goes and knocks on the door and finds out what's wrong, he might hear something that he doesn't want to know, he doesn't want to hear about, and that could ruin Jekyll's reputation.

Well done, if you said something like that, if they were your suspicions, that's great.

Okay, so Sofia is gonna, actually, she expands on Jun's response and she says, interestingly, Stevenson's use of liminality in this chapter really does point to it being a pivotal moment in the novella.

Jekyll appears to be in a state between truth and concealment, yet frustratingly, all the characters, not just Jekyll choose secrecy.

So let's have another discussion.

We'll pause the video and we can discuss in pairs or think quietly to ourselves what different liminal settings are used in this chapter? So we've kind of mentioned one, but can you see any other things that are that could be symbols of this boundary between two different ideas or spaces? And what do you think they represent in this novel in particular, in this novella in particular in chapter seven? Okay, pause the video, discuss if you've got a partner, think to yourself or make some notes if you're working by yourself and press play when you are ready to continue.

Welcome back everyone, and I cannot tell you how impressed I am with the discussions that you are having.

Like I said, this idea of liminality is incredibly challenging and to see you really giving this a go and using conjunctions to justify your thoughts around Stevensons' use of liminality is really, really impressive, so super well done.

Let's share and collect some of the brilliant things that you might have said.

So first of all, well done those of you who are drawing back to our previous learning cycle and saying, well, twilight is a liminal time of day, so it suggests this is a transition between two states.

So that's one of the settings that we can say that Stevenson is using, but really impressive if you mentioned either windows and doors as being liminal spaces.

If we think about them, they are the boundary that separates the outside from the inside.

So a door, closing a door can lock the outside and the inside out or opening it and stepping through it can be a transition between, and same in some ways a window is, when a window is open we can let things in, when it's shut, we are locking things out.

So brilliant if you built on that and said, well, Jekyll's window in this is half open at the beginning, he's sitting at a half open window.

In fact, he's sitting at the middle window of three and that's half open.

And it could really suggest that actually he's ready or he is starting to be ready to open up and let Utterson in.

This can be a kind of a symbol of his willingness to let Utterson know the truth, perhaps maybe might well keep that tentatively.

But as we see in the latter half the novella, sorry, the latter half of the chapter, he slams it shut.

So we've gotta think about, okay, well if that, if the half open window suggests this moment where he's willing to move from secrecy into truth, the fact that he slams it shut is symbolic of him actually deciding to select concealment over honesty.

Now, we could go one step further because we talked about twilight being a liminal time in gothic literature that could represent good and evil, the boundary between good and evil.

So we could maybe, and again, tentative, we're just making some suggestions here, this could perhaps suggest that Jekyll is on a boundary between good and evil.

And the outside, his friends, his peers represents good.

But by slamming the window and locking himself and closing himself in his laboratory, is he choosing evil? Good question we could ask ourselves.

Well done if you said any of these things and of course if you had different interpretations, that's fantastic too.

Whenever we're making interpretations, we just need to make sure they're logical and could be justified using the text.

Fantastic job, everybody.

Right, let's do a check for understanding then, because we have been tackling a really complex idea and I think it's really worthwhile that we stop for a moment and check we've understood.

So again, I'm gonna give you two inferences about Stevenson's use of the liminal space, in particular Jekyll's halfway open window.

I'd like you to decide which is the more detailed and impressive inference.

So is it a, windows are a liminal space.

Jekyll's being halfway open could imply that he's almost ready to let Utterson in and tell him the truth about Mr. Hyde.

Yet the chapter ends with Jekyll slamming the window shut, instead choosing concealment.

B, windows are a liminal space, they represent a boundary between the outside and inside.

Stevenson uses the window to illustrate how Stevenson is, how Utterson is outside compared to Dr.

Jekyll.

Pause the video, have a think and press play when you are ready to continue.

Welcome back, some great ideas going back and forth there.

Well done if you said a, both of these are, are relatively good inferences, b feels a little bit unfinished, I think I'd want you to expand and tell me what do you mean that Utterson is outside compared to Jekyll? I think that could be expanded on further.

Whereas a does a really good job of clearly explaining what this liminal space could represent and this moment about how perhaps Jekyll is willing to tell the truth, but when he slams the window shut, he actually chooses concealment.

Fantastic if you've got that answer correct.

Okay, the final task of today's lesson then, there are two parts to this task.

Basically you are gonna build out and expand on your understanding of liminality through some, through a piece of writing.

So I've given you a topic sentence.

However, I have unfortunately I've muddled it all up.

So the fragments of that topic sentence have been muddled up and they are in box one.

So the first step is to rearrange the fragments in box one to create a topic sentence.

Remember you are gonna have to add capital letters and commas to all of these fragments so they become full clauses and then a complex sentence.

Once you've got your topic sentence, you are gonna expand on that idea by creating a short paragraph.

So your second sentence that follows the topic sentence is gonna start with in particular.

And then you can choose what you want to discuss further.

You may wish to discuss Stevenson's use of the setting of twilight.

You may wish to discuss Stevenson's use of the motif of windows, particular that quotation halfway open.

You may wish to discuss a bit of both.

But once you've got that topic sentence that's in box one, you're gonna rearrange that, create your topic sentence and then you are gonna expand on it, you're gonna use that sentence starter in particular to dig a bit deeper and give some more detailed analysis.

Okay, this is gonna be a challenge, so I don't want you to worry if you struggle at first, okay? It's really good for you to persevere.

And if you want, you can flick back through the slides or look back in the video and look at some of those discussions that we've had, but really do persevere with this, this is a difficult idea, but I have faith that you can do this.

All right, over to you, pause the video and press play when you are ready to continue.

Super, super, super job, I'm so pleased with how hard you worked on that, particularly as I said, this is one of the most challenging concepts that we can work through, so really, really proud of you.

And particularly proud of those of you who I spotted rereading their response at the end, checking for spelling, punctuation and grammar, that's something should be doing every time you are writing, so well done.

All right, let's have a look then, I'm gonna share my answer or a model answer.

And remember, this is not the only right way, but you were, it'd be really good for you to compare your answer to mine and maybe steal some ideas and use them to enhance your own writing.

So let's first look at the first part of the task, which was to rearrange the fragments to create a topic, a topic sentence, a complex sentence that will act as a topic sentence.

So let's have a look, there was only one way to rearrange these.

So we start with in chapter seven of "The Strange case of Dr.

Jekyll and Mr. Hyde", Stevenson uses setting, specifically liminal times and spaces, to imply the upper middle classes value reputation over truth.

So this is a fantastic topic sentence.

It's telling me that the paragraph is gonna talk about setting, specifically liminality, but it's also given me a focus.

I'm gonna link the idea of liminality to this idea of valuing reputation over truth.

Great topic sentence, well done, if you've got all this in the right order, let's see what you could have added on to develop this response further.

So here's my example, let's read through it together.

In particular, when Jekyll instantly thrust down the half open window, rather than trying to access the property and help his friend, Utterson and Enfield turned and left the court without a word.

Stevenson uses the motif of windows to symbolise concealment.

Jekyll's position in the middle window of the building with the window halfway up could perhaps indicate a liminal moment in the novella where Jekyll is ready to move from secrecy to honesty.

However, the slamming of the window and also importantly, Utterson's decision to walk away again demonstrates these men value the preservation of reputation over truth.

That's a really strong paragraph.

Compare yours to mine and take some of those ideas and enhance yours if you wish.

Okay, pause the video and do some comparison and then press play when you are ready to continue.

Okay, fantastic job today, I'm so proud of the work that you've put in.

Well, as we look at chapter seven.

On the screen now you can see a summary of the key learning, let's quickly read through these and as I read through, just ask yourself, do I feel confident with this learning? Because if not, that's okay, you need to just go back and watch certain sections of the video again and make sure you feel really confident by the time you are done with this lesson.

So let's have a look at some of the key learning.

Well, in chapter seven we learned that Utterson and Enfield speak to Jekyll through the window.

And this window is in the same building as the door from chapter one.

Utterson and Enfield witness shocking behaviour from Jekyll, but they choose to remain silent instead of exploring further.

Stevenson uses liminal spaces to illustrate how this is a pivotal moment.

It's the boundary between the truth being revealed and the characters choosing concealment once more.

And we could say in particular, the slamming of the window and Utterson's decision to walk away, both of these illustrate how men choose silence over truth.

Fantastic job today, thank you so much for joining me.

I hope to see you in one of our lessons in this unit in the future.

Have a good day, goodbye.