Read this extract, and then answer the question that follows it: When Marner's sensibility returned, he continued the action which had been arrested, and closed his door, unaware of the chasm in his consciousness, unaware of any intermediate change, except that the light had grown dim, and that he was chilled and faint. He thought he had been too long standing at the door and looking out. Turning towards the hearth, where the two logs had fallen apart, and sent forth only a red uncertain glimmer, he seated himself on his fireside chair, and was stooping to push his logs together, when, to his blurred vision, it seemed as if there were gold on the floor in front of the hearth. Gold!—his own gold—brought back to him as mysteriously as it had been taken away! He felt his heart begin to beat violently, and for a few moments he was unable to stretch out his hand and grasp the restored treasure. The heap of gold seemed to glow and get larger beneath his agitated gaze. He leaned forward at last, and stretched forth his hand; but instead of the hard coin with the familiar resisting outline, his fingers encountered soft warm curls. In utter amazement, Silas fell on his knees and bent his head low to examine the marvel: it was a sleeping child—a round, fair thing, with soft yellow rings all over its head. Could this be his little sister come back to him in a dream- his little sister whom he had carried about in his arms for a year before she died, when he was a small boy without shoes or stockings? That was the first thought that darted across Silas's blank wonderment. Was it a dream? He rose to his feet again, pushed his logs together, and, throwing on some dried leaves and sticks, raised a flame; but the flame did not disperse the vision—it only lit up more distinctly the little round form of the child and its shabby clothing. It was very much like his little sister. Silas sank into his chair powerless, under the double presence of an inexplicable surprise and a hurrying influx of memories. How and when had the child come in without his knowledge? He had never been beyond the door. But along with that question, and almost thrusting it away, there was a vision of the old home and the old streets leading to Lantern Yard—and within that vision another, of the thoughts which had been present with him in those far-off scenes. The thoughts were strange to him now, like old friendships impossible to revive; and yet he had a dreamy feeling that this child was somehow a message come to him from that far-off life: it stirred fibres that had never been moved in Raveloe—old quiverings of tenderness— old impressions of awe at the presentiment of some Power presiding over his life; for his imagination had not yet extricated itself from the sense of mystery in the child's sudden presence, and had formed no conjectures of ordinary natural means by which the event could have been brought about. But there was a cry on the hearth: the child had awaked, and Marner stooped to lift it on his knee. It clung round his neck, and burst louder and louder into that mingling of inarticulate cries with ‘mammy' by which little children express the bewilderment of waking. Silas pressed it to him, and almost unconsciously uttered sounds of hushing tenderness, while he bethought himself that some of his porridge, which had got cool by the dying fire, would do to feed the child with if it were only warmed up a little. He had plenty to do through the next hour. The porridge, sweetened with some dry brown sugar from an old store which he had refrained from using for himself, stopped the cries of the little one, and made her lift her blue eyes with a wide gaze at Silas, as he put the spoon into her mouth. Presently she slipped from his knee and began to toddle about, but with a pretty stagger that made Silas jump up and follow her lest she should fall against anything that would hurt her. But she only fell in a sitting posture on the ground, and began to pull at her boots, looking up at him with a crying face as if the boots hurt her. He took her on his knee again, but it was some time before it occurred to Silas's dull bachelor mind that the wet boots were the grievance, pressing on her warm ankles. He got them off with difficulty, and baby was at once happily occupied by the primary mystery of her own toes, inviting Silas, with much chuckling, to consider the mystery too. [from Chapter 12] How does Eliot make this passage so moving?
- How does Eliot make this passage so moving?[25]
Mark scheme
Marking points from the official mark scheme (May/June 2014). The mark or mark type is shown in brackets.
- [AO1] show detailed knowledge of the content of literary texts
- [AO2] understand the meanings of literary texts and their context, and explore texts beyond surface meaning to show deeper awareness of ideas and attitudes
- [AO3] recognise and appreciate ways in which writers use language, structure, and form to create and shape meanings and effects
- [AO4] communicate a sensitive and informed personal response
- [25-23] (Band 1) Answers in this band have all the qualities of Band 2 work, with further insight, sensitivity, individuality and flair. They show sustained engagement with both text and task.
- [22-20] (Band 2) Sustains a perceptive, convincing and relevant personal response; shows a clear critical understanding of the text; responds sensitively and in detail to the way the writer achieves her/his effects (sustaining a convincing voice in an empathic task); integrates much well-selected reference to the text.
- [19-17] (Band 3) Makes a well-developed, detailed and relevant personal response; shows a clear understanding of the text and some of its deeper implications; makes a developed response to the way the writer achieves her/his effects (sustaining an appropriate voice in an empathic task); supports with careful and relevant reference to the text.
- [16-14] (Band 4) Makes a reasonably developed relevant personal response; shows understanding of the text and some of its deeper implications; makes some response to the way the writer uses language (using suitable features of expression in an empathic task); shows some thoroughness in the use of supporting evidence from the text.
- [13-11] (Band 5) Begins to develop a relevant personal response; shows some understanding of meaning; makes a little reference to the language of the text (beginning to assume a voice in an empathic task); uses some supporting textual detail.
- [10-8] (Band 6) Attempts to communicate a basic personal response to the task; makes some relevant comments; shows a basic understanding of surface meaning of the text (of character in an empathic task); makes a little supporting reference to the text.
- [7-5] (Band 7) Some evidence of simple personal response; makes a few straightforward comments; shows a few signs of understanding the surface meaning of the text (of character in an empathic task); makes a little reference to the text.
- [4-2] (Band 8) Limited attempt to respond; shows some limited understanding of simple/literal meaning.
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