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GCSE English Language · AQA style · Paper 1 Section A, Question 4 style
Evaluating Jane's Refuge and Isolation in the Window-Seat (Jane Eyre)
AO420 marks · about 25 minutes

For this question focus on the second half of the source, from 'A breakfast-room adjoined the drawing-room...' to the end. In this part of the source, Jane finds a perfect escape from her unhappy life. The writer makes it clear that she is still trapped and alone. To what extent do you agree and/or disagree with this statement? In your response, you could: - consider your impressions of Jane and her hiding place - comment on the methods the writer uses to present Jane and her hiding place - support your response with references to the text. [20 marks]

Read the extract, then write below it.
There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further outdoor exercise was now out of the question. I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed. The said Eliza, John, and Georgiana were now clustered round their mama in the drawing-room: she lay reclined on a sofa by the fireside, and with her darlings about her (for the time neither quarrelling nor crying) looked perfectly happy. Me, she had dispensed from joining the group; saying, “She regretted to be under the necessity of keeping me at a distance; but that until she heard from Bessie, and could discover by her own observation, that I was endeavouring in good earnest to acquire a more sociable and childlike disposition, a more attractive and sprightly manner—something lighter, franker, more natural, as it were—she really must exclude me from privileges intended only for contented, happy, little children.” “What does Bessie say I have done?” I asked. “Jane, I don’t like cavillers or questioners; besides, there is something truly forbidding in a child taking up her elders in that manner. Be seated somewhere; and until you can speak pleasantly, remain silent.” A breakfast-room adjoined the drawing-room, I slipped in there. It contained a bookcase: I soon possessed myself of a volume, taking care that it should be one stored with pictures. I mounted into the window-seat: gathering up my feet, I sat cross-legged, like a Turk; and, having drawn the red moreen curtain nearly close, I was shrined in double retirement. Folds of scarlet drapery shut in my view to the right hand; to the left were the clear panes of glass, protecting, but not separating me from the drear November day. At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon. Afar, it offered a pale blank of mist and cloud; near a scene of wet lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast. I returned to my book—Bewick’s History of British Birds: the letterpress thereof I cared little for, generally speaking; and yet there were certain introductory pages that, child as I was, I could not pass quite as a blank. They were those which treat of the haunts of sea-fowl; of “the solitary rocks and promontories” by them only inhabited; of the coast of Norway, studded with isles from its southern extremity, the Lindeness, or Naze, to the North Cape—
Source: Charlotte Brontë, Jane Eyre (1847). Public domain.
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How this is marked

AO4 (published assessment objective): Evaluate texts critically and support this with appropriate textual references (English Language). For Literature: use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.

Assessed against AO4 using Revision Robin's own level descriptors below. These are not the exam board's mark scheme. Every quotation in the feedback is checked against your answer and the extract before you see it, and a teacher's mark overrides ours.

Level 4 · 16 to 20Perceptive, critical evaluation. Takes a clear, developed view on the statement; shows how the writer's methods create the effects claimed; a convincing range of precise textual references; weighs the statement rather than simply agreeing.
Level 3 · 11 to 15Clear, relevant evaluation. Takes a clear view and supports it with relevant references; explains how methods produce effects; mostly convincing.
Level 2 · 6 to 10Some attempt at evaluation. Expresses an opinion with some supporting reference; comments on method are general or thin.
Level 1 · 1 to 5Simple, limited evaluation. Agrees or disagrees with little support; mostly retells the extract.