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GCSE English Language · Eduqas style · Component 1 Section A style
How the Writer Shows Jane's Hiding Place and Escape (Jane Eyre)
AO210 marks · about 15 minutes

Read the section from 'A breakfast-room adjoined the drawing-room...' to '...before a long and lamentable blast.' How does the writer show Jane's escape from the Reed family in these lines? You must refer to the language used in the text to support your answer, using relevant subject terminology. [10 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

AO2 (published assessment objective): Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology to support their views (English). For Geography: demonstrate geographical understanding of concepts and how they are used in relation to places, environments and processes, and the interrelationships between places, environments and processes. For History: explain and analyse historical events and periods studied using second-order historical concepts.

Assessed against AO2 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 · 9 to 10Perceptive, detailed analysis. Explains precisely how specific word choices, techniques or structural features shape the reader's response; quotations are apt and well chosen; terminology is accurate and sharpens the point rather than decorating it.
Level 3 · 6 to 8Clear, relevant explanation of effects. Quotations are relevant and mostly well chosen; terminology is accurate; the answer explains effect rather than only naming features.
Level 2 · 3 to 5Some understanding of effects. Attempts to comment on effect, often in general terms; some relevant quotation; terminology sometimes used, sometimes inaccurately.
Level 1 · 1 to 2Simple awareness. Mostly paraphrase or retelling; little or no quotation; features named without explanation of effect.