The Secret River: A Study Guide

The Extension English 1 Elective Literary Homelands offers both teacher and student the chance to parse some quite accessible texts in a sophisticate fashion. The choice of texts for Extension English, perhaps more so than those prescribed for Advanced English, are representative of the fine-toothed wire upon which our culture sits. There's a sharpness, an edginess, a robust and stinging conversation that echoes through some of the texts that have been made available for study in this part of our syllabus.

One such text is Andrew Bovell's dramatic adaptation of Kate Grenville's The Secret River - a play that courted some degree of controversy upon its release and will no doubt provide fertile ground for discussion in the Extension English classes that grapple with its polemical and forthright narrative of colonial confrontation.

What follows is a study guide for the play that seeks to identify key quotes or examples from the text that allow for analysis in relation to Literary Homelands. Each example is paired with both the kernels of analysis (the second column) and an evaluative/critical breakdown of how this links to the elective (the third column). Approximately two out of every three examples are accompanied by some prompts outlined in bold, which students can use to demonstrate their understanding of how the text can be synthesised into an understanding of the elective. 

Study Guide: The Secret River (click to download)

A few key overarching ideas to note that will help students crystalise the play's placement within the elective:

• The impact of our postcolonial perspective on the way the colonial narrative of settler-era Australia has been represented in The Secret River. Think also of the colonial structures that exist in the way the Thornhills do things, express themselves, and project expectations onto the Dharug.
• The parallels, commonalities, and disparities between the Thornhill/Hawkesbury community and the Dharug people. This can be framed from the standpoint of cross-cultural transition and cultural exchange. 
• The way that notions of homeland shift and change from character to character, particularly Sal and Will Thornhill, over the course of the play. 
• The freed convicts as migrants. Keep in mind, however, that the migrants in this case exist within multiple hierarchies. When compared with the Dharug, the migrants are constructing a dominant power structure rather than settling into a marginalised space. In contrast with this though, the convicts have come from their own marginalised space as an underclass in British society. 
• Consider the above in relation to which voices are privileged marginalised or silence.
•  The role that beliefs play in the shaping of identity and claims to 'homeland'.
• The role of language and dialect as representational elements utilised by the author.
• The nature of transgression in relation to values expressed and reinforced by each cultural group within the text.

Happy reading!

Romeo and Juliet: A New Translation

 

About a year ago I put up a new 'translation' of Shakespeare's Macbeth that could be used in a mixed ability Stage 5 classroom. The provision of this as a single PDF allowed for the printing of booklets that could be read by the students without scanning back and forth to compare the modern English with Shakespeare's English (as is the case with the No Fear Shakespeare editions). Below you will find a similarly translated version of Romeo & Juliet that can also be used in a mixed ability Stage 5 classroom.

My reasons for doing this are as follows:

• I've gotten a lot of use out of the No Fear editions over the years but I wanted something that Western Sydney kids could engage in an easier way. Some of the language in the No Fear editions can feel 'clunky', or overly slavish to the original text - sometimes to the point of losing the essence of what Shakespeare was actually trying to say. For example, references to ancient Greek or Roman deities just don't make the same impact on teenagers these days. Why not replace such a reference with something else that gets the same point across?
• I've found that junior students can sometimes get confused by the reading pathway of the No Fear editions as they present the two versions of the text side-by-side. This is great for examining specific extracts but I think it can slow down the process of just enjoying Shakespeare's characters and plotting, especially if these are students who are already resistant to reading a 400 year old play.
• By working through the text and translating it myself I found I got a much clearer idea of what was happening in the play. This kind of close reading was incredibly valuable to me as a teacher. 

Undertaking this process also helped me form new opinions on things I hadn't really considered. I mean, it probably doesn't help that I'd never read the entire play from start to finish as an adult, but anyway... here are some of my favourite realisations!

• Romeo isn't in love. He just wants to have sex. By modern standards, the relationship he has with Juliet is actually kind of toxic. It's hard to read it so closely and not get the impression that Shakespeare is knowingly exloring the emotional detriment of a codependent relationship.
• Nurse is an incredibly irritating and self-contradicting character, and possibly one of my favourite Shakespearean comedy creations.
• It's actually a really rude text - plenty of people have written about this, but I never quite realised how rude it was until I got to the bit about medlar fruits and open arses.
• I take back what I said about Nurse, I think Peter might be my favourite comedic character in this play. The bit where he tries to talk to the musicians who have arrived for Juliet's wedding is still funny after all these centuries.
• Friar Lawrence is the most important character in the whole text. He encapsulates the play's theme of duality and reflects the Elizabethan concept of the Great Chain of Being through his discussion of the spectrum that exists between sin and virtue.
• The random introduction of the character 'Petruchio' into the Tybalt-Mercutio-Romeo fight scene led me down a Wikipedia rabbit hole about ghost characters. These are essentially characters that writers put in early drafts of texts and then later, while removing said character, accidentally remain in one or two references. Another ghost character, Valentine, is also mentioned earlier in the play - intended as Mercutio's brother but mostly removed when Shakespeare wrote later drafts.

Anyway, enough waffle, here is the play:

• Romeo & Juliet translated

(Disclaimer: apologies for any typos in the PDF above - I didn't get a chance to do a second draft as I was keen to give the text a try with my Year 9 students this upcoming term)