A VOCABULARY OF ATTITUDES – TONE / MOOD WORDS

Attitudes chiefly rational – explanatory, instructive, didactic, admonitory, condemnatory, indignant, puzzled, curious, wistful, pensive, thoughtful, preoccupied, deliberate, studied, candid, guileless, thoughtless, innocent, frank, sincere, questioning, uncertain, doubting, incredulous, critical, cynical, insinuating, persuading, coaxing, pleading, persuasive, argumentative, oracular, shrewd, inventive, sarcastic.

Attitudes of pleasure – peaceful, satisfied, contented, happy, cheerful, pleasant, bright, sprightly, joyful, playful, jubilant, elated, enraptured, dreamy, frivolous, mystical.

Attitudes of pain – worried, uneasy, troubled, disappointed, regretful, vexed, annoyed, bored, disgusted, miserable, cheerless, mournful, sorrowful, sad, dismal, melancholy, plaintive, fretful, querulous, irritable, sore, sour, sulky, sullen, bitter, crushed, pathetic, tragical, disheartened, frightened, bleak, discouraged, weary, harsh.

Attitudes of passion – nervous, hysterical, impulsive, impetuous, reckless, desperate, frantic, wild, fierce, furious, savage, enraged, angry, hungry, greedy, jealous, insane, obsessive, outraged, revengeful, passionate, wrathful, childish, evil, sultry, seductive.

Attitudes of self-control – calm, quiet, solemn, serious, serene, simple, mild, gentle, temperate, imperturbable, nonchalant, cool, wary, cautious, confident, laconic, stern, remote.

Attitudes of friendliness – cordial, sociable, gracious, kindly, sympathetic, compassionate, forgiving, pitying, indulgent, tolerant, comforting, soothing, tender, loving, caressing, solicitous, accommodating, approving, helpful, obliging, courteous, polite, confiding, trusting zealous, friendly, benevolent, giddy, amiable.

TONE WORDS

angryafraidsweet

restrainedurgentchildishfrivolous

provocativesympathetic

sarcasticseductive

abruptaccusingbaffled

ceremonialcompassionate

criticaldiffident

disturbedelitist

exuberantforeboding

horrifiedindignantinstructivelaudatory

lucidmock-heroic

outragedpetty

pompousrepressivescornful

surprisedturgidsharphappyvexedproudjoking

peacefulaudacioussentimental

contemptuousnostalgiccandid

accusatoryapatheticbantering

cheeryconcerned

cynical disbelieving

dreadeloquentfacetiousfurious

impartialinflammatory

irrelevantlearned

lugubriousmock-seriouspassionate

piquantpretentiousresignedserene

restrainedquestioning

upsethollowtired

dramaticpoignantmockingshockingfanciful

apologeticzealous

pitifuladmonitory

apprehensivebucoliccynical

condemnatorydark

disdainfuleffusive

embitteredfactual

glibincisive

informativeironiclight

matter of factmoralistic

patronizingplaintiveprosaic

respectful

shockedreminiscentwhimsical

sillyjoyfulbittersad

detachedobjectivesomber

complimentaryhumorousirreverentdidacticamused

argumentativeburlesque

clinicalcontentiousdespairingdisgusted

elatedenthusiastic

fearfulgloomy

incredulousinsipid

reverentlight-heartedmeditativemournfulpedanticplayfulrealistic

sanctimonioussober

tauntingboringallusivedreamy

coldconfusedvibrantgiddy

condescendinghorrific

benevolentabhorrence

anxiousawe

cautious

colloquialconfidentdesperate

disparagingelegiaceruditeflippanthopeful

indifferentinsolent

lackadaisicalloving

melancholicoptimistic

pessimisticpoetic

reflectivesardonicsolemn

threateningbrash

romanticwistful

inquisitivehaughtyscornfulhumblearrogant

numbdisinterestedcontradictory

soothingecstaticdejected

authoritativecondescending

coarseparanoid

aggravatedmiserable

loudseriousnervousscathingburdened

manipulativesuperficialreluctantdefiantvulgar

chauvinistic

The Function of Close Reading: Close reading is a way to pick apart the multiple meanings and layers created by the author in a text. Essentially, you are reading in “slow motion” to find all the different possible meanings of words and phrases, find the ways those words and meanings affect each other, and how those patterns of meaning create a larger message by the author.

Close reading is simply looking for Pattern + Effect

Close Reading Steps:

1. Highlight unfamiliar words or key terms that jump out2. Look for Patterns: repetition, contrast, similar usage, etc.

(Physically connecting them can be helpful)

3. What does the pattern do? Does it create imagery? Tone? Build a specific type of diction? Does it create purpose/argument?

4. Now… what effect does that pattern of _________ diction (tone, imagery, etc.) create? How does it relate to the larger message that the author is trying to convey?

Close Reading Strategies

Diction Words:

artificial, caustic, casual, colloquial, colorful, concrete, connotative, cultured, elevated emotional, esoteric, euphemistic, exact, formal, flowery, grotesque, homespun, idiomatic, insipid, jargon, learned, loaded, literal, moralistic, obscure, ordinary, ornate, patriotic, pedantic, picturesque, plain, poetic, precise, pretentious, prosaic, romantic, scholarly, sensuous, simple, slang, subdued, technical, vague, vulgar

Types of Syntax:

Simple sentence – A sentence that has only one subject and one verb, e.g. Tom ate the rat.

Complex sentence – A sentence made up of one independent clause and one or more subordinate clauses, e.g. Because Tom ate the rat, he died.

Compound sentence – A sentence made up of two or more independent clauses. The clauses are joined by a comma and a coordinating conjunction (and, but, or) or by a semi-colon, e.g. Tom ate the rat, and he died.

Compound-complex sentence – A sentence that contains two or more main clauses and one or more subordinate clauses, e.g. Tom ate the rat when he was hungry, and he died.

Periodic sentence – A sentence in which the main thought is not complete until the end, e.g. After a lengthy flight and many stops, we reached Edmonton.

Parallel sentence/structure – The phrases or clauses balance each other in likeness or structure, meaning, and/or length. e.g. He was walking, running, and jumping. To err is human, to forgive divine.

Natural order – The subject comes before the predicate, e.g. Saskatoons grow in Saskatchewan. Inverted order – The predicate comes before the subject, e.g. In Saskatchewan grow saskatoons.

Split order – The predicate is divided into two parts with the subject coming in the middle, e.g. In Saskatchewan saskatoons grow.

Interruption- breaking the flow of a sentence with extra thoughts or information.

Other Strategies:

Rhetorical question – A question that expects no answer, e.g. If Mr. Ferchoff is always fair, as you have said, why did he refuse to listen to Mrs. Baldwin’s arguments?

Imagery – a verbal representation of a sensory experience brings the immediacy of sensory experience to writing and gives voice a distinctive quality.

Repetition – words sounds or ideas are used more than once to enhance rhythm and create emphasis

Juxtaposition – normally unassociated ideas, words or phrases are placed next to one another creating an effect of surprise and wit, e.g. “The apparition of these faces in the crowd; / Petals on a wet, black bough” (“In a Station of the Metro” Ezra Pound)

Tone: is an attitude of a writer toward a subject or an audience. Tone is generally conveyed through the choice of words, or the viewpoint of a writer on a particular subject. (adapted from https://literarydevices.net/tone)

Tone and complex, and is almost never expressed with just one word. For example, you are usually sarcastic for a reason. Are you angry? Disappointed? Kidding? You might have a tone that is both angry and sarcastic, which can be created by a variety of literary devices, including imagery, pacing, syntax, diction, juxtaposition, etc.

No literary device is used in isolation. There is always a reason for the use of juxtaposition to create a light-hearted, silly tone. Which brings us to…

Theme/Motif: Main ideas repeated in a text.

A motif may be an idea/concept/image/etc that is repeated throughout a text. Example: love, pain, fire, numbers

A theme is NEVER a single word. It is a message (a complete sentence) about the world which the author uses the text to convey. It may be based on a motif of the novel to create that message. Example: Love and acceptance are the only ways that we can overcome differences between people.

Tone is one of the ways in which we can build motif and themes. A silly, lighthearted tone about a specific subject can create the recurring motif of fun. Similarly, repetitive angry diction creating a pained and furious tone might support the theme that anger is never the answer to a problem.

SOME MORE TIPS ON TONE

When analyzing tone the basic elements can be analyzed using the LIDDS acronym.

L anguage        overall use of language, such as formal, informal, jargon, etc. (this is also Diction!)

I  mages           vivid appeals to understanding through senses (metaphor, simile, etc.)

D etails            facts that are included or those omitted for a purpose

S  yntax            how structure affects the reader’s attitude

Tone Dialectical Journal: Close Reading and Connections

Example Passages Example Analysis

A) Maycomb was a tired old town, but it was a tired old town when I first knew it. In rainy weather the streets turned to red slop; grass grew on the sidewalks, the courthouse sagged in the square. Somehow it was hotter then: a black dog suffered on a summer’s day; bony mules hitched to Hoover carts flicked flies in the sweltering shade of the live oaks on the square. Men’s stiff collars wilted by nine in the morning, Ladies bathed before noon, after their three-o’clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum. (6)

b) Atticus was feeble: he was nearly fifty. When Jem and I asked why he was so old, he said he got started late, which we felt reflected upon his abilities and manliness. He was much older than the parents of our school contemporaries, and there was nothing Jem or I could say about him when our classmates said, “My father—” (118)

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Connections:a) What elements of style do you see in this section?

b) What is the tone created by the pattern of style? (2 descriptor words for tone)

c) How do the elements of style create tone?

Significance:Why is this tone significant? Discuss theme/motif/general meaning.

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Connections:a) What elements of style do you see in this section?

b) What is the tone created by the pattern of style? (2 descriptor words for tone)

c) How do the elements of style create tone?

Significance:Why is this tone significant? Discuss theme/motif/general meaning.

Using the same formula as the examples, annotate the passage on the left.

On the right: Give a short 3-5 sentence summary of the passage. What is happening at this point? What happened right before the prompt this passage?Then connect the passage to your annotations by identifying the elements of style, the tone created by the pattern of style, and how those elements create tone.Lastly, explain the significance of the tone that is created by the passage. Explain how the tone contributes to theme/motif/general meaning.

Passage Analysis

1) So Jem received most of his information from Miss Stephanie Crawford, a neighborhood scold, who said she knew the whole thing. According to Miss Stephanie, Boo was sitting in the livingroom cutting some items from The Maycomb Tribune to paste in his scrapbook. His father entered the room. As Mr. Radley passed by, Boo drove the scissors into his parent’s leg, pulled them out, wiped them on his pants, and resumed his activities. Mrs. Radley ran screaming into the street that Arthur was killing them all, but when the sheriff arrived he found Boo still sitting in the livingroom, cutting up the Tribune. He was thirty-three years old then. (Ch 1, p 13)

2) “Your father does not know how to teach. You can have a seat now.” I mumbled that I was sorry and retired meditating upon my rime. I never deliberately learned to read, but somehow I had been wallowing illicitly in the daily papers. I the log hours of church—was it then I learned? I could not remember not being able to read hymns. Now that I was compelled to think about it, readin was something that just came to me, as learning to fasten the seat of my union suit without looking around, or achieving two bows from a snarl of shoelaces. I could not remember when the lines above Atticus’s moving finger separated into words, but I had stared at them all the evenings in my memory, listening to the news of the day, Bills to be Enacted into Laws, the diaries of Lorenzo Dow—anything Atticus happened to be reading when I crawled into his lap every night. Until I feared I would lose it, I never loved to read, One does not love breathing. (Ch 2, p 23)

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3) Walter poured syrup on his vegetables and meat with a generous hand He would probably have poured it into his milk glass had I not asked what the sam hill he was doing, The silver saucer clattered when he replaced the pitcher, and he quickly put his hands in his lap. Then he ducked his head. Atticus shook his head at me again. “But he’s gone and drowned his dinner in syrup,” I protested. “He’s poured it all over—” (Ch 3, 32)

4) “First of all,” he said, “if you can learn a simple tick, Scout, you’ll get along a lot better with all kinds of folks. You never really understand a person until you consider things from his point of view—” “Sir?” “—until you climb into his skin and walk around in it.” Atticus said I had learned many things today, and Miss Caroline had learned several things herself. She had learned not to hand something to a Cunningham, for one thing, but if Walter and I had put ourselves in her shoes we’d have seen it was an honest mistake on her part. We could not expect her to learn all Maycomb’s ways in one day, and we could not hold her responsible when she knew no better. “I’ll be dogged,” I said. “I didn’t know no better than not to read to her. And she help me responsible—listen Atticus, I don’t have to go to school!” I was bursting with a sudden thought. “Burris Ewell, remember? He just goes to school the first day. The truant lady reckons she’s carried out the law when she gets his name on the roll—” “You can’t do that, Scout,” Atticus said. “Sometimes it’s better to bend the law a little in special cases. In your case, the law remains rigid. So to school you must go.” “I don’t see why I have to when he doesn’t.” (Ch 3, 39-40)

5) Dill and Jem were simply going to peep in the window with the loose shutter to see if they could get a look at Boo Radley, and if I didn’t want to go with them I could go straight home and keep my fat flopping mouth shut, that was all.

But what in the sam holy hill did you wait till tonight?”

Because nobody could see them at night, because Atticus would be so deep in a book he wouldn’t hear the

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Kingdom coming, because if Boo Radley killed them they’d miss school instead of vacation, and because it was easier to see inside a dark house in the dark than in the daytime, did I understand?

“Jem, please—”“Scout, I’m tellin’ you for the last time, shut your trap

or go home—I declare to the Lord you’re getting’ more like a girl every day!” (Ch 6, 69)

6) “Scout!” I ran to him, Someone had filled our knot-hole with cement. “Don’t you cry, now, Scout…don’t cry now, don’t you worry—” he muttered at me all the way to school.[…] Atticus left us on the porch. Jem leaned on a pillar, rubbing his shoulders against it. “Do you itch, Jem?” I asked as politely as I could. He did not answer. “Come on in, Jem,” I said. “After a while.” He stood there until nightfall, and I waited for him. When we went in the house I saw he had been crying; his face was dirty in the right placed, but I thought it odd that I had not heard him.” (Ch 7, 83-84)

7) “Simply because we were licked a hundred years before we started is no reason for us not the try to win,” Atticus said.[…] “Come here, Scout,” said Atticus. I crawled into his lap and tucked my head under his chin. He put his arms around me and rocked me gently. “It’s different this time,” he said. “This time we aren’t fighting the Yankees, we’re fighting our friends. But remember this, no matter how bitter things get, they’re still our friends and this is still our home.” With this in mind, I faced Cecil Jacobs in the school yard next day: “You gonna take that back, boy?” “You gotta make me first!” he yelled. “My folks said your daddy was a disgrace an’ that nigger oughta hang from the water-tank!” I drew a bead on hi, remembered what Atticus had said, then dropped my fists and walked away, “Scout’s a cow—ward!” ringing in my ears. It was the first time I ever walked away from a fight. (Ch 9, 101-102)

8) “Before I’m through, I intend to jar the jury a bit—I think we’ll have a reasonable chance on appeal, though. I really can’t tell at this stage, Jack. You know, I’d hoped to get through life without a case of this kind, but John Taylor pointed at me and said, ‘You’re it.’” “Let this cup pass from you, eh?”

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“Right. But do you think I could face my children otherwise? You know what’s going to happen as well as I do, Jack, and I hope and pray I can get Jem ad Scout through it without bitterness, and most of all, without catching Maycomb’s usual disease. Why reasonable people go stark raving mad when anything involving a Negro comes up, is something I don’t pretend to understand… I just hope that Jem and Scout come to me for their answers instead of listening to the town. I hope they trust me trust me enough…. Jean Louise?” My scalp jumped. I stuck my head around the corner. “Sir?” “Go to bed.” I scurried to my room and went ot bed Uncle Jack was a prince of a fellow not to let me down. But I never figured out how Atticus knew I was listening, and it was not until many years later that I realized he wanted me to hear every word he said.” (Ch 9, 115-117)

9) In later years, I sometimes wondered what exactly mad Jem do it, what made him break the bonds of “You just be a gentleman, son,” and the phase of self-conscious rectitude he had recently entered. Jem had probably stood as much guff about Atticus lawing for niggers as had I, and I took it for granted that he kept his temper—he had a naturally tranquil disposition and a slow fuse. At the time, however, I thought the only explanation for what he did was that for a few minutes he simply went mad. What Jem did was something I’d do as a matter of course had I not been under Atticus’s interdict, which I assumed included not fighting horrible old ladies We had just come to her gate when Jem snatched my baton and ran failing wildly up the step into Mrs. Dubose’s front yard forgetting everything Atticus had said, forgetting that she packed a pistol under her shawls, forgetting that if Mrs. Dubose missed her girl Jessie probably wouldn’t. He did not calm down unil he had cut the tops off every camellia bush Mrs. Dubose owned, until the ground was littered with green buds and leaves. He bent my baton against his knee, snapped it in two and thre it down. By that time I was shrieking Jem yanked my hair, said he didn’t care, he’d dod it again if he got a chance, and if I didn’t shut up he’d pull every hair out of my head. (Ch 11, 137)

10) Jem opened the box. Inside, surrounded by wads of damp cotton, was a white, waxy, perfect camellia. It was a Snow-on-the-Mountain. Jem’s eyes nearly popped out of his head, “Old hell-devil, old hell devil!” he screamed, flinging it down. “Why can’t she leave me alone?” In a flash Atticus was up and standing over him.

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Jem buried his face in Atticus’s shirt front. “Sh-h,” he said. “I think that was her way of telling you—everything’s all right now, Jem, everything’s all right, You know she was a great lady.”[…] Jem picked up the candy box and threw it in the fire. He picked up the camellia, and when I went off to bed I saw him fingering the wide petals. Atticus was reading the paper. (Ch 11, 148-149)

11) “What you up to Miss Cal?” said a voice behind us. Calpurnia’s hands went to our shoulders and we stopped and looked around: standing in the path behind us was a tall Negro woman. […] I felt Calpurnia’s hand dig into my shoulder. “What you want, Lula?” she asked, in tones I had never heard her use. She spoke quietly, contemptuously. “I wants to know why you bring’ white chillun to nigger church.” “They’s my comp’ny,” said Calpurnia. Again I though her voice strange: she was talking like the rest of them. “Yeah, an’ I reckon you’s comp’ny at the Finch house durin’ the week.” A murmur ran through the crowd. “Don’t you fret,” Calpurnia whispered to me, but the roses on her hat trembled indignantly. When Lula came up the pathway toward us Calpurnia said, “Stop right there, nigger.” Lula stopped, but she said, “You ain’t got no business bringin’ white chillum here—they got their church, we go our’n. It is our church, ain’t it Miss Cal?” Calpurnia said, “It’s the same God, ain’t it?” (Ch 12, 158)

12) “Put my bag in the front bedroom, Calpurnia,” was the first thing Aunt Alexandra said. “Jean Louise, stop scratching your head,” was the second thing she said. Calpurnia picked up Aunty’s heavy suitcase and opened the door. “I’ll take it,” said Jem, and took it I heard the suitcase hit the bedroom floor with a thump. The sound had a dull permanence about it. “Have you come for a visit, Aunty?” I asked. Aunt Alexandra’s visits from the Landing were rare, and she traveled in state. She owned a bright green square Buick and a black chauffeur, both kept in an unhealthy state of tidiness, but today they were nowhere to be seen. “Didn’t your father tell you?” she asked. Jem and I shook our heads. “Probably he forgot. He’s not in yet, is he?” “Nome, he doesn’t ususally get back till late

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afternoon,” said Jem. “Well your father and I decided it was time I came to stay with you for a while.” “For a while” in Maycomb meant anything from three days to thirty years. Jem and I exchanged glances. (Ch 13, 167)

13) Dill’s eyes flickered at Jem, and Jem looked at the floor. Then he rose and broke the remaining code of our childhood. He went out of the room and down the hall. “Atticus,” his voice was distant, “can you come here a minute, sir?” (14, 187-188)

14) "Well Atticus, I was just sayin’ to Mr. Cunningham that entailments are bad an’ all that, but you said not to worry, it takes a long time sometimes… that you all’d ride it out together…” I was slowly drying up, wondering what idiocy I had committed. Entailments seemed all right enough for livingroom talk. I began to feel sweat gathering at the edges of my hair; I could stand anything but a bunch of people looking at me. They were quite still. “What’s the matter?” I asked. Atticus said nothing. I looked around and up at Mr. Cunningham, whose face was equally impassive. Then he did a peculiar thing. He squatted down and took me by both shoulders. (Ch15, 205-206)

15) “So it took an eight-year-old to bring ‘em to their senses, didn’t it?” said Atticus. “That proves something—that a gang of wild animals can be stopped, simply because they’re still human. Hmp, maybe we need a police force of children… you children last night made Walter Cunningham stand in my shoes for a minute. That was enough.” (Ch 15, 210)

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16) A wagonload of stern-faced citizens appeared. When they pointed to Miss Maudie Atkinson’s yard, ablaze with summer flowers, Miss Maudie herself came out on the porch. There was an off thing about Miss Maudie—on her porch she was too far away for us to see her features clearly, but we could always catch her mood by the way she stood. She was now standing arms akimbo, her shoulders drooping a little, her head cocked to one side, her glasses winking in the sinlight. We knew she wore a grin of the uttermost wickedness. The driver of the wagon slowed down his mules, and a shrill-voiced woman called out: “He that cometh in vanity departeth in the darkness!” Miss Maudie answered: “A merry heart maketh cheerful countenance!” (Ch16, 212-213)

17) Judge Taylor stirred. He turned slowly in his swivel chair and looked benignly at the witness. “Are you the father of Mayella Ewell?” he asked, in a way that made the laughter below us stop suddenly. “Yes, sir,” Mr. Ewell said meekly. Judge Taylor went on in tones of good will: “This the first time you’ve ever been in court? I don’t recall ever seeing you here.” At the witness’s affirmative nod he continued, “Well, let’s get something straight. There will be no more audibly obscene speculations on any subject from anybody in this courtroom as long as I’m sitting here. Do you understand?” (Ch 17, 230)

18) Suddenly Mayella became articulate. “I got somethin’ to say,” she said. Atticus raised his head. “Do you want to tell us what happened?” But she did not hear the compassion in his invitation. “I got somethin’ to say an’ then I ain’t gonna say no more. That nigger yonder took advantage of me an’ if you fine fancy gentlemen don’t wanta do nothin’ about it then you’re all yellow stinkin’ cowards, stinkin’ cowards, the lot of you. Your fancy airs don’t come to nothin’ –your ma’amin’ and Miss Mayellerin’ don’t come to nothin’, Mr. Finch—” (Ch 18, 251)

19) Yes, suh. I felt right sorry for her, she seemed to try more’n the rest of ‘em—” “You felt sorry for her, you felt sorry for her?” Mr Gilmer seemed ready to rise to the ceiling. The witness realized his mistake and shifted uncomfortably in the chair. But the damage was done.

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Below us, nobody liked Tom Robinson’s answer. Mr. Gilmer paused a long time to let it sink in. (Ch 19, 264)

20) What happened after that had a dreamlike quality: in a dream I saw the jury return moving like underwater swimmers, and Judge Taylor’s voice came from far away and was tiny. I saw something only a lawyer’s child could be expected to see, could be expected to watch for, and it was like watching Atticus walk into the street, raise a rifle to his shoulder and pull the trigger, but watching all the time knowing that the gun was empty. A jury never looks at a defendant it has convicted, and when this jury came in, not one of them looked at Tom Robinson. The foreman handed a piece of paper to Mr. Tate who handed it to the clerk who handed it to the judge… I shut my eyes. Judge Taylor was polling the jury: “Guilty… guilty… guilty… guilty…” I peeked at Jem: his hands were white from gripping the balcony rail, and his shoulders jerked as if each “guilty” was a separate stab between them. (Ch 21, 282)

21) “Excuse me, Mrs. Merriwheather,” I interrupted, “are you all talking about Mayella Ewell?” “May—? No, child. That darky’s wife. Tom’s wife, Tom—” “Robinson, ma’am.” Mrs. Merriweather turned back to her neighbor. “There’s ome thing I truly believe, Gertrude,” she continued, “but some people just don’t see it my way. If we just let them know we forgive ‘em, that we’ve forgotten it, then this whole thing’ll blow over.” “Ah—Mrs. Merriweather,” I interrupted once more, “what’ll blow over?”[…] Mrs. Merriweather faced Mrs. Farrow: “Gertrude, I tell you there’s nothing more distracting than a sulky darky. Their mouths go down to here. Just ruins your day to have one of ‘em in the kitchen. You know what I said to my Sophy, Gertrude? I said ‘Sophy,’ I said, ‘you simply are not being a Christian today. Jesus Chris never went around grumbling and complaining,’ and you know, it did her good. She took her eyes off that floor and said, ‘Nome, Mis Merriweather, Jesus never went around grumblin’.’ I tell you Gertrude, you never thought to let an opportunity go by to witness for the Lord.” (Ch 24, 310)

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22) I thought Aunt Alexandra was crying, but when she took her hands away from her face, she was not. She looked weary. She spoke, and her voice was flat. “I can’t say I approve of everything he does, Maudie, but he’s my brother, and I just want to know hwen this will ever end.” Her voice rose: “It tears him to pieces. I’ve seen him when—what else do they want from him, Maudie, what else? “What does who want, Alexandra?” Miss Maudie asked. “I mean this town. They’re perfectly willing to let him do what they’re too afraid to do themselves—it might lose ‘em a nickel. They’re perfectly willing to let him wreck his health doing what they’re afraid to do, they’re—” (Ch 24, 316)

23) I’m not sayin’ she made it up, I’m sayin’ she was too scared to know exactly what happened. It was mighty dark out there, black as ink. ‘d take somebody might used to do the dark to make it a competent witness…” “I won’t have it,” Atticus said softly. “God damn it, I’m not thinking of Jem!” Mr. Tate’s boot his the floorboards to hard the lights in Miss Maudie’s bedroom went on. Mis Stephanie Crawford’s lights went on. Atticus and Mr. Tate looked across they street, then at each other. They waited (Ch 30, 368)

24) Atticus was right. One time he said you never really know a man until you stand in his shoes and walk around in them. Just standing on the Radley porch was enough. The street lights were fuzzy from the fine rain that was falling. As I made my way home, I felt old, but when I looked at the tip of my nose I could see fine mist y beads, but looking cross-eyed made me dizzy so I quit. As I made my way home, I thought what a thin to tell Jem tomorrow. He’d be so mad he missed it he wouldn’t speak to me for days. As I made my way home I thought Jem and I would get grown but there wasn’t much else left for us to learn, except possibly algebra. (Ch 31, 374)

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