Objectives

• Analyse how Dickens uses the rhetorical structure of the opening paragraph of Chapter 1 to establish the novel's central contradiction between order and chaos.
• Explain how Dickens constructs the contrasting identities of Sydney Carton and Charles Darnay in Chapters 3 and 4 to explore ideas of worth, class and self-destruction.
• Analyse how Dickens uses the motif of Madame Defarge's knitting in Chapters 5, 7 and 9 as a symbol of revolutionary violence and female power.
• Evaluate how Dickens structures the two trial scenes (Chapters 2 and 10) to develop the theme of fate versus free will.
• Write a sustained, evidenced critical essay arguing a position on how Dickens presents sacrifice and redemption through Sydney Carton across the whole novel.

The sequence

1. Lesson 1: The Best and Worst of Times: Contradiction and Context in Book I

   60 min · ch. 1

   Do now

   On the board: read the opening paragraph of Chapter 1 ('It was the best of times, it was the worst of times…'). Jot down each pair of opposites you spot. Count them up. What pattern do you observe? You have four minutes — no talking for now.

   Teacher input

   Model a close-language analysis of the opening paragraph of Chapter 1 by examining the repeated use of 'It was the…' clauses. This relentless parallelism highlights the unresolved contradiction between the opposing sides, reflecting Dickens's 1859 concerns that industrial England was echoing the instability of pre-Revolutionary France. To illustrate this, embed a quotation, identify the technique as anaphora, and relate it to the broader context in three sentences.

   Independent task

   Students will write an analytical paragraph (using the PEEL structure or a similar method) that responds to the question: "How does Dickens use language in the opening paragraph of Chapter 1 to convey the notion that society is on the brink of disaster?" They should include at least two quotes, identify at least one structural or linguistic technique, and connect their analysis to Dickens's historical context. This will be collected at the end of the lesson.

   Exit ticket

   On a sticky note: identify ONE technique that Dickens employs in the opening paragraph of Chapter 1 and include the exact quotation from that paragraph. Place it on the door as you leave.

2. Lesson 2: The Jackal and the Gentleman: Constructing Carton and Darnay in Book II Chapters 3–4

   60 min · ch. 3, 4

   Do now

   On the board: two columns labeled 'Sydney Carton' and 'Charles Darnay'. Without looking at the book, jot down everything you know about each character—how they look, their behavior, and one notable thing they've said or done. You have five minutes.

   Teacher input

   Model a comparative analysis of two passages: (1) Chapter 3, the description of Carton after the trial — 'Sydney Carton, idlest and most unpromising of men, was Stryver's great ally' — and (2) Chapter 4, Darnay's conversation with Dr. Manette after his acquittal. Show students how Dickens employs free indirect discourse and animal imagery, particularly calling Carton 'the Jackal,' to diminish his character, while he uses formal and restrained dialogue to elevate Darnay. This contrast is ironic because it's Carton's intelligence that ultimately secures Darnay's freedom.

   Independent task

   Students will write a comparative paragraph addressing the prompt: "How does Dickens portray Sydney Carton and Charles Darnay in Chapters 3 and 4 of Book II? What does their contrast reveal about social worth and self-perception?" They should include quotes from both passages, pinpoint a technique used in each, and discuss the thematic implications of the contrast. This work will be collected at the end of the lesson.

   Exit ticket

   The label 'the Jackal' suggests that Dickens wants us to see Carton as a cunning yet somewhat pitiable figure, highlighting his role as a secondary character who aids the more dominant Darnay while struggling with his own identity.

3. Lesson 3: Knitting the Names of the Dead: Madame Defarge as Symbol of Revolutionary Violence

   60 min · ch. 5, 7, 9

   Do now

   On the board: 'Madame Defarge is knitting. What might knitting symbolize in a story about revolution? Share three interpretations — one positive, one negative, and one ambiguous. You have four minutes.'

   Teacher input

   Model a symbolic and contextual reading of the passage in Chapter 5 (Book II) where Madame Defarge registers Darnay's face in her knitting — “Madame Defarge looked down her nose at the client and gave a slight nod in response to his cheerfulness.” Focus on the verb “looked down her nose” and the subtle nod: demonstrate to students how Dickens deliberately leaves out explanations to build an atmosphere of menace, connecting to the historical practice of tricoteuses at the guillotine (drawing from Carlyle's The French Revolution, which inspired Dickens). Then briefly illustrate how this same motif intensifies in Chapter 7 (with the knitting of the Evrémonde name) and Chapter 9 (when Lucie's name is added).

   Independent task

   Students will annotate a printed extract from Chapter 9 (Book III), where the wood-sawyer mimics the guillotine while Lucie observes from the street. They need to identify at least four techniques, provide a marginal note for each detailing its effect, and then craft a concluding sentence that argues what this scene contributes to Dickens's depiction of revolutionary violence. The annotation sheet will be collected.

   Exit ticket

   In one sentence: What is the significance of Dickens choosing a piece of domestic craft as Madame Defarge's weapon instead of a sword or a gun?

4. Lesson 4: Fate on Trial: Comparing the Two Trial Scenes in Book II Chapter 2 and Book III Chapter 10

   60 min · ch. 2, 10

   Do now

   On the board: 'Darnay faces two trials in this novel. He is found not guilty in the first trial; in the second, he is found guilty. Jot down all the reasons you recall for each verdict. You have five minutes—feel free to refer to the book if you have it.'

   Teacher input

   Model a structural analysis of the moment in Chapter 2 (Book II) when Carton hands Stryver the note highlighting their physical resemblance — 'the wigged gentleman… wrote a word or two on a little piece of paper' — and contrast it with the moment in Chapter 10 (Book III) when Defarge reads Dr. Manette's Bastille letter aloud, leading to the tribunal's condemnation of Darnay. Illustrate for students how Dickens employs the same device — a piece of paper changing hands — to create contrasting results. This structural echo suggests that fate (represented by the Bastille letter) ultimately triumphs over human agency (as seen in Carton's intervention during the first trial).

   Independent task

   Students will compose a structured comparison (a minimum of two paragraphs) addressing the question: 'How does Dickens portray the theme of fate versus free will through the two trial scenes in Book II Chapter 2 and Book III Chapter 10?' Each paragraph should begin with a clear argument, incorporate at least one embedded quotation, and conclude with a connection to the novel's broader themes regarding the repercussions of aristocratic injustice. These will be collected at the end of the lesson.

   Exit ticket

   The document that condemns Darnay in Chapter 10 is called the "register of the French Revolution." It was written by Dr. Manette, who had previously been imprisoned in the Bastille. The irony lies in the fact that a man who suffered under such a regime is now inadvertently contributing to Darnay's condemnation, highlighting the twisted fate of individuals caught in the web of revolution and justice.

5. Lesson 5: 'It Is a Far, Far Better Thing': Carton's Sacrifice and the Novel's Argument About Redemption

   60 min · ch. 3, 5, 10, 11

   Do now

   On the board: the last two sentences of Chapter 11 — 'It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.' Read them twice. Now, without searching for any information, write: what has Carton done to deserve saying this? What has shifted since Chapter 3?

   Teacher input

   Model a reading of the passage in Chapter 11 (Book III) where Carton comforts the young seamstress on the tumbrel — "I think you were sent to me by Heaven." Discuss how Dickens uses the seamstress as a structural device: she is anonymous, innocent, and terrified, while Carton's calm tenderness in this moment showcases his transformation, which the novel has been developing since his vow to Lucie in Chapter 5. Illustrate how to analyze narrative structure (the seamstress as a foil and witness) alongside language (the shift in Carton's tone from earlier cynicism to a more biblical diction).

   Independent task

   Students are tasked with writing a complete essay that includes an introduction, three to four paragraphs, and a conclusion, responding to the prompt: 'How does Dickens depict Sydney Carton's transformation from self-destruction to sacrifice throughout the novel? Be sure to reference at least three distinct moments from different parts of the text.' In their introduction, they should present a clear argument, incorporate embedded quotations, and discuss at least one element of context or form. The essays will be collected and evaluated according to the rubric.

   Exit ticket

   Write one sentence: Is Carton's death a victory or a loss? Use one word from the final passage to back up your answer.

Activities

Assessment

• Exit ticket Lesson 1 — checks whether students can identify and name a specific rhetorical technique in the Chapter 1 opening paragraph with an exact quotation.
• Comparative paragraph Lesson 2 — checks whether students can sustain a comparison between Carton and Darnay using textual evidence from Chapters 3 and 4 rather than assertion.
• Annotation sheet Lesson 3 — checks whether students can independently identify symbolic and linguistic techniques in the Chapter 9 wood-sawyer passage and articulate their effect.
• Exit ticket Lesson 4 — checks factual and analytical recall: students must name Dr. Manette's Bastille letter, its author, and explain the irony of its role in Darnay's condemnation.
• Exit ticket Lesson 5 — checks whether students can make and briefly support an interpretive judgement about Carton's death using precise textual reference from Chapter 11.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g. where a story is set, how the action is ordered, how the characters are introduced and developed).
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation (LAN-1) — Explain the function of a character, including how characters develop, interact, and contribute to the meaning of the work as a whole (applied to Carton's arc across the novel).
• Figurative Language (FIG-1) — Explain the function of specific words and phrases in a literary text, including how figurative language, imagery and symbolism contribute to meaning (applied to the knitting motif and the Chapter 1 parallelism).
• Structure (STR-1) — Explain how the sequence or pacing of a narrative contributes to its overall meaning (applied to the structural echo of the two trial scenes in Book II Ch.2 and Book III Ch.10).
• Character (CHR-1) — Explain how contrasting characters function to develop the meaning of a literary work (applied to the Carton/Darnay double).

AQA

• AO1 — Read, understand and respond to texts; students should be able to maintain a critical style and develop an informed personal response, using textual references including quotations to support and illustrate interpretations.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate (applied to parallelism in Ch.1, animal imagery in Ch.3, the knitting motif in Chs.5, 7, 9).
• AO3 — Show understanding of the relationships between texts and the contexts in which they were written and received (applied to Carlyle's influence, the tricoteuses, Dickens's serialisation and personal crisis).
• AO4 — Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts (applied to Dickens's structural echoing of the two trial scenes and his use of the knitting register as a symbol of revolutionary record-keeping).
• AO5 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received (applied to the French Revolutionary context drawn from Carlyle and to Dickens's anxieties about class unrest in 1859 England).