ENGLISH 9 by YOUG JI INTERNATIONAL SCHOOL

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Lesson 1

Understanding the Historical Background of AngloSaxon Literature; Anglo-Saxon Epic; Medieval Tales

Old English literature (or Anglo-Saxon literature) encompasses literature written in Old English (also called Anglo-Saxon), during the 600-year Anglo-Saxon period of England, from the mid-5th century to the Norman Conquest of 1066. These works include genres such as epic poetry, hagiography, sermons,Bible translations, legal works, chronicles, riddles, and others. In all there are about 400 survivingmanuscripts from the period, a significant corpus of both popular interest and specialist research. Among the most important works of this period is the poem Beowulf, which has achieved national epicstatus in England. The Anglo-Saxon Chronicleotherwise proves significant to study of the era, preserving a chronology of early English history, while the poem CĂŚdmon's Hymn from the 7th century survives as the oldest extant work of literature in English. Anglo-Saxon literature has gone through different periods of researchâ&#x20AC;&#x201D;in the 19th and early 20th centuries the focus was on the Germanic roots of English, later the literary merits were emphasised, and today the focus is upon paleography and the physical manuscripts themselves more generally: scholars debate such issues as dating, place of origin, authorship, and the connections between Anglo-Saxon culture and the rest of Europe in theMiddle Ages.

BEOWULF

Beowulf begins with a history of the great Danish King Scyld

(whose

funeral

described

the

Prologue).

King Hrothgar, Scyld's great-grandson, is well loved by his people and successful in war. He builds a lavish hall, called Heorot, to house his vast army, and when the hall is finished, the Danish warriors gather under its roof to celebrate.

Grendel, a monster who lives at the bottom of a nearby mere, is provoked by the singing and celebrating of Hrothgar's followers. He appears at the hall late one YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

night and kills thirty of the warriors in their sleep. For the next twelve years, the fear of Grendel's fury casts a shadow over the lives of the Danes. Hrothgar and his advisors can think of nothing to calm the monster's anger.

Beowulf, prince of the Geats, hears about Hrothgar's troubles, gathers fourteen of the bravest Geat warriors, and sets sail from his home in southern Sweden. The Geats are greeted by the members of Hrothgar's court, and Beowulf boasts to the king of his previous successes as a warrior, particularly his success in fighting sea monsters. Hrothgar welcomes the arrival of the Geats, hoping that Beowulf will live up to his reputation. During the banquet that follows Beowulf's arrival, Unferth, a Danish thane, voices doubt about Beowulf's past accomplishments, and Beowulf, in return, accuses Unferth of killing his brothers. Before the night ends, Hrothgar promises Beowulf great treasures if he meets with success against the monster.

Grendel appears on the night of the Geats' arrival at Heorot. Beowulf, true to his word, wrestles the monster barehanded.Click here to see the fight! He tears off the monster's arm at the shoulder, but Grendel escapes, only to die soon afterward at the bottom of his snake-infested mere. The Danish warriors, who have fled the hall in fear, return singing songs in praise of Beowulf's triumph. Hrothgar rewards Beowulf with a great store of treasures. After another banquet, the warriors of both the Geats and the Danes retire for the night.

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Unknown to the warriors, however, Grendel's mother is plotting revenge (see "Grendel's Mother's Attack"). She arrives at the hall when all the warriors are sleeping and carries off Aeschere, Hrothgar's chief advisor along with her son's claw. (Click here to see the infamous claw!) Beowulf offers to dive to the bottom of the lake, find the monster and destroy her. He and his men follow the monster's tracks to the cliff overlooking the lake where Grendel's mother lives. They see Aeschere's bloody head sitting on the cliff. While preparing for battle, Beowulf asks Hrothgar to protect his warriors, treasures

and to

send his

his

uncle,

King Hygelac, if he doesn't return safely.

Before Beowulf goes into the sea,

Unferth

sword, Hrunting.

offers

him

During

his the

ensuing battle Grendel's mother carries Beowulf to her underwater home. After a terrible fight, Beowulf kills the monster with a magical sword, probably put there by the Al-Weilder, that he finds on the wall of her home. He also finds Grendel's dead body, cuts off the head, and returns to land, where the Geat and Danish warriors are waiting expectantly. Beowulf has now abolished the race of evil monsters.

The warriors return to Hrothgar's court, where the Danes and Geats prepare a feast in celebration of the death of the monsters. Beowulf bids farewell to Hrothgar and tells the old king that if the Danes ever again need help he will gladly come to their assistance. Hrothgar presents Beowulf with more treasures, and they embrace, emotionally, like father and son.

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The Geats sail home. After recounting the story of his battles with Grendel and Grendel's mother, Beowulf tells King Hygelac about the feud between Denmark and their enemies, the Heatho-bards. He describes the proposed peace settlement, in which Hrothgar will give his daughter Freawaru toIngeld, king of the Heatho-bards, but predicts that the peace will not last long. Hygelac rewards Beowulf for his bravery with land, swords, and houses. The meeting between Hygelac and Beowulf marks the end of the first part of the poem. In the next part, Hygelac is dead, and Beowulf has been king of the Geats for fifty years. A thief steals a jeweled cup from a sleeping dragon who avenges his loss by flying through the night burning down houses, including Beowulf's own hall and throne. Beowulf goes to the cave where the dragon lives, vowing to destroy it single-handedly. He's an old man now, and he is not as strong as he was when he fought Grendel. During the battle Beowulf breaks his sword against the dragon's side; the dragon, enraged, engulfs Beowulf in flames and wounds him in the neck. All of Beowulf's followers flee except Wiglaf, who rushes through the flames to assist the aging warrior. Wiglaf stabs the dragon with his sword, and Beowulf, in a final act of courage, cuts the dragon in half with his knife.

Yet the damage is done. Beowulf realizes that he's dying, that he has fought his last battle. He asks Wiglaf to bring him the dragon's storehouse of treasures; seeing the jewels and gold will make him feel that the effort has been worthwhile. He instructs Wiglaf to build a tomb to be known as "Beowulf's tower" on the edge of the sea. After Beowulf dies, Wiglaf admonishes the troops who deserted their leader when he was fighting against the dragon. He tells them that they have been untrue to the standards of bravery, courage, and loyalty that Beowulf has taught.

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Wiglaf sends a messenger to a nearby camp of Geat soldiers with instructions to report the outcome of the battle. Wiglaf supervises the building of the funeral pyre. In keeping with Beowulf's instructions, the dragon's treasure is buried alongside Beowulf's ashes in the tomb. The poem ends as it began -- with the funeral of a great warrior.

Exercise 1 Encircle the letter of the best answer.

1. Where is Beowulf from? a. Angle-Land b. Denmark c. Geatland d. Heorot 2. Who is Beowulf's father? a. Breca b. Ecgtheow c. Hrothgar d. Hygelac 3. Who rules Geatland at the beginning of the poem? a. Beow b. Ecgtheow c. Hygelac d. Offa 4. What is a scop? a. A poet b. A ship c. A type of necklace d. A weapon

5. Who are the Scyldings? YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

a. Demigods b. Enemies of Geatland from Norway c. Hrothgar's warriors d. Swamp monsters 6. The first night that Grendel attacked the mead-hall, Heorot, how many Scyldings did he kill? a. Two b. Seven c. Fourteen d. Thirty 7. How did Hrothgar know of Beowulf? a. Beowulf had saved Hrothgar's daughter from a dragon b. Hrothgar had done a favor for Beowulf's father Hrothgar was Beowulf's uncle c. A scop had written a poem about Beowulf that made him famous 8. What jealous character taunts Beowulf during the festivities in Heorot? a. Aeschere b. Hrothulf c. Offa d. Unferth

9. In Heorot, Beowulf relates the tale of how he defeated his childhood friend, Breca, in what kind of competition? a. A foot race b. A hneftafl game c. A swimming race d. A wrestling match 10. How does Beowulf kill Grendel? a. He buries an axe in Grendel's head. b. He chops off Grendel's head with his sword. c. He runs his sword through Grendel's heart. d. He tears off Grendel's arm at the shoulder with his bare hands. 11. What is Grendel's mother's name? a. Gretyl b. Hygd YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

c. Modthryth d. She is never named 12. Grendel's mother abducted and decapitated Aeschere. Who was Aeschere? a. Beowulf's closest companion b. Hrothgar's most trusted advisor c. Hrothgar's nephew d. Unferth's brother 13. Who lends Beowulf a sword to fight Grendel's mother? a. Aeschere's son b. Hrothgar c. Hrothgar's son d. Unferth 14. What does Hrothgar's wife, Wealhtheow, give Beowulf? a. A ring b. A sword c. A torque d. A kiss 15. How does Beowulf become King of the Geats? a. He overthrows Hygelac b. He takes the throne when Hygelac dies, having been named his heir c. He takes the throne when Hygelac's son dies d. He's never King of the Geats 16. Why did the dragon threaten Geatland? a. A party of adventurers tried to kill it b. A bejeweled cup was stolen from its hoard c. Beowulf ceased paying its annual tribute d. Its food supply was cut off when all the local virgins moved away 17. What was the name of the sword Beowulf used to fight the dragon? a. Caliburn b. Hrunting c. Naegling d. Ted YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

18. Who was the only one of Beowulf's retainers that didn't run away when he fought the dragon? a. Heardred b. Hrethen c. Sigemund d. Wiglaf 19. Beowulf's body was burned on a funeral pyre. What happened to his ashes? a. They were kept in an urn in the palace of Geatland b. They were buried in a barrow on the headland of the coast c. They were placed in the family crypt d. They were scattered in the lake where he'd faced Grendel's mother 20. The Beowulf poem is believed to have been composed sometime in the seventh century, but it wasn't written down until when? a. Sometime in the late eighth century b. About 920 or 930 c. About the year 1000 d. Sometime between 1166 and 1179 21. How many copies of the Beowulf manuscript survive from the 11th century? a. Only one b. Three c. Seven, including two fragments d. There is no surviving original; we only have later copies 22. Scholars believe the original manuscript was inscribed by how many different people? a. Only one b. Two c. Three or more d. There's no way to tell 23. What happened to the manuscript in 1731? a. It was damaged in a fire b. It was purchased by the Vatican c. It was stolen d. It was taken to America YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

24. The first transcription of the Beowulf poem was made by Icelandic scholar Grimur Jonsson Thorkelin in 1818. At this time, Thorkelin translated the poem from Old English into what language? a. Danish b. Icelandic c. Latin d. Swedish 25. Where is the Beowulf manuscript today? a. In the British Library b. At Cambridge University c. At Oxford University d. In the Tower of London

GRAMMAR NOTES Basic Sentence A basic sentence has two parts: subject and predicate. Each part may be expanded through the use of modifiers.

Note the following groups of words. Identify what is missing. Then, find out what you can do about each item.

1. The oldest literature known as English ___________________________________________________________________

2. Can trace the fascinating story of their civilization ___________________________________________________________________

3. Were known far and wide for their dauntless bravery ___________________________________________________________________

4. A large part of Britain ___________________________________________________________________

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You must have observed that something was missing in each item above; therefore an important part must be supplied to make this thought clear and complete. In items 1 and 4, what is missing is the predicate, the part that tells us something about ―The oldest literature known as English‖ and ―A large part of Britain.‖ On the other hand, in items 2 and 3, we want to know who or what is spoken of, which is the subject of the sentence.

Go back to the word groups and supply the missing parts to make complete sentences.

Exercise 2 Note the following sentences and draw a short vertical line between the complete subject and the complete predicate. Then, encircle the headword (simple noun subject and simple verb predicate) in each part. The first one is done. 1. The story of the introduction of Christianity into Britain 2.

is obscure.

The Anglo-Saxons brought with them from the European continent Germanic customs and ideas.

3. Poems and tales can be passed from one person to another and from generation to generation. 4. The tradition of native poetry and storytelling continued in a spirit which became increasingly Christian. 5. Other non-biblical religious poems vary in the extent wherein they are infused with the heroic spirit.

Exercise 3 Using phrase modifiers and other descriptive words, expand the following basic parts of the sentence. Write the expanded sentences on the lines. Number one is done. 1. Anglo-Saxons fought. The tall and fair-haired Anglo-Saxons fought with swords, spears, or bows and arrows. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

2. Tribes came. ___________________________________________________________________ 3. People believed. ___________________________________________________________________ 4. Springtime is an occasion. ___________________________________________________________________ 5. Music is an expression. ___________________________________________________________________

Lesson 2

Tracing the Development of Romanticism in American Literature

The Legend of Sleepy Hollow by Washington Irving In the bosom of one of those spacious coves which indent the eastern shore of the Hudson, at that broad expansion of the river denominated by the ancient Dutch navigators the Tappan Zee, and where they always prudently shortened sail and implored the protection of Saint Nicholas, there lies a small market town which is generally known by the name of Tarry Town. This name was given by the good housewives of the adjacent country from the inveterate propensity of their husbands to linger about the village tavern on market days. Not far from this village, perhaps about two miles, there is a little YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

valley among high hills which is one of the quietest places in the whole world. A small brook murmurs through it and, with the occasional whistle of a quail or tapping of a woodpecker, is almost the only sound that ever breaks the uniform tranquillity. From the listless repose of the place, this sequestered glen has long been known by the name of Sleepy Hollow. Some say that the place was bewitched during the early days of the Dutch settlement; others, that an old Indian chief, the wizard of his tribe, held his powwows there before the country was discovered by Master Hendrick Hudson. Certain it is, the place still continues under the sway of some witching power that holds a spell over the minds of the descendants of the original settlers. They are given to all kinds of marvelous beliefs, are subject to trances and visions, and frequently hear music and voices in the air. The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions. The dominant spirit that haunts this enchanted region is the apparition of a figure on horseback without a head. It is said to be the ghost of a Hessian trooper, whose head had been carried away by a cannonball in some nameless battle during the Revolutionary War, and who is ever seen by the countryfolk, hurrying along in the gloom of the night as if on the wings of the wind. Historians of those parts allege that the body of the trooper having been buried in the yard of a church at no great distance, the ghost rides forth to the scene of battle in nightly quest of his head; and that the rushing speed with which he sometimes passes along the Hollow is owing to his being in a hurry to get back to the churchyard before daybreak. The specter is known, at all the country firesides, by the name of the Headless Horseman of Sleepy Hollow. It is remarkable that this visionary propensity is not confined to native inhabitants of this little retired Dutch valley, but is unconsciously imbibed by everyone who resides there for a time. However wide-awake they may have been before they entered that sleepy region, they are sure, in a little time, to inhale the witching influence of the air and begin to grow imaginative, to dream dreams, and see apparitions. In this by-place of nature there abode, some thirty years since, a worthy wight of the name of Ichabod Crane, a native of Connecticut, who "tarried" in Sleepy Hollow for the purpose of instructing the children of the vicinity. He was tall and exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, and feet that might have served for shovels. His head was small, and flat at top, with huge ears, large green glassy eyes, and a long snipe nose, so that it looked like a weathercock perched upon his spindle neck, to tell which way the wind blew. To see him striding along on a windy day, with his clothes bagging and fluttering about him, one might have mistaken him for some scarecrow eloped from a cornfield. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

His schoolhouse was a low building of one large room, rudely constructed of logs. It stood in a rather lonely but pleasant situation, just at the foot of a woody hill, witha brook running close by, and a formidable birch tree growing at one end of it. From hence the low murmur of his pupils' voices, conning over their lessons, might be heard on a drowsy summer's day, interrupted now and then by the voice of the master in a tone of menace or command; or by the appalling sound of the birch as he urged some wrongheaded Dutch urchin along the flowery path of knowledge. All this he called "doing his duty," and he never inflicted a chastisement without following it by the assurance, so consolatory to the smarting urchin, that "he would remember it, and thank him for it the longest day he had to live." When school hours were over, Ichabod was even the companion and playmate of the larger boys; and on holiday afternoons would convoy some of the smaller ones home, who happened to have pretty sisters, or good housewives for mothers, noted for the comforts of the cupboard. Indeed it behooved him to keep on good terms with his pupils. The revenue arising from his school would have been scarcely sufficient to furnish him with daily bread, for he was a huge feeder and, though lank, had the dilating powers of an anaconda. To help out his maintenance he was, according to custom in those parts, boarded and lodged at the homes of his pupils a week at a time; thus going the rounds of the neighborhood, with all his worldly effects tied up in a cotton handkerchief. That this might not be too onerous for his rustic patrons, he assisted the farmers occasionally by helping to make hay, mending the fences, and driving the cows from pasture. He laid aside, too, all the dominant dignity with which he lorded it in the school, and became wonderfully gentle and ingratiating. He found favor in the eyes of the mothers by petting the children, particularly the youngest, and he would sit with a child on one knee, and rock a cradle with his foot for whole hours together. In addition to his other vocations, he was the singing master of the neighborhood, and picked up many bright shillings by instructing the young folks in psalmody. Thus, by divers little makeshifts, the worthy pedagogue got on tolerably enough and was thought, by all who understood nothing of the labor of headwork, to have a wonderfully easy life of it. The schoolmaster is generally a man of some importance in the female circle of a rural neighborhood, being considered a kind of idle, gentlemanlike personage, of vastly superior taste and accomplishments to the rough country swains. How he would figure among the country damsels in the churchyard, between services on Sundays! - gathering grapes for them from the wild vines that overran the surrounding trees; reciting for their amusement all the epitaphs on the tombstones; while the more bashful bumpkins hung sheepishly back, envying his superior elegance and address. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

He was, moreover, esteemed by the women as a man of great erudition, for he had read several books quite through, and was a perfect master of Cotton Mather's 'History of New England Witchcraft'. His appetite for the marvelous was extraordinary. It was often his delight, after his school was dismissed, to stretch himself on the clover bordering the little brook and there con over old Mather's direful tales in the gathering dusk. Then, as he wended his way to the farmhouse where he happened to be quartered, every sound of nature, the boding cry of the tree toad, the dreary hooting of the screech owl, fluttered his excited imagination. His only resource on such occasions was to sing psalm tunes; and the good people of Sleepy Hollow were often filled with awe at hearing his nasal melody floating along the dusky road. Another of his sources of fearful pleasure was to pass long winter evenings with the old Dutch wives, as they sat spinning by the fire, with a row of apples roasting and spluttering along the hearth, and listen to their marvelous tales of ghosts and goblins, haunted bridges and haunted houses, and particularly of the headless horseman. But if there was a pleasure in all this while snugly cuddling in the chimney corner, it was dearly purchased by the terrors of his subsequent walk homeward. How often did he shrink with curdling awe at some rushing blast, howling among the trees of a snowy night, in the idea that it was the Galloping Hessian of the Hollow! All these, however, were mere phantoms of the dark. Daylight put mend to all these evils. He would have passed a pleasant life of it if his path had not been crossed by a being that causes more perplexity to mortal man than ghosts, goblins, and the whole race of witches put together, and that was -- a woman. Among the musical disciples who assembled, one evening in each week, to receive his instructions in psalmody was Katrina Van Tassel, the only child of a substantial Dutch farmer. She was a blooming lass of fresh eighteen, plump as a partridge, ripe and melting and rosy-cheeked as one of her father's peaches, and universally famed, not merely for her beauty, but her vast expectations. She was withal a little of a coquette, as might be perceived in her dress. She wore ornaments of pure yellow gold to set off her charms, and a provokingly short petticoat to display the prettiest foot and ankle in the country round. Ichabod Crane had a soft and foolish heart toward the sex; and it is not to be wondered at that so tempting a morsel soon found favor in his eyes, more especially after he had visited her in her paternal mansion. Old Baltus Van Tassel was a perfect picture of a thriving, contented, liberal-hearted farmer. He seldom, it is true, sent either his eyes or his thoughts beyond the boundaries of his own farm; but within those everything was snug, happy, and abundant. The Van Tassel stronghold was situated on the banks of the Hudson, in one of those green, sheltered, fertile nooks in which the Dutch farmers are so fond of YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

nestling. A great elm tree spread its broad branches over it, at the foot of which bubbled up a spring of the softest and sweetest water. Hard by the farmhouse was a vast barn, every window and crevice of which seemed bursting forth with the treasures of the farm. Rows of pigeons were enjoying the sunshine on the roof. Sleek unwieldy porkers were grunting in the repose and abundance of their pens. A stately squadron of snowy geese were riding in an adjoining pond, convoying whole fleets of ducks; regiments of turkeys were gobbling through the farmyard. The pedagogue's mouth watered as he looked upon this sumptuous promise of luxurious winter fare. In his devouring mind's eye he pictured to himself every roasting pig running about with an apple in his mouth; the pigeons were snugly put to bed in a comfortable pie, and tucked in with a coverlet of crust. As the enraptured Ichabod fancied all this, and as he rolled his great green eyes over the fat meadowlands, the rich fields of wheat, rye, buckwheat, and Indian corn, and the orchard, burdened with ruddy fruit, which surrounded the warm tenement of Van Tassel, his heart yearned after the damsel who was to inherit these domains, and his imagination expanded with the idea how they might be readily turned into cash, and the money invested in immense tracts of wild land, and shingle palaces in the wilderness. His busy fancy already presented to him the blooming Katrina, with a whole family of children, mounted on the top of a wagon loaded with household trumpery; and he beheld himself bestriding a pacing mare, with a colt at her heels, setting out for Kentucky, Tennessee, or the Lord knows where. When he entered the house, the conquest of his heart was complete. It was one of those spacious farmhouses, with high-ridged but low-sloping roofs, built in the style handed down from the first Dutch settlers, the projecting eaves forming a piazza along the front. From the piazza the wondering Ichabod entered the hall, which formed the center of the mansion. Here, rows of resplendent pewter, ranged on a long dresser, dazzled his eyes. In one corner stood a huge bag of wool ready to be spun; ears of Indian corn and strings of dried apples and peaches hung in gay festoons along the walls; and a door left ajar gave him a peep into the best parlor, where the claw-footed chairs and dark mahogany tables shone like mirrors. Mock oranges and conch shells decorated the mantelpiece; strings of various colored birds' eggs were suspended above it, and a corner cupboard, knowingly left open, displayed immense treasures of old silver and well-mended china. From the moment Ichabod laid his eyes upon these regions of delight, the peace of his mind was at an end, and his only study was how to win the heart of the peerless daughter of Van Tassel. In this enterprise, however, he had to encounter a host of rustic admirers, who kept a watchful and angry eye upon each other, but were ready to fly out in the common cause against any new competitor. Among these the most formidable was a burly, roaring, roistering blade of the name of Brom YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Van Brunt, the hero of the country round, which rang with his feats of strength and hardihood. He was broad-shouldered, with short curly black hair, and a bluff but not unpleasant countenance, having a mingled air of fun and arrogance. From his Herculean frame, he had received the nickname of "Brom Bones." He was famed for great skill in horsemanship; he was foremost at all races and cockfights; and, with the ascendancy which bodily strength acquires in rustic life, was the umpire in all disputes. He was always ready for either a fight or a frolic, but had more mischief and good humor than ill will in his composition. He had three or four boon companions who regarded him as their model, and at the head of whom he scoured the country, attending every scene of feud or merriment for miles round. Sometimes his crew would be heard dashing along past the farmhouses at midnight, with whoop and halloo, and the old dames would exclaim, "Aye, there goes Brom Bones and his gang!" This hero had for some time singled out the blooming Katrina for the object of his uncouth gallantries; and though his amorous toyings were something like the gentle caresses of a bear, yet it was whispered that she did not altogether discourage his hopes. Certain it is, his advances were signals for rival candidates to retire; insomuch that, when his horse was seen tied to Van Tassel's paling on a Sunday night, all other suitors passed by in despair. Such was the formidable rival with whom Ichabod Crane had to contend. Considering all things, a stouter man than he would have shrunk from the competition. Ichabod had, however, a happy mixture of pliability and perseverance in his nature; he was in form and spirit like a supplejack - though he bent, he never broke. To have taken the field openly against his rival would have been madness. Ichabod, therefore, made his advances in a quiet and gently insinuating manner. Under cover of his character of singing master, he had made frequent visits at the farmhouse, carrying on his suit with the daughter by the side of the spring under the great elm, while Balt Van Tassel sat smoking his evening pipe at one end of the piazza and his little wife plied her spinning wheel at the other. I profess not to know how women's hearts are wooed and won. To me they have always been matters of riddle and admiration. But certain it is that from the moment Ichabod Crane made his advances, the interests of Brom Bones declined; his horse was no longer seen tied at the paiings on Sunday nights, and a deadly feud gradually arose between him and the schoolmaster of Sleepy Hollow. Brom would fain have carried matters to open warfare, and Ichabod had overheard a boast by Bones that he would "double the schoolmaster up, and lay him on a shelf of his own schoolhouse"; but Ichabod was too wary to give him an opportunity. Brom had no alternative but to play off boorish practical jokes upon his rival. Bones and his YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

gang of rough riders smoked out Ichabod's singing school by stopping up the chimney; broke into the schoolhouse at night and turned everything topsy-turvy. But what was still more annoying, Brom took opportunities of turning him to ridicule in presence of his mistress, and had a scoundrel dog whom he taught to whine in the most ludicrous manner, and introduced as a rival of Ichabod's to instruct Katrina in psalmody. In this way matters went on for some time. On a fine autumnal afternoon, Ichabod, in pensive mood, sat enthroned on the lofty stool whence he usually watched all the concerns of his little schoolroom. His scholars were all busily intent upon their books, or slyly whispering behind them with one eye kept upon the master; and a kind of buzzing stillness reigned. It was suddenly interrupted by the appearance of a Negro, mounted on the back of a ragged colt. He came clattering up to the school door with an invitation to Ichabod to attend a merrymaking to be held that evening at Mynheer Van Tassel's. All was now bustle and hubbub in the lately quiet schoolroom. The scholars were hurried through their lessons, without stopping at trifles; those who were tardy had a smart application now and then in the rear to quicken their speed, and the whole school was turned loose an hour before the usual time. The gallant Ichabod now spent at least an extra half hour at his toilet, brushing and furbishing up his only suit, of rusty black. That he might make his appearance in the true style ofa cavalier, he borrowed a horse from the farmer with whom he was staying. The animal was a broken-down plow horse that had outlived almost everything but his viciousness. He was gaunt and shaggy, with a ewe neck and a head like a hammer; his rusty mane and tail were tangled and knotted with burrs; one eye had lost its pupil, and was glaring and spectral, but the other had the gleam of a genuine devil. In his day he must have had fire and mettle, if we may judge from the name he bore of Gunpowder. Ichabod was a suitable figure for such a steed. He rode with short stirrups, which brought his knees nearly up to the pommel of the saddle; his sharp elbows stuck out like grasshoppers'; he carried his whip perpendicularly in his hand, like a scepter, and, as his horse jogged on, the motion of his arms was not unlike the flapping of a pair of wings. A small wool hat rested nearly on the top of his nose, and the skirts of his black coat fluttered out almost to the horse's tail. Around him nature wore that rich and golden livery which we always associate with the idea of abundance. As he jogged slowly on his way, his eye ranged with delight over the treasures of jolly autumn. On all sides he beheld vast stores of apples gathered into baskets and barrels for the market, others heaped up in rich piles for the cider press. Farther on he beheld great fields of Indian corn, and the yellow pumpkins lying beneath them, turning up their fair round bellies to the sun. He YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

passed the fragrant buckwheat fields, and as he beheld them, soft anticipations stole over his mind of dainty slapjacks, well buttered and garnished with honey by the delicate little dimpled hand of Katrina Van Tassel. It was toward evening that Ichabod arrived at the castle of the Eleer Van Tassel, which he found thronged with the pride and flower of the adjacent country. Old farmers, a spare leathern-faced race, in homespun coats and breeches, blue stockings, huge shoes, and magnificent pewter buckles. Their brisk withered little dames, in close crimped caps, longwaisted short gowns, homespun petticoats, and gay calico pockets hanging on the outside. Buxom lasses, almost as antiquated in dress as their mothers, excepting where a straw hat, a fine ribbon, or perhaps a white frock gave symptoms of city innovation. The sons, in short square-skirted coats with rows of stupendous brass buttons, and their hair generally queued with an eelskin in the fashion of the times, eelskins being esteemed as a potent nourisher and strengthener of the hair. Brom Bones, however, was the hero of the scene, having come to the gathering on his favorite steed, Daredevil, a creature, like himself, full of mettle and mischief, and which no one but himself could manage. Ichabod was a kind and thankful creature, whose spirits rose with eating as some men's do with drink. He could not help rolling his large eyes round him on the ample charms of a genuine Dutch country tea table in the sumptuous time of autumn. Such heaped-up platters of cakes and crullers of various kinds, known only to experienced Dutch housewives! And then there were apple pies and peach pies and pumpkin pies, besides slices of ham and smoked beef; and, moreover, delectable dishes of preserved plums, and peaches, and pears, and quinces, not to mention broiled shad and roasted chickens; together with bowls of milk and cream, with the motherly teapot sending up its clouds of vapor from the midst. Ichabod chuckled with the possibility that he might one day be lord of all this scene of almost unimaginable luxury and splendor. Then, he thought, how soon he'd turn his back upon the old schoolhouse and snap his fingers in the face of every niggardly patron! And now the sound of the music from the hall summoned to the dance. The musician was an old gray-headed Negro, who had been the itinerant orchestra of the neighborhood for more than half a century. His instrument was as old and battered as himself. He accompanied every movement of the bow with a motion of the head, bowing almost to the ground and stamping with his foot whenever a fresh couple were to start. Ichabod prided himself upon his dancing as much as upon his vocal powers. Not a limb, not a fiber about him was idle as his loosely hung frame in full motion went clattering about the room. How could the flogger of urchins be otherwise than animated and joyous! The lady of his heart was his partner in the dance, and smiling graciously in reply to all his amorous oglings; while Brom Bones, sorely smitten with love and jealousy, sat brooding by himself in one corner. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

When the dance was at an end, Ichabod was attracted to a knot of the sager folks, who, with old Van Tassel, sat smoking at one end of the piazza, gossiping over former times, and drawing out long stories about ghosts and apparitions, mourning cries and wailings, seen and heard in the neighborhood. Some mention was made of the woman in white, who haunted the dark glen at Raven Rock, and was often heard to shriek on winter nights before a storm, having perished there in the snow. The chief part of the stories, however, turned upon the favorite specter of Sleepy Hollow, the Headless Horseman, who had been heard several times of late near the bridge that crossed the brook in the woody dell next to the church; and, it was said, tethered his horse nightly among the graves in the churchyard. The tale was told of old Brouwer, a most heretical disbeliever in ghosts, how he met the horseman returning from his foray into Sleepy Hollow, and was obliged to get up behind him; how they galloped over hill and swamp until they reached the church bridge. There the horseman suddenly turned into a skeleton, threw old Brouwer into the brook, and sprang away over the treetops with a clap of thunder. This story was matched by Brom Bones, who made light of the Galloping Hessian as an arrant jockey. He affirmed that, on returning one night from a neighboring village, he had been overtaken by this midnight trooper; that he had offered to race with him for a bowl of punch, and should have won it, too; but just as they came to the church bridge, the Hessian bolted, and vanished in a flash of fire. The revel now gradually broke up. The old farmers gathered together their families in their wagons, and were heard for some time rattling along over the distant hills. Some of the damsels mounted behind their favorite swains, and their lighthearted laughter, mingling with the clatter of hoofs, echoed along the silent woodlands. Ichabod only lingered behind, according to the custom of country lovers, to have a tete-a-tete with the heiress, fully convinced that he was now on the highroad to success. Something, however, I fear me, must have gone wrong, for he sallied forth, after no very great interval, with an air quite desolate and chopfallen. Oh, these women! these women! Was Katrina's encouragement of the poor pedagogue all a mere trick to secure her conquest of his rival! Let it suffice to say, Ichabod stole forth with the air of one who had been sacking a henroost, rather than a fair lady's heart. Without looking to the right or left, he went straight to the stable, and with several hearty cuffs and kicks, roused his steed most uncourteously. It was the very witching time of night that Ichabod, heavyhearted and crestfallen, pursued his travel homeward. Far below, the Tappan Zee spread its dusky waters. In the dead hush of midnight he could hear the faint barking of a watchdog from the opposite shore. The night grew darker and darker; the stars seemed to sink deeper in the sky, and driving clouds occasionally hid them from his sight. He had never felt so lonely and dismal. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

All the stories of ghosts and goblins that he had heard earlier now came crowding upon his recollection. He would, moreover, soon be approaching the very place where many of the scenes of the ghost stories had been laid. Just ahead, where a small brook crossed the road, a few rough logs lying side by side served for a bridge. A group of oaks and chestnuts, matted thick with wild grapevines, threw a cavernous gloom over it. Ichabod gave Gunpowder half a score of kicks in his starveling ribs, and attempted to dash briskly across the bridge; but instead of starting forward, the perverse old animal only plunged to the opposite side of the road into a thicket of brambles. He came to a stand just by the bridge, with a suddenness that nearly sent his rider sprawling over his head. Just at this moment, in the dark shadow on the margin of the brook, Ichabod beheld something huge, misshapen, black, and towering. It stirred not, but seemed gathered up in the gloom, like some gigantic monster ready to spring upon the traveler. The hair of the affrighted schoolteacher rose upon his head, but, summoning up a show of courage, he demanded in stammering accents, "Who are you!" He received no reply. He repeated his demand in a still more agitated voice. Still there was no answer. Once more he cudgeled the sides of the inflexible Gunpowder and, shutting his eyes, broke forth with involuntary fervor into a psalm tune. Just then the shadowy object of alarm put itself in motion and, with a scramble and a bound, stood at once in the middle of the road. He appeared to be a horseman of large dimensions, and mounted on a black horse of powerful frame. He kept aloof on one side of the road, jogging along on the blind side of old Gunpowder, who had now got over his waywardness. Ichabod quickened his steed, in hopes of leaving this midnight companion behind. The stranger, however, quickened his horse to an equal pace. Ichabod pulled up, and fell into a walk, thinking to lag behind - the other did the same. His heart began to sink within him. There was something in the stranger's moody silence that was appalling. It was soon fearfully accounted for. On mounting a rising ground, which brought the figure of his fellow traveler in relief against the sky, gigantic in height, and muffled in a cloak, Ichabod was horrorstruck on perceiving that he was headless! But his horror was still more increased on observing that the stranger's head was carried before him on the pommel of the saddle. Ichabod's terror rose to desperation; he rained a shower of kicks and blows upon Gunpowder, hoping to give his companion the slip, but the specter started full jump with him. Away then they dashed, stones flying and sparks flashing at every bound. Ichabod's flimsy garments fluttered in the air, as he stretched his long lank body away over his horse's head in the eagerness of his flight.

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They had now reached that stretch of the road which descends to Sleepy Hollow, shaded by trees for about a quarter of a mile, where it crosses the famous church bridge just before the green knoll on which stands the church. Gunpowder, who seemed possessed with a demon, plunged headlong downhill. As yet his panic had given his unskillful rider an apparent advantage in the chase; but just as he had got halfway through the hollow, the girths of the saddle gave way, and Ichabod felt it slipping from under him. He had just time to save himself by clasping old Gunpowder round the neck when the saddle fell to the earth. He had much ado to maintain his seat, sometimes slipping on one side, sometimes on another, and sometimes jolted on the high ridge of his horse's backbone, with a violence that he feared would cleave him asunder. An opening in the trees now cheered him with the hopes that the church bridge was at hand. He saw the whitewashed walls of the church dimly glaring under the trees beyond. He recollected the place where Brom Bones's ghostly competitor had disappeared. "If I can but reach that bridge," thought Ichabod, "I am safe." Just then he heard the black steed panting and blowing close behind him; he even fancied that he felt his hot breath. Another convuisive kick in the ribs, and old Gunpowder sprang upon the bridge; he thundered over the resounding planks; he gained the opposite side; and now Ichabod cast a look behind to see if his pursuer should vanish, according to rule, in a flash of fire and brimstone. Just then he saw the goblin rising in his stirrups, in the very act of hurling his head at him. Ichabod endeavored to dodge the horrible missile, but too late. It encountered his cranium with a tremendous crash - he was tumbled headlong into the dust, and Gunpowder, the black steed, and the goblin rider passed by like a whirlwind. The next morning old Gunpowder was found without his saddle, and with the bridle under his feet, soberly cropping the grass at his master's gate. Ichabod did not make his appearance at breakfast; dinner hour came, but no Ichabod. The boys assembled at the schoolhouse, and strolled idly about the banks of the brook; but no schoolmaster. An inquiry was set on foot, and after diligent investigation they came upon the saddle trampled in the dirt. The tracks of horses' hoofs deeply dented in the road were traced to the bridge, beyond which, on the bank of a broad part of the brook, was found the hat of the unfortunate Ichabod, and close beside it a shattered pumpkin. The brook was searched, but the body of the schoolmaster was not to be discovered. The mysterious event caused much speculation at the church on the following Sunday. Knots of gazers were collected in the churchyard, at the bridge, and at the spot where the hat and pumpkin had been found. They shook their heads, and came to the conclusion that Ichabod had been carried off by the Galloping Hessian. As he was a bachelor, and in nobody's debt, nobody troubled his head anymore about him. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

It is true, an old farmer who had been down to New York on a visit several years after brought home the intelligence that Ichabod Crane was still alive; that he had only changed his quarters to a distant part of the country, had kept school and studied law at the same time, had turned politician, and finally had been made a justice of the Ten Pound Court. Brom Bones too, who shortly after his rival's disappearance conducted the blooming Katrina to the altar, was observed to look exceedingly knowing whenever the story of Ichabod was related, and always burst into a hearty laugh at the mention of the pumpkin, which led some to suspect that he knew more about the matter than he chose to tell. The old country wives, however, who are the best judges of these matters, maintain to this day that Ichabod was spirited away by supernatural means. The bridge became more than ever an object of superstitious awe, and that may be the reason why the road has been altered of late years, so as to approach the church by the border of the millpond. The schoolhouse, being deserted, soon fell to decay, and was reported to be haunted by the ghost of the unfortunate teacher; and the ploughboy, loitering homeward of a still summer evening, has often fancied Ichabod's voice at a distance, chanting a melancholy psalm tune among the tranquil solitudes of Sleepy Hollow.

Exercise 1 REFLECTION AND DISCUSSION

1. What could be the purpose of the writer in giving so much attention to the drowsy bewitched atmosphere of Sleepy Hollow? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 2. How was Ichabod as a teacher? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

3. Describe Katrina Van Tassel. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 4. Infer why you think Ichabod lost out to his rival. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 5. What was the purpose for stressing ―haunting‖ tales around the churchyard? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

GRAMMAR NOTES Using the Direct and Indirect Speech in Reporting Statements and Quotations Observe the following rules in changing direct to indirect speech. 1. To change a question to indirect discourse, observe the change in the word order; also the verb in the question is changed to agree with the tense of the verb in the speaker portion. Example: Alma asked, ―Why do I have to come early?‖ Alma asked why she had to come early. 2. For questions answerable by yes or no, use if or whether to introduce the question part that becomes an if-clause. Example: YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Nico asked Alma, ―Did you hear the announcement about the weather?‖ Nico asked Alma if she heard the announcement about the weather. 3. Changing statements and questions to indirect speech produces a complex sentence with a principal and a subordinate clause. The subject of the principal clause is the speaker (in the direct speech) and the subordinate clause which is introduced by the conjunction that contains what he said. 4. Pronouns used in direct speech are also changed. Example: ―We are successful in our campaign against drug addiction,‖ declared the officials. The officials declared that they were successful in their campaign against drug addiction. Note how the sentences containing speaking parts as direct speech are punctuated. 1. The most insolent of the young men asked, ―Why do you live on so long, old fool?‖ 2. ―I‘ll live on thus,‖ the old man replied, ―because however far I wander through the world, I find no one who will give me his youth in exchange for my age.‖

Exercise 2 Change the following to indirect speech. 1. Boy: ―Forewarned is forearmed that is what my mother used to tell me.‖ ______________________________________________________________ ______________________________________________________________ 2. Gamester: ―So tell us where he is, old rascal, or you shall pay for it.‖ ______________________________________________________________ ______________________________________________________________

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3. Old man: ―Sir, if you are so anxious to meet with Death, turn up this crooked path to that oak.‖ ______________________________________________________________ ______________________________________________________________ 4. Villain to his male companion: ―If you will keep in secret, I will tell you in a few words how it can be managed.‖ ______________________________________________________________ ______________________________________________________________ 5. Youngest villain: ―If only I might have the whole of this treasure to myself, there is no man under heaven should live so merry a life as I.‖ ______________________________________________________________ ______________________________________________________________

Exercise 3 Rewrite the following dialogues and punctuate them correctly. 1. Have you read Geoffrey Chaucer‘s Canterbury Tales asked the librarian. 2. Yes I have answered Lito many parts are interesting. 3. Of all his stories I like best ―The Pardoner‘s Tale‖ remarked a classmate. 4. I haven‘t read Amy said Alice I have no patience reading Old English stories where the spelling of words is so different. 5. No wonder even up to now, some English words are difficult to spell joined in another student.

Lesson 2

Focusing on the Conflict in a Short Story

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The Lady, or the Tiger? by Frank R. Stockton

In the very olden time there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammeled, as became the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing, and, when he and himself agreed upon anything, the thing was done. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but, whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight and crush down uneven places. Among the borrowed notions by which his barbarism had become semified was that of the public arena, in which, by exhibitions of manly and beastly valor, the minds of his subjects were refined and cultured. But even here the exuberant and barbaric fancy asserted itself. The arena of the king was built, not to give the people an opportunity of hearing the rhapsodies of dying gladiators, nor to enable them to view the inevitable conclusion of a conflict between religious opinions and hungry jaws, but for purposes far better adapted to widen and develop the mental energies of the people. This vast amphitheater, with its encircling galleries, its mysterious vaults, and its unseen passages, was an agent of poetic justice, in which crime was punished, or virtue rewarded, by the decrees of an impartial and incorruptible chance. When a subject was accused of a crime of sufficient importance to interest the king, public notice was given that on an appointed day the fate of the accused person would be decided in the king's arena, a structure which well deserved its name, for, although its form and plan were borrowed from afar, its purpose emanated solely from the brain of this man, who, every barleycorn a king, knew no YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

tradition to which he owed more allegiance than pleased his fancy, and who ingrafted on every adopted form of human thought and action the rich growth of his barbaric idealism. When all the people had assembled in the galleries, and the king, surrounded by his court, sat high up on his throne of royal state on one side of the arena, he gave a signal, a door beneath him opened, and the accused subject stepped out into the amphitheater. Directly opposite him, on the other side of the enclosed space, were two doors, exactly alike and side by side. It was the duty and the privilege of the person on trial to walk directly to these doors and open one of them. He could open either door he pleased; he was subject to no guidance or influence but that of the aforementioned impartial and incorruptible chance. If he opened the one, there came out of it a hungry tiger, the fiercest and most cruel that could be procured, which immediately sprang upon him and tore him to pieces as a punishment for his guilt. The moment that the case of the criminal was thus decided, doleful iron bells were clanged, great wails went up from the hired mourners posted on the outer rim of the arena, and the vast audience, with bowed heads and downcast hearts, wended slowly their homeward way, mourning greatly that one so young and fair, or so old and respected, should have merited so dire a fate. But, if the accused person opened the other door, there came forth from it a lady, the most suitable to his years and station that his majesty could select among his fair subjects, and to this lady he was immediately married, as a reward of his innocence. It mattered not that he might already possess a wife and family, or that his affections might be engaged upon an object of his own selection; the king allowed no such subordinate arrangements to interfere with his great scheme of retribution and reward. The exercises, as in the other instance, took place immediately, and in the arena. Another door opened beneath the king, and a priest, followed by a band of choristers, and dancing maidens blowing joyous airs on golden horns and treading an epithalamic measure, advanced to where the pair stood, side by side, and the wedding was promptly and cheerily solemnized. Then the gay brass bells rang forth their merry peals, the people shouted glad hurrahs, and the innocent man, preceded by children strewing flowers on his path, led his bride to his home. This was the king's semi-barbaric method of administering justice. Its perfect fairness is obvious. The criminal could not know out of which door would come the YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

lady; he opened either he pleased, without having the slightest idea whether, in the next instant, he was to be devoured or married. On some occasions the tiger came out of one door, and on some out of the other. The decisions of this tribunal were not only fair, they were positively determinate: the accused person was instantly punished if he found himself guilty, and, if innocent, he was rewarded on the spot, whether he liked it or not. There was no escape from the judgments of the king's arena. The institution was a very popular one. When the people gathered together on one of the great trial days, they never knew whether they were to witness a bloody slaughter or a hilarious wedding. This element of uncertainty lent an interest to the occasion which it could not otherwise have attained. Thus, the masses were entertained and pleased, and the thinking part of the community could bring no charge of unfairness against this plan, for did not the accused person have the whole matter in his own hands? This semi-barbaric king had a daughter as blooming as his most florid fancies, and with a soul as fervent and imperious as his own. As is usual in such cases, she was the apple of his eye, and was loved by him above all humanity. Among his courtiers was a young man of that fineness of blood and lowness of station common to the conventional heroes of romance who love royal maidens. This royal maiden was well satisfied with her lover, for he was handsome and brave to a degree unsurpassed in all this kingdom, and she loved him with an ardor that had enough of barbarism in it to make it exceedingly warm and strong. This love affair moved on happily for many months, until one day the king happened to discover its existence. He did not hesitate nor waver in regard to his duty in the premises. The youth was immediately cast into prison, and a day was appointed for his trial in the king's arena. This, of course, was an especially important occasion, and his majesty, as well as all the people, was greatly interested in the workings and development of this trial. Never before had such a case occurred; never before had a subject dared to love the daughter of the king. In after years such things became commonplace enough, but then they were in no slight degree novel and startling. The tiger-cages of the kingdom were searched for the most savage and relentless beasts, from which the fiercest monster might be selected for the arena; and the ranks of maiden youth and beauty throughout the land were carefully YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

surveyed by competent judges in order that the young man might have a fitting bride in case fate did not determine for him a different destiny. Of course, everybody knew that the deed with which the accused was charged had been done. He had loved the princess, and neither he, she, nor any one else, thought of denying the fact; but the king would not think of allowing any fact of this kind to interfere with the workings of the tribunal, in which he took such great delight and satisfaction. No matter how the affair turned out, the youth would be disposed of, and the king would take an aesthetic pleasure in watching the course of events, which would determine whether or not the young man had done wrong in allowing himself to love the princess. The appointed day arrived. From far and near the people gathered, and thronged the great galleries of the arena, and crowds, unable to gain admittance, massed themselves against its outside walls. The king and his court were in their places, opposite the twin doors, those fateful portals, so terrible in their similarity. All was ready. The signal was given. A door beneath the royal party opened, and the lover of the princess walked into the arena. Tall, beautiful, fair, his appearance was greeted with a low hum of admiration and anxiety. Half the audience had not known so grand a youth had lived among them. No wonder the princess loved him! What a terrible thing for him to be there! As the youth advanced into the arena he turned, as the custom was, to bow to the king, but he did not think at all of that royal personage. His eyes were fixed upon the princess, who sat to the right of her father. Had it not been for the moiety of barbarism in her nature it is probable that lady would not have been there, but her intense and fervid soul would not allow her to be absent on an occasion in which she was so terribly interested. From the moment that the decree had gone forth that her lover should decide his fate in the king's arena, she had thought of nothing, night or day, but this great event and the various subjects connected with it. Possessed of more power, influence, and force of character than any one who had ever before been interested in such a case, she had done what no other person had done - she had possessed herself of the secret of the doors. She knew in which of the two rooms, that lay behind those doors, stood the cage of the tiger, with its open front, and in which waited the lady. Through these thick doors, heavily curtained with skins on the inside, it was impossible that any noise or suggestion should come from YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

within to the person who should approach to raise the latch of one of them. But gold, and the power of a woman's will, had brought the secret to the princess. And not only did she know in which room stood the lady ready to emerge, all blushing and radiant, should her door be opened, but she knew who the lady was. It was one of the fairest and loveliest of the damsels of the court who had been selected as the reward of the accused youth, should he be proved innocent of the crime of aspiring to one so far above him; and the princess hated her. Often had she seen, or imagined that she had seen, this fair creature throwing glances of admiration upon the person of her lover, and sometimes she thought these glances were perceived, and even returned. Now and then she had seen them talking together; it was but for a moment or two, but much can be said in a brief space; it may have been on most unimportant topics, but how could she know that? The girl was lovely, but she had dared to raise her eyes to the loved one of the princess; and, with all the intensity of the savage blood transmitted to her through long lines of wholly barbaric ancestors, she hated the woman who blushed and trembled behind that silent door. When her lover turned and looked at her, and his eye met hers as she sat there, paler and whiter than any one in the vast ocean of anxious faces about her, he saw, by that power of quick perception which is given to those whose souls are one, that she knew behind which door crouched the tiger, and behind which stood the lady. He had expected her to know it. He understood her nature, and his soul was assured that she would never rest until she had made plain to herself this thing, hidden to all other lookers-on, even to the king. The only hope for the youth in which there was any element of certainty was based upon the success of the princess in discovering this mystery; and the moment he looked upon her, he saw she had succeeded, as in his soul he knew she would succeed. Then it was that his quick and anxious glance asked the question: "Which?" It was as plain to her as if he shouted it from where he stood. There was not an instant to be lost. The question was asked in a flash; it must be answered in another. Her right arm lay on the cushioned parapet before her. She raised her hand, and made a slight, quick movement toward the right. No one but her lover saw her. Every eye but his was fixed on the man in the arena. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

He turned, and with a firm and rapid step he walked across the empty space. Every heart stopped beating, every breath was held, every eye was fixed immovably upon that man. Without the slightest hesitation, he went to the door on the right, and opened it. Now, the point of the story is this: Did the tiger come out of that door, or did the lady ? The more we reflect upon this question, the harder it is to answer. It involves a study of the human heart which leads us through devious mazes of passion, out of which it is difficult to find our way. Think of it, fair reader, not as if the decision of the question depended upon yourself, but upon that hot-blooded, semi-barbaric princess, her soul at a white heat beneath the combined fires of despair and jealousy. She had lost him, but who should have him? How often, in her waking hours and in her dreams, had she started in wild horror, and covered her face with her hands as she thought of her lover opening the door on the other side of which waited the cruel fangs of the tiger! But how much oftener had she seen him at the other door! How in her grievous reveries had she gnashed her teeth, and torn her hair, when she saw his start of rapturous delight as he opened the door of the lady! How her soul had burned in agony when she had seen him rush to meet that woman, with her flushing cheek and sparkling eye of triumph; when she had seen him lead her forth, his whole frame kindled with the joy of recovered life; when she had heard the glad shouts from the multitude, and the wild ringing of the happy bells; when she had seen the priest, with his joyous followers, advance to the couple, and make them man and wife before her very eyes; and when she had seen them walk away together upon their path of flowers, followed by the tremendous shouts of the hilarious multitude, in which her one despairing shriek was lost and drowned! Would it not be better for him to die at once, and go to wait for her in the blessed regions of semi-barbaric futurity? And yet, that awful tiger, those shrieks, that blood! Her decision had been indicated in an instant, but it had been made after days and nights of anguished deliberation. She had known she would be asked, she had decided what she would answer, and, without the slightest hesitation, she had moved her hand to the right. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

The question of her decision is one not to be lightly considered, and it is not for me to presume to set myself up as the one person able to answer it. And so I leave it with all of you: Which came out of the opened door - the lady, or the tiger?

Exercise 1 REFLECTION AND DISCUSSION

1. What was the kingâ&#x20AC;&#x2DC;s method of administering justice? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 2. What crime was committed by the young man? Why were his actions considered a crime? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 3. When the Day of Judgment came and the young man was in the arena, what did he do? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 4. What did the princess know about the lady behind one of the doors? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 5. What would make the princess decide to save the young manâ&#x20AC;&#x2DC;s life? What would make her send him to his death? YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 6. The story left it opens for readers at the end. How effective was this technique? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

GRAMMAR NOTES Prepositions and Prepositional Phrases Prepositions show relationship between words as to location, direction, time, cause, or possession. A prepositional phrase is a group of words that consists of a preposition followed by a noun/pronoun object.

A preposition and an adverb may take the same form. If an object follows the word, then the word functions as a preposition. If an object is not needed, the word is used as an adverb.

Read the following sentences. Note carefully how the underlined words show relationship between words in each of the sentences.

1. On the eastern shore of the Hudson there lies a small market town known by the name of Tarrytown.

2. A drowsy, dreamy influence seemed to hang over the land.

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

3. Some say that the place was bewitched during the early days of settlement.

In Sentence 1, what relationship is shown between on and eastern shore? between of and the Hudson? between by and the name? of and Tarrytown?

How about over and the land in Sentence 2?

In Sentence 3, during shows what relationship with the early days? of with settlement?

The underlined words in the sample sentences are prepositions. Preposition makes it possible to show relationships between words. The relationships shown may involve location, direction, time, cause, or possession.

See how the prepositions relate with the italicized words below.

Time:

The fire burned for three days.

Direction:

The brush fire burned toward our campsite.

Cause:

The brush started because of carelessness.

Possession: Smoke from fire could be seen for miles.

Study the following list so that you can recognize prepositions on sight. Notice that some prepositions are compound; that is, they are made up of more than one word. PREPOSITIONS

aboard

besides

nearby

between

next to

beyond

but

off

underneath about until above unto according to

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

up 35

across from

by means

on account of

concerning

onto

considering

on top of

along

despite

opposite

alongside

down

out

along with

during

out of

amid

except

outside

among

for

over

apart from

from

owing to

around

past

aside from

in addition to

prior to

as of

in back of

regarding

in front of

round

atop

in place of

since

barring

in regard to

through

because of

inside

throughout

before

in spite of

till

behind

instead of

below

into

together with

beneath

toward

beside

near

under

upon after with against within ahead of without

Prepositional Phrases A preposition is always a part of a prepositional phrase. A prepositional phrase is a group of words that includes a preposition and a noun or pronoun. The YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

noun or pronoun after the preposition is called the object of the preposition. Objects may have one or more modifiers. A prepositional phrase may also have more than one object.

Examples: Boo Beepâ&#x20AC;&#x2DC;s sheep walked ahead of her. The shampoo bottle on the shelf was almost empty. Our new house is located near schools and stores.

In some questions, prepositional phrase are broken up.

Examples:

What are we talking about? Where did this come from?

Preposition or Adverb? Since prepositions and adverbs occasionally take the same form, they may be difficult to tell apart. Words that can function in either role include around, before, behind, down, in, off, on, out, over, and up. To determine the part of speech of each word, see if an object accompanies the word. If yes, the word used is a preposition. Otherwise, it functions as an adverb.

Preposition:

The girl ran down the hill.

Adverb:

The flag was taken down.

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Exercises 2 Underline the prepositional phrase and encircle each preposition. Number one is done.

1. Not far from this village, there is a little valley, among the high hills, which is one of the quietest places in the whole world.

2. Others say that an old Indian chief held his powwow there before the country was discovered by Hendrik Hudson.

3. Certain it is, the place still continues under the sway of some watching power that holds a spell over the minds of the good people.

4. The whole neighbourhood abounds with local tales, haunted spots, and twilight superstitions.

5. Stars shoot and meteors glare more often than in any other part of the country.

Exercise 3 Identify the underlined word in each sentence as preposition, write P on the answer line and encircle its object. If it is an adverb, write A on the line. Number one and two are done.

__P__ 1. The campers actually went up the hill. __A__ 2. When the dancers went away, we left as well. _____ 3. The bull suddenly turned around and charged. _____ 4. The Atlantis was a city below the sea. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

_____ 5. The antique chair was in good condition.

Lesson 4

Identifying the Theme of the Story

The Dollâ&#x20AC;&#x2122;s House by Katherine Mansfield

When dear old Mrs. Hay went back to town after staying with the Burnells she sent the children a doll's house. It was so big that the carter and Pat carried it into the courtyard, and there it stayed, propped up on two wooden boxes beside the feed-room door. No harm could come of it; it was summer. And perhaps the smell of paint would have gone off by the time it had to be taken in. For, really, the smell of paint coming from that doll's house ("Sweet of old Mrs. Hay, of course; most sweet and generous!") -- but the smell of paint was quite enough to make any one seriously ill, in Aunt Beryl's opinion. Even before the sacking was taken off. And when it was . . There stood the doll's house, a dark, oily, spinach green, picked out with bright yellow. Its two solid little chimneys, glued on to the roof, were painted red and white, and the door, gleaming with yellow varnish, was like a little slab of toffee. Four windows, real windows, were divided into panes by a broad streak of green. There was actually a tiny porch, too, painted yellow, with big lumps of congealed paint hanging along the edge. But perfect, perfect little house! Who could possibly mind the smell? It was part of the joy, part of the newness. "Open it quickly, some one!" The hook at the side was stuck fast. Pat pried it open with his pen- knife, and the whole house-front swung back, and-there you were, gazing at one and the same moment into the drawing-room and dining-room, the kitchen and two bedrooms. That is the way for a house to open! Why don't all houses open like that? How much more exciting than peering through the slit of a door into a mean little hall with a hat-stand and two umbrellas! That is-isn't it? -- what you long to know about a house when you YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

put your hand on the knocker. Perhaps it is the way God opens houses at dead of night when He is taking a quiet turn with an angel. . . . "Oh-oh!" The Burnell children sounded as though they were in despair. It was too marvellous; it was too much for them. They had never seen anything like it in their lives. All the rooms were papered. There were pictures on the walls, painted on the paper, with gold frames complete. Red carpet covered all the floors except the kitchen; red plush chairs in the drawing-room, green in the dining-room; tables, beds with real bedclothes, a cradle, a stove, a dresser with tiny plates and one big jug. But what Kezia liked more than anything, what she liked frightfully, was the lamp. It stood in the middle of the dining-room table, an exquisite little amber lamp with a white globe. It was even filled all ready for lighting, though, of course, you couldn't light it. But there was something inside that looked like oil, and that moved when you shook it. The father and mother dolls, who sprawled very stiff as though they had fainted in the drawing-room, and their two little children asleep upstairs, were really too big for the doll's house. They didn't look as though they belonged. But the lamp was perfect. It seemed to smile to Kezia, to say, "I live here." The lamp was real. The Burnell children could hardly walk to school fast enough the next morning. They burned to tell everybody, to describe, to-well-to boast about their doll's house before the school-bell rang. "I'm to tell," said Isabel, "because I'm the eldest. And you two can join in after. But I'm to tell first." There was nothing to answer. Isabel was bossy, but she was always right, and Lottie and Kezia knew too well the powers that went with being eldest. They brushed through the thick buttercups at the road edge and said nothing. "And I'm to choose who's to come and see it first. Mother said I might." For it had been arranged that while the doll's house stood in the courtyard they might ask the girls at school, two at a time, to come and look. Not to stay to tea, of course, or to come traipsing through the house. But just to stand quietly in the courtyard while Isabel pointed out the beauties, and Lottie and Kezia looked pleased. ... But hurry as they might, by the time they had reached the tarred palings of the boys' playground the bell had begun to jangle. They only just had time to whip off YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

their hats and fall into line before the roll was called. Never mind. Isabel tried to make up for it by looking very important and mysterious and by whispering behind her hand to the girls near her, "Got something to tell you at playtime." Playtime came and Isabel was surrounded. The girls of her class nearly fought to put their arms round her, to walk away with her, to beam flatteringly, to be her special friend. She held quite a court under the huge pine trees at the side of the playground. Nudging, giggling together, the little girls pressed up close. And the only two who stayed outside the ring were the two who were always outside, the little Kelveys. They knew better than to come anywhere near the Burnells. For the fact was, the school the Burnell children went to was not at all the kind of place their parents would have chosen if there had been any choice. But there was none. It was the only school for miles. And the consequence was all the children in the neighborhood, the judge's little girls, the doctor's daughters, the store-keeper's children, the milkman's, were forced to mix together. Not to speak of there being an equal number of rude, rough little boys as well. But the line had to be drawn somewhere. It was drawn at the Kelveys. Many of the children, including the Burnells, were not allowed even to speak to them. They walked past the Kelveys with their heads in the air, and as they set the fashion in all matters of behaviour, the Kelveys were shunned by everybody. Even the teacher had a special voice for them, and a special smile for the other children when Lil Kelvey came up to her desk with a bunch of dreadfully common-looking flowers. They were the daughters of a spry, hardworking little washerwoman, who went about from house to house by the day. This was awful enough. But where was Mr. Kelvey? Nobody knew for certain. But everybody said he was in prison. So they were the daughters of a washerwoman and a gaolbird. Very nice company for other people's children! And they looked it. Why Mrs. Kelvey made them so conspicuous was hard to understand. The truth was they were dressed in "bits" given to her by the people for whom she worked. Lil, for instance, who was a stout, plain child, with big freckles, came to school in a dress made from a green art-serge table-cloth of the Burnells', with red plush sleeves from the Logans' curtains. Her hat, perched on top of her high forehead, was a grown-up woman's hat, once the property of Miss Lecky, the postmistress. It was turned up at the back and trimmed with a large scarlet quill. What a little guy she looked! It was impossible not to laugh. And her little sister, our YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Else, wore a long white dress, rather like a nightgown, and a pair of little boy's boots. But whatever our Else wore she would have looked strange. She was a tiny wishbone of a child, with cropped hair and enormous solemn eyes-a little white owl. Nobody had ever seen her smile; she scarcely ever spoke. She went through life holding on to Lil, with a piece of Lil's skirt screwed up in her hand. Where Lil went our Else followed. In the playground, on the road going to and from school, there was Lil marching in front and our Else holding on behind. Only when she wanted anything, or when she was out of breath, our Else gave Lil a tug, a twitch, and Lil stopped and turned round. The Kelveys never failed to understand each other. Now they hovered at the edge; you couldn't stop them listening. When the little girls turned round and sneered, Lil, as usual, gave her silly, shamefaced smile, but our Else only looked. And Isabel's voice, so very proud, went on telling. The carpet made a great sensation, but so did the beds with real bedclothes, and the stove with an oven door. When she finished Kezia broke in. "You've forgotten the lamp, Isabel." "Oh, yes," said Isabel, "and there's a teeny little lamp, all made of yellow glass, with a white globe that stands on the dining-room table. You couldn't tell it from a real one." "The lamp's best of all," cried Kezia. She thought Isabel wasn't making half enough of the little lamp. But nobody paid any attention. Isabel was choosing the two who were to come back with them that afternoon and see it. She chose Emmie Cole and Lena Logan. But when the others knew they were all to have a chance, they couldn't be nice enough to Isabel. One by one they put their arms round Isabel's waist and walked her off. They had something to whisper to her, a secret. "Isabel's my friend." Only the little Kelveys moved away forgotten; there was nothing more for them to hear. Days passed, and as more children saw the doll's house, the fame of it spread. It became the one subject, the rage. The one question was, "Have you seen Burnells' doll's house?" "Oh, ain't it lovely!" "Haven't you seen it? Oh, I say!" Even the dinner hour was given up to talking about it. The little girls sat under the pines eating their thick mutton sandwiches and big slabs of johnny cake spread with butter. While always, as near as they could get, sat the Kelveys, our Else YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

holding on to Lil, listening too, while they chewed their jam sandwiches out of a newspaper soaked with large red blobs. "Mother," said Kezia, "can't I ask the Kelveys just once?" "Certainly not, Kezia." "But why not?" "Run away, Kezia; you know quite well why not." At last everybody had seen it except them. On that day the subject rather flagged. It was the dinner hour. The children stood together under the pine trees, and suddenly, as they looked at the Kelveys eating out of their paper, always by themselves, always listening, they wanted to be horrid to them. Emmie Cole started the whisper. "Lil Kelvey's going to be a servant when she grows up." "O-oh, how awful!" said Isabel Burnell, and she made eyes at Emmie. Emmie swallowed in a very meaning way and nodded to Isabel as she'd seen her mother do on those occasions. "It's true-it's true-it's true," she said. Then Lena Logan's little eyes snapped. "Shall I ask her?" she whispered. "Bet you don't," said Jessie May. "Pooh, I'm not frightened," said Lena. Suddenly she gave a little squeal and danced in front of the other girls. "Watch! Watch me! Watch me now!" said Lena. And sliding, gliding, dragging one foot, giggling behind her hand, Lena went over to the Kelveys. Lil looked up from her dinner. She wrapped the rest quickly away. Our Else stopped chewing. What was coming now? "Is it true you're going to be a servant when you grow up, Lil Kelvey?" shrilled Lena. Dead silence. But instead of answering, Lil only gave her silly, shame-faced smile. She didn't seem to mind the question at all. What a sell for Lena! The girls began to titter. Lena couldn't stand that. She put her hands on her hips; she shot forward. "Yah, yer father's in prison!" she hissed, spitefully. This was such a marvellous thing to have said that the little girls rushed away in a body, deeply, deeply excited, wild with joy. Someone found a long rope, and YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

they began skipping. And never did they skip so high, run in and out so fast, or do such daring things as on that morning.

In the afternoon Pat called for the Burnell children with the buggy and they drove home. There were visitors. Isabel and Lottie, who liked visitors, went upstairs to change their pinafores. But Kezia thieved out at the back. Nobody was about; she began to swing on the big white gates of the courtyard. Presently, looking along the road, she saw two little dots. They grew bigger, they were coming towards her. Now she could see that one was in front and one close behind. Now she could see that they were the Kelveys. Kezia stopped swinging. She slipped off the gate as if she was going to run away. Then she hesitated. The Kelveys came nearer, and beside them walked their shadows, very long, stretching right across the road with their heads in the buttercups. Kezia clambered back on the gate; she had made up her mind; she swung out. "Hullo," she said to the passing Kelveys. They were so astounded that they stopped. Lil gave her silly smile. Our Else stared. "You can come and see our doll's house if you want to," said Kezia, and she dragged one toe on the ground. But at that Lil turned red and shook her head quickly. "Why not?" asked Kezia. Lil gasped, then she said, "Your ma told our ma you wasn't to speak to us." "Oh, well," said Kezia. She didn't know what to reply. "It doesn't matter. You can come and see our doll's house all the same. Come on. Nobody's looking." But Lil shook her head still harder. "Don't you want to?" asked Kezia. Suddenly there was a twitch, a tug at Lil's skirt. She turned round. Our Else was looking at her with big, imploring eyes; she was frowning; she wanted to go. For a moment Lil looked at our Else very doubtfully. But then our Else twitched her skirt again. She started forward. Kezia led the way. Like two little stray cats they followed across the courtyard to where the doll's house stood. "There it is," said Kezia. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

There was a pause. Lil breathed loudly, almost snorted; our Else was still as a stone. "I'll open it for you," said Kezia kindly. She undid the hook and they looked inside. "There's the drawing-room and the dining-room, and that's the-" "Kezia!" Oh, what a start they gave! "Kezia!" It was Aunt Beryl's voice. They turned round. At the back door stood Aunt Beryl, staring as if she couldn't believe what she saw. "How dare you ask the little Kelveys into the courtyard?" said her cold, furious voice. "You know as well as I do, you're not allowed to talk to them. Run away, children, run away at once. And don't come back again," said Aunt Beryl. And she stepped into the yard and shooed them out as if they were chickens. "Off you go immediately!" she called, cold and proud. They did not need telling twice. Burning with shame, shrinking together, Lil huddling along like her mother, our Else dazed, somehow they crossed the big courtyard and squeezed through the white gate. "Wicked, disobedient little girl!" said Aunt Beryl bitterly to Kezia, and she slammed the doll's house to. The afternoon had been awful. A letter had come from Willie Brent, a terrifying, threatening letter, saying if she did not meet him that evening in Pulman's Bush, he'd come to the front door and ask the reason why! But now that she had frightened those little rats of Kelveys and given Kezia a good scolding, her heart felt lighter. That ghastly pressure was gone. She went back to the house humming. When the Kelveys were well out of sight of Burnells', they sat down to rest on a big red drain-pipe by the side of the road. Lil's cheeks were still burning; she took off the hat with the quill and held it on her knee. Dreamily they looked over the hay paddocks, past the creek, to the group of wattles where Logan's cows stood waiting to be milked. What were their thoughts? Presently our Else nudged up close to her sister. But now she had forgotten the cross lady. She put out a finger and stroked her sister's quill; she smiled her rare smile. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

"I seen the little lamp," she said, softly. Then both were silent once more.

Exercise 1 REFLECTION AND DISCUSSION

1. Who was Mrs. Hay? What do you think was her reason for staying at the Burnell‘s? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 2. Describe the external and internal appearance of the doll‘s house. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 3. Name the characters and give some of their character traits. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 4. What were the children‘s reactions towards the doll‘s house? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 5. Describe how the children relate to each other. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

6. Notice that ―our Else‖ was mentioned many times. What do you think is the significance of this in the theme of the story? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 7. Explain how you think the children‘s cruelty to the Kelveys has been influenced by their parents. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 8. What are the present and future effects of this cruelty on the Kelvey children‘s behaviour, attitude and values? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

GRAMMAR NOTES Conjunctions Conjunctions

may

classified

coordinating,

correlative,

subordinating. Coordinating conjunctions connect similar parts of speech or group of words of equal rank. Correlative conjunctions work in pairs and join elements of the same weight. Subordinating conjunctions join two complete ideas by making one subordinate to or dependent on the other.

Go over the following sentences and note the underlined word/s in each sentence. What words are connected by the underlined word/s?

1. Ichabod had a soft and foolish heart towards the ladies. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

2. He was always ready for a fight or a frolic.

3. She was a blooming lush of eighteen, plump as a partridge and famed not only for her beauty but also for her vast expectations.

4. He was the kind to carry the whole budget of local gossip from house to house so that his appearance was always greeted with satisfaction.

In Sentence 1, what words are connected by and?

In Sentence 2, what words are connected by or? In Sentence 3, what group of words are connected by not only â&#x20AC;&#x201C; but also?

In Sentence 4, what are connected by so that? The underlined words and, or, not only â&#x20AC;&#x201C; but also, and so that are called conjunctions.

A conjunction is a word used to connect other words or groups of words within sentences. There are three (3) main kinds of conjunctions: coordinating, correlative, and subordinating.

Coordinating Conjunctions

Five coordinating conjunctions are used to connect similar parts of speech or groups of words of equal grammatical weight.

and

With Nouns and Pronouns:

but

or / nor

for

Shaira and I attended the concert.

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

With Verbs:

Our puppu whined and scratched at the door.

With Adjectives:

The steak was slightly tough but tasty.

With Adverbs:

The telephone operator responded quickly but

incorrectly.

With Prepositional Phrases:

Ken will go to Greece or to Egypt.

With Subordinate Ideas:

The agency said that jobs abroad were available

but that qualified personnel to fill them were not.

With Complete Ideas/Independent Clauses:

Tamara seemed distress, so we discussed her problem.

Correlative Conjunctions

Working in pairs, the five correlative conjunctions join elements of equal grammatical weight in sentences in much the same manner as coordinating conjunctions do. both – and

either – or

not only – but also

neither – nor

whether – or

Examples:

Both the employers and the employees agree.

Call either Ed or me if you need help. The wind was not only strong but also cold. Whether we join the team or rehearse for the alarm is not a problem. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Neither did the fever go down nor did the pain subside.

Subordinating Conjunctions

Subordinating conjunctions join two complete ideas by making one of these ideas subordinate to or dependent upon the other.

after

before

now that

until

(â&#x20AC;&#x2DC;til,

although

even if

provided

when

even though

since

whenever

as if

how

so that

where

as long as

than

wherever

as soon as

inasmuch as

that

while

as though

in order that

though

because

lest

unless

till)

The subordinating idea in a sentence always begin with a subordinating conjunction and make up what is known as subordinating clause. A subordinating clause may either follow or precede the main idea/clause in a sentence.

Examples: The referees watch carefully lest they miss a key play. Main Idea

Subordinate Idea

Although the fumigator sprayed, the mosquitoes remained. Subordinate Idea

Main Idea

When trying to identify subordinate conjunctions, remember that some of these conjunctions can also function as prepositions or adverbs. After, before, since, till, and until often act as prepositions; after, before, when, and where often act as adverbs. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Subordinating Clause Subordinating Conjunction:

(After the billboards were removed,) the natural beauty of the area was restored.

Prepositional Phrase Preposition:

The soup was served (after the appetizer.)

Adverb Adverb:

The parade began at noon and ended an hour

(after.)

Exercise 2

Identify the conjunctions in the sentences. Underline the conjunction in each sentence.

1. He would sit with a child on his knee and rock a cradle with his foot for hours.

2-3. No sign of human life occurred near him, but the chirp of a cricket or the twang of a bullfrog is faintly perceptible.

4-5. Not only had one eye lost its pupil and was glaring but also the other had the gleam of a genuine devil in it.

Exercise 3 Underline the conjunction in each sentence and identify it by writing coordinating, correlative, or subordinating on the answer line.

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Example:

correlative

The student could not decide whether to answer yes or

no.

__________ 1. The math teacher explained the problem but I did not understand it. __________ 2. Oscar is significantly taller than Mario. __________ 3. You should eat fruits, since they are good for your digestion. __________ 4. I checked several catering services before I finally chose Makati Skyline. __________ 5. Unless you reform, you will be expelled.

Lesson 5

Following the Plot Development of a Short Story

Appointment with Love by S.I. Kishnor

In six minutes Lt. Blandford would meet the woman he thought he loved. He had corresponded with her for over a year, but he had never met her or seen her picture. Would he be surprised or disappointed? Six minutes to six, said the clock over the information booth in New York's Grand central Station. The tall young Army lieutenant lifted his sunburned face, and narrowed his eyes to note the exact time. His heart was pounding with a beat that shocked him. In six minutes he would see the woman who had filled such a special place in his life for the past thirteen months, the woman he had never seen, yet those written words had sustained him unfailingly. Lieutenant Blandford remembered one day in particular, the worst of the fighting, when his plane had been caught in the midst of a pack of enemy planes. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

In one of his letters, he had confessed to her that he often felt fear, and only a few days before his battle, he had received her answer: "Of course you fear...all brave men do. Next time you doubt yourself, I want you to hear my voice reciting to you: "Yea, though I walk through the valley of the shadow of death, I shall fear no evil, for Thou art with me"... He had remembered and it had renewed his strength. Now he was going to hear her real voice. Four minutes to six. A girl passed close to him, and Lieutenant Blandford started. She was wearing a flower, but it was not the little red rose they had agreed upon. Besides, the girl was only about 18, and Hollis Meynell had told him she was 30. "What of it?" he had answered. "I'm 32." He was 29. His mind went back to that book he had read in the training camp. Of Human Bondage, it was; and throughout the book were notes in a woman's writing. He had never believed that a woman could see into a man's heart so tenderly, so understandingly. Her name was on the bookplate: Hollis Meynell. He had got hold of a New York City telephone book and found her address. He had written, she had answered. Next day he had been shipped out, but they had gone on writing. For 13 months she had faithfully replied. When his letters did not arrive, she wrote anyway, and now he believed he loved her, and she loved him. But she refused all his pleas to send him her photograph. She had explained: "If your feeling for me has any reality, what I look like won't matter. Suppose I'm beautiful, I'd always be haunted by the feeling that you had been taking a chance on just that, and that kind of love would disgust me. Suppose I'm plain (and you must admit that it is more likely), then I'd always fear that you were only writing because you were lonely and had no one else. No, don't ask for my picture. When you come to New York, you shall see me and then you shall make your decision." One minute to six... Then Lieutenant Blandford's heart leapt. A young woman was coming toward him. Her figure was long and slim; her blond hair lay back in curls from her delicate ears. Her eyes were blue as flowers, her lips and chin had a gentle firmness. In her pale green suit, she was like springtime come alive. He started toward her, forgetting to notice that she was wearing no rose, and as he moved, a small, provocative smile curved her lips. "Going my way, soldier?" she murmured. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

He made one step closer to her. Then he saw Hollis Meynell. She was standing almost directly behind the girl, a woman well past 40, her graying hair tucked under a worn hat. She was more than plump; her thick-ankled feet were thrust into a low-heeled shoe. But she wore a red rose on her rumpled coat. The girl in the green suit was walking quickly away. Blandford felt as if though he were being split into two, so keen was his desire to follow the girl, yet so deep was his longing for the woman whose spirit had truly companioned and upheld his own; and there she stood. He could see that her pale, plump face was gentle and sensible; her grey eyes had a warm twinkle. Lieutenant Blandford did not hesitate. His fingers gripped the worn copy of Human Bondage which was to identify him to her. This would not be love, but it would be something precious, a friendship for which he had been and must ever be grateful... He squared his shoulders, saluted, and held out the book toward the woman, although even while he spoke he felt the bitterness of his disappointment. "I'm Lieutenant John Blandford and you -- you are Miss Meynell. I'm so glad you can meet me. May - may I take you to dinner?" The woman's face broadened in a tolerant smile. "I don't know what this is all about, son," she answered. "That young lady in the green suit, she begged me to wear this rose on my coat. And she said that if you asked me to go out with you, I should tell you that she's waiting for you in that restaurant across the street. She said that it was kind of a test."

Exercise 1 REFLECTION AND DISCUSSION

1. Where and when did the story happen? ______________________________________________________________ ______________________________________________________________ YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

______________________________________________________________ ______________________________________________________________ 2. What was the appointment about? Who were supposed to keep the appointment? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 3. How did Lt. Blanford and Hollis Meynell meet? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 4. What reasons did Miss Meynell give for refusing to send her photograph? What does this reveal about her character? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 5. How did Miss Meynell test Lt. Blanfordâ&#x20AC;&#x2DC;s character? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 6. What American trait is revealed in the opening paragraph? What does Lt. Blanfordâ&#x20AC;&#x2DC;s preoccupation with the clock signify? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 7. How does the outcome of the meeting reveal the character of Miss Meynel and Lt. Blanford?

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

______________________________________________________________ ______________________________________________________________ ______________________________________________________________

GRAMMAR NOTES The Semicolon Uses of the Semicolon 1. To join the independent clauses in place of any of the coordinating conjunctions and, but, for, nor, or, so

Example:

My sister and I discovered the flea markets together; we were pleasantly surprised by the low-priced signature items being sold there.

2. To join independent clauses separated by a conjunctive adverb that indicates any of the ideas (a-e) given below

a. Addition:

furthermore, moreover, besides, also, likewise, accordingly,

namely, similarly, in fact

b. Contrast:

however, nevertheless, still, whereas, on the contrary, on the

other hand, only, yet

c. Choice / Alternative:

otherwise, instead

d. Result:

therefore, thus, consequently, hence, as a result

e. Transition:

next, now, then, finally, in conclusion, first, second, at

this time, for example, that is

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Examples:

Conjunctive adverb of choice:

I‘ll skip the salad; instead, I shall take the

strawberry cake. Conjunctive adverb of transition:

Answer the test questions as best as you can;

then, go over your answers carefully.

3. To signal that independent clauses are items in a series already containing commas

Example:

I was certain that the gatecrashers had left when I heard the mobile system, playing dance music; the guests, talking and laughing; and the guard dogs, no longer barking.

Semicolons are used instead of commas to separate the three major parts of the series. Commas are used within each of the major parts to set off nonessential participial phrases as exemplified above, appositives, or adjective clauses. Study these sentences from the story ―The Lady, or the Tiger?‖

1. The question was asked in a flash; it must be answered in another.

2. Never before had such a case occurred; never before had a subject dared to love the daughter of a king.

3. The only hope for the youth in which there was any element of certainty was based upon the success of the princess in discovering this mystery; and the moment he looked upon her, he saw the princess had succeeded, as in his soul he knew she would succeed.

What is the function of the semicolon in each sentence?

Exercise 2 YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Insert correctly one or more semicolons and commas as needed in each sentence.

1. I am going to subscribe to Vogue and Cosmopolitan they are my favorite magazines.

2. The family has invited their nephew Tommy, a physician from New York their friend Remy, who lives next door and Remyâ&#x20AC;&#x2DC;s sister, who is visiting from Canada for the weekend.

3. Milk is rich in calcium doctors recommend it to prevent osteoporosis.

4. City residents would like to stay in the rural areas for a vacation however they were disappointed with the lack of facilities.

5. Traffic was at a standstill therefore it took us four hours to reach the airport.

Lesson 6

Reading a Short Story Critically and Interpretatively

Scent of Apples by Bienvenido N. Santos

When I arrived in Kalamazoo it was October and the war was still on. Gold and silver stars hung on pennants above silent windows of white and brick-red cottages. In a backyard an old man burned leaves and twigs while a gray-haired woman sat on the porch, her red hands quiet on her lap, watching the smoke rising above the elms, both of them thinking the same thought perhaps, about a tall, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

grinning boy with his blue eyes and flying hair, who went out to war: where could he be now this month when leaves were turning into gold and the fragrance of gathered apples was in the wind? It was a cold night when I left my room at the hotel for a usual speaking engagement. I walked but a little way. A heavy wind coming up from Lake Michigan was icy on the face. If felt like winter straying early in the northern woodlands. Under the lampposts the leaves shone like bronze. And they rolled on the pavements like the ghost feet of a thousand autumns long dead, long before the boys left for faraway lands without great icy winds and promise of winter early in the air, lands without apple trees, the singing and the gold! It was the same night I met Celestino Fabia, "just a Filipino farmer" as he called himself, who had a farm about thirty miles east of Kalamazoo. "You came all that way on a night like this just to hear me talk?" "I've seen no Filipino for so many years now," he answered quickly. "So when I saw your name in the papers where it says you come from the Islands and that you're going to talk, I come right away." Earlier that night I had addressed a college crowd, mostly women. It appeared they wanted me to talk about my country, they wanted me to tell them things about it because my country had become a lost country. Everywhere in the land the enemy stalked. Over it a great silence hung, and their boys were there, unheard from, or they were on their way to some little known island on the Pacific, young boys all, hardly men, thinking of harvest moons and the smell of forest fire. It was not hard talking about our own people. I knew them well and I loved them. And they seemed so far away during those terrible years that I must have spoken of them with a little fervor, a little nostalgia. In the open forum that followed, the audience wanted to know whether there was much difference between our women and the American women. I tried to answer the question as best I could, saying, among other things, that I did not know that much about American women, except that they looked friendly, but differences or similarities in inner qualities such as naturally belonged to the heart or to the mind, I could only speak about with vagueness. While I was trying to explain away the fact that it was not easy to make comparisons, a man rose from the rear of the hall, wanting to say something. In the distance, he YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

looked slight and old and very brown. Even before he spoke, I knew that he was, like me, a Filipino. "I'm a Filipino," he began, loud and clear, in a voice that seemed used to wide open spaces, "I'm just a Filipino farmer out in the country." He waved his hand toward the door. "I left the Philippines more than twenty years ago and have never been back. Never will perhaps. I want to find out, sir, are our Filipino women the same like they were twenty years ago?" As he sat down, the hall filled with voices, hushed and intrigued. I weighed my answer carefully. I did not want to tell a lie yet I did not want to say anything that would seem platitudinous, insincere. But more important than these considerations, it seemed to me that moment as I looked towards my countryman, I must give him an answer that would not make him so unhappy. Surely, all these years, he must have held on to certain ideals, certain beliefs, even illusions peculiar to the exile. "First," I said as the voices gradually died down and every eye seemed upon me, "First, tell me what our women were like twenty years ago." The man stood to answer. "Yes," he said, "you're too young . . . Twenty years ago our women were nice, they were modest, they wore their hair long, they dressed proper and went for no monkey business. They were natural, they went to church regular, and they were faithful." He had spoken slowly, and now in what seemed like an afterthought, added, "It's the men who ain't." Now I knew what I was going to say. "Well," I began, "it will interest you to know that our women have changed--but definitely! The change, however, has been on the outside only. Inside, here," pointing to the heart, "they are the same as they were twenty years ago. Godfearing, faithful, modest, and nice." The man was visibly moved. "I'm very happy, sir," he said, in the manner of one who, having stakes on the land, had found no cause to regret one's sentimental investment. After this, everything that was said and done in that hall that night seemed like an anti-climax, and later, as we walked outside, he gave me his name and told me of his farm thirty miles east of the city. We had stopped at the main entrance to the hotel lobby. We had not talked very much on the way. As a matter of fact, we were never alone. Kindly American YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

friends talked to us, asked us questions, said goodnight. So now I asked him whether he cared to step into the lobby with me and talk. "No, thank you," he said, "you are tired. And I don't want to stay out too late." "Yes, you live very far." "I got a car," he said, "besides . . . " Now he smiled, he truly smiled. All night I had been watching his face and I wondered when he was going to smile. "Will you do me a favor, please," he continued smiling almost sweetly. "I want you to have dinner with my family out in the country. I'd call for you tomorrow afternoon, then drive you back. Will that be alright?" "Of course," I said. "I'd love to meet your family." I was leaving Kalamazoo for Muncie, Indiana, in two days. There was plenty of time. "You will make my wife very happy," he said. "You flatter me." "Honest. She'll be very happy. Ruth is a country girl and hasn't met many Filipinos. I mean Filipinos younger than I, cleaner looking. We're just poor farmer folk, you know, and we don't get to town very often. Roger, that's my boy, he goes to school in town. A bus takes him early in the morning and he's back in the afternoon. He's nice boy." "I bet he is," I agreed. "I've seen the children of some of the boys by their American wives and the boys are tall, taller than their father, and very good looking." "Roger, he'd be tall. You'll like him." Then he said goodbye and I waved to him as he disappeared in the darkness. The next day he came, at about three in the afternoon. There was a mild, ineffectual sun shining, and it was not too cold. He was wearing an old brown tweed jacket and worsted trousers to match. His shoes were polished, and although the green of his tie seemed faded, a colored shirt hardly accentuated it. He looked younger than he appeared the night before now that he was clean shaven and seemed ready to go to a party. He was grinning as we met. "Oh, Ruth can't believe it," he kept repeating as he led me to his car--a nondescript thing in faded black that had known better days and many hands. "I says to her, I'm bringing you a first class Filipino, and she says, aw, go away, quit kidding, there's no such thing as first class Filipino. But Roger, that's my boy, he believed me YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

immediately. What's he like, daddy, he asks. Oh, you will see, I says, he's first class. Like you daddy? No, no, I laugh at him, your daddy ain't first class. Aw, but you are, daddy, he says. So you can see what a nice boy he is, so innocent. Then Ruth starts griping about the house, but the house is a mess, she says. True it's a mess, it's always a mess, but you don't mind, do you? We're poor folks, you know. The trip seemed interminable. We passed through narrow lanes and disappeared into thickets, and came out on barren land overgrown with weeds in places. All around were dead leaves and dry earth. In the distance were apple trees. "Aren't those apple trees?" I asked wanting to be sure. "Yes, those are apple trees," he replied. "Do you like apples? I got lots of 'em. I got an apple orchard, I'll show you." All the beauty of the afternoon seemed in the distance, on the hills, in the dull soft sky. "Those trees are beautiful on the hills," I said. "Autumn's a lovely season. The trees are getting ready to die, and they show their colors, proud-like." "No such thing in our own country," I said. That remark seemed unkind, I realized later. It touched him off on a long deserted tangent, but ever there perhaps. How many times did lonely mind take unpleasant detours away from the familiar winding lanes towards home for fear of this, the remembered hurt, the long lost youth, the grim shadows of the years; how many times indeed, only the exile knows. It was a rugged road we were traveling and the car made so much noise that I could not hear everything he said, but I understood him. He was telling his story for the first time in many years. He was remembering his own youth. He was thinking of home. In these odd moments there seemed no cause for fear no cause at all, no pain. That would come later. In the night perhaps. Or lonely on the farm under the apple trees. In this old Visayan town, the streets are narrow and dirty and strewn with coral shells. You have been there? You could not have missed our house, it was the biggest in town, one of the oldest, ours was a big family. The house stood right on the edge of the street. A door opened heavily and you enter a dark hall leading to the stairs. There is the smell of chickens roosting on the low-topped walls, there is the YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

familiar sound they make and you grope your way up a massive staircase, the bannisters smooth upon the trembling hand. Such nights, they are no better than the days, windows are closed against the sun; they close heavily. Mother sits in her corner looking very white and sick. This was her world, her domain. In all these years, I cannot remember the sound of her voice. Father was different. He moved about. He shouted. He ranted. He lived in the past and talked of honor as though it were the only thing. I was born in that house. I grew up there into a pampered brat. I was mean. One day I broke their hearts. I saw mother cry wordlessly as father heaped his curses upon me and drove me out of the house, the gate closing heavily after me. And my brothers and sisters took up my father's hate for me and multiplied it numberless times in their own broken hearts. I was no good. But sometimes, you know, I miss that house, the roosting chickens on the low-topped walls. I miss my brothers and sisters, Mother sitting in her chair, looking like a pale ghost in a corner of the room. I would remember the great live posts, massive tree trunks from the forests. Leafy plants grew on the sides, buds pointing downwards, wilted and died before they could become flowers. As they fell on the floor, father bent to pick them and throw them out into the coral streets. His hands were strong. I have kissed these hands . . . many times, many times. Finally we rounded a deep curve and suddenly came upon a shanty, all but ready to crumble in a heap on the ground, its plastered walls were rotting away, the floor was hardly a foot from the ground. I thought of the cottages of the poor colored folk in the south, the hovels of the poor everywhere in the land. This one stood all by itself as though by common consent all the folk that used to live here had decided to say away, despising it, ashamed of it. Even the lovely season could not color it with beauty. A dog barked loudly as we approached. A fat blonde woman stood at the door with a little boy by her side. Roger seemed newly scrubbed. He hardly took his eyes off me. Ruth had a clean apron around her shapeless waist. Now as she shook my hands in sincere delight I noticed shamefacedly (that I should notice) how rough her hands were, how coarse and red with labor, how ugly! She was no longer young and her smile was pathetic. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

As we stepped inside and the door closed behind us, immediately I was aware of the familiar scent of apples. The room was bare except for a few ancient pieces of second-hand furniture. In the middle of the room stood a stove to keep the family warm in winter. The walls were bare. Over the dining table hung a lamp yet unlighted. Ruth got busy with the drinks. She kept coming in and out of a rear room that must have been the kitchen and soon the table was heavy with food, fried chicken legs and rice, and green peas and corn on the ear. Even as we ate, Ruth kept standing, and going to the kitchen for more food. Roger ate like a little gentleman. "Isn't he nice looking?" his father asked. "You are a handsome boy, Roger," I said. The boy smiled at me. You look like Daddy," he said. Afterwards I noticed an old picture leaning on the top of a dresser and stood to pick it up. It was yellow and soiled with many fingerings. The faded figure of a woman in Philippine dress could yet be distinguished although the face had become a blur. "Your . . . " I began. "I don't know who she is," Fabia hastened to say. "I picked that picture many years ago in a room on La Salle street in Chicago. I have often wondered who she is." "The face wasn't a blur in the beginning?" "Oh, no. It was a young face and good." Ruth came with a plate full of apples. "Ah," I cried, picking out a ripe one. "I've been thinking where all the scent of apples came from. The room is full of it." "I'll show you," said Fabia. He showed me a backroom, not very big. It was half-full of apples. "Every day," he explained, "I take some of them to town to sell to the groceries. Prices have been low. I've been losing on the trips." "These apples will spoil," I said. "We'll feed them to the pigs."

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Then he showed me around the farm. It was twilight now and the apple trees stood bare against a glowing western sky. In apple blossom time it must be lovely here. But what about wintertime? One day, according to Fabia, a few years ago, before Roger was born, he had an attack of acute appendicitis. It was deep winter. The snow lay heavy everywhere. Ruth was pregnant and none too well herself. At first she did not know what to do. She bundled him in warm clothing and put him on a cot near the stove. She shoveled the snow from their front door and practically carried the suffering man on her shoulders, dragging him through the newly made path towards the road where they waited for the U.S. Mail car to pass. Meanwhile snowflakes poured all over them and she kept rubbing the man's arms and legs as she herself nearly froze to death. "Go back to the house, Ruth!" her husband cried, "you'll freeze to death." But she clung to him wordlessly. Even as she massaged his arms and legs, her tears rolled down her cheeks. "I won't leave you," she repeated. Finally the U.S. Mail car arrived. The mailman, who knew them well, helped them board the car, and, without stopping on his usual route, took the sick man and his wife direct to the nearest hospital. Ruth stayed in the hospital with Fabia. She slept in a corridor outside the patients' ward and in the day time helped in scrubbing the floor and washing the dishes and cleaning the men's things. They didn't have enough money and Ruth was willing to work like a slave. "Ruth's a nice girl," said Fabia, "like our own Filipino women." Before nightfall, he took me back to the hotel. Ruth and Roger stood at the door holding hands and smiling at me. From inside the room of the shanty, a low light flickered. I had a last glimpse of the apple trees in the orchard under the darkened sky as Fabia backed up the car. And soon we were on our way back to town. The dog had started barking. We could hear it for some time, until finally, we could not hear it anymore, and all was darkness around us, except where the headlamps revealed a stretch of road leading somewhere. Fabia did not talk this time. I didn't seem to have anything to say myself. But when finally we came to the hotel and I got down, Fabia said, "Well, I guess I won't be seeing you again." YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

It was dimly lighted in front of the hotel and I could hardly see Fabia's face. Without getting off the car, he moved to where I had sat, and I saw him extend his hand. I gripped it. "Tell Ruth and Roger," I said, "I love them." He dropped my hand quickly. "They'll be waiting for me now," he said. "Look," I said, not knowing why I said it, "one of these days, very soon, I hope, I'll be going home. I could go to your town." "No," he said softly, sounding very much defeated but brave, "Thanks a lot. But, you see, nobody would remember me now." Then he started the car, and as it moved away, he waved his hand. "Goodbye," I said, waving back into the darkness. And suddenly the night was cold like winter straying early in these northern woodlands. I hurried inside. There was a train the next morning that left for Muncie, Indiana, at a quarter after eight.

Exercise 1 REFLECTION AND DISCUSSION

1. Who is the narrator in the story? What is achieved when this point of view is used by the writer? _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ 2. Recall the descriptions about the time and place setting in the story. _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ 3. Who are the characters? YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

_____________________________________________________________ _____________________________________________________________ _____________________________________________________________ 4. Explain the significance of the title in relation to its theme. _____________________________________________________________ _____________________________________________________________ _____________________________________________________________

GRAMMAR NOTES Five Kinds of Sentences according to Structure There are five kinds of sentence according to structure: simple, compound, complex, compound-complex, and complex-complex. A simple sentence has one independent clause. A compound sentence has two or more independent clauses joined by a coordinating conjunction or semicolon. A complex sentence contains one independent clause and one or more subordinate clauses. A compound-complex sentence consists of two or more independent clauses and one or more subordinate clauses. A complex-complex sentence has one independent clause and two or more subordinate clauses, one of which contains another subordinate clause. Read the following sentences taken from ―The Doll‘s House.‖ Study their structure by noting the underlined parts and those parts which are enclosed in parentheses.

1. No harm could come of it; it was summer. 2. Perhaps it is the way God opens houses at dead of night (when he is taking a quiet turn with an angel.) 3. (When dear old Mrs. Hay went back to town after staying with the Burnells), she sent the children a doll‘s house. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

In Sentence 1, how many clauses do you see? What kind of clauses are these? How are these connected? In sentences 2 and 3, how many clauses are there? How are these connected?

Clauses, like phrases, are groups of related words but unlike phrases, they have subjects and predicates.

There are two kinds of clauses, both of which are subdivisions of a sentence: independent and dependent / subordinate clauses.

An independent clause has a subject and a predicate and can stand by itself, similar to a simple sentence.

A subordinate clause, although it has a subject and a predicate, cannot stand by itself and is dependent upon another clause, which is the independent or main clause.

Other than the simple sentence, which is not a clause, sentence may be classified according to the kind and the number of clauses they contain: compound, complex, compound-complex, and complex-complex.

1. A simple sentence is a group of related words containing a subject and a predicate and expressing a complete and independent unit thought.

2. A compound sentence is one which consists of two or more independent clauses separated by commas and joined by a coordinating conjunction or conjunctive adverb or a semicolon. 3. A complex sentence consists of one independent clause and one or more subordinate clauses.

4. A complex-complex sentence consists of two or more independent clauses, one of which contains at least one subordinate clause. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

5. A complex-complex sentence has one independent clause and two or more subordinate clauses, one of which contains another subordinate clause.

Study each type of sentence structure given below. Notice that simple sentences can contain compound subjects, compound verbs, or both. Notice also that a subordinate clause may be located before or after an independent clause or even within an independent clause.

Examples:

Simple Sentences:

1. I received your letter yesterday. 2. Either Francine or Diane will buy the tickets. 3. Frightened by the fireworks, the dog ran and hid.

Compound Sentences:

1. One group addressed the envelopes and another sorted them by zip code. 2. Autumn had arrived; leaves had turned red and gold.

Complex Sentences:

1. (If you cry) I shall go and never return. or I shall go and never return (if you cry). 2. The girl (who let you in) is the new maid here.

Compound-Complex Sentence:

1. Paul turned on the air-conditioner (as soon as we arrived), and now the house is no longer warm.

Complex-Complex Sentence: YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

1. [Although the photograph (that you took years ago) had faded], we still could see many details.

Exercise 2 Underline the independent clause and enclose in parentheses the subordinate clause in each sentence. Then, classify each sentence by writing on the writing line CD for Compound, CX for Complex, CD-CX for Compound-Complex, and CX-CX for Complex-Complex. Example:

CD-CX___ (Only when she wanted anything), our Elise gave Lil a tug, a twitch, and Lil stopped and turned around.

__________ 1. It was too marvellous; it was too much for them. __________ 2. They burned to tell everybody, to describe, to… well, to boast about their doll‘s house before the school bell rang. __________ 3. There was nothing to answer, Isabel was bossy, but she was always right. __________ 4. It had been arranged that while the doll‘s house stood in the courtyard they might ask the girls at school, two at a time, to come and look. __________ 5. They only just had time to whip off their hats and fall into line before the roll was called.

Exercise 3 Identify each sentence by writing on the answer line S for simple, CD for compound, CX for complex, CD-CX for compound-complex, and CX-CX for complex-complex. Example:

___S___

At last everybody had seen it, except them.

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_____ 1. Neither did the winds die nor did the unbearable heat subside. _____ 2. The cashier rang up the sale and then wrapped our purchases for us. _____ 3. Though the detectives work diligently, they could not solve the mysterious murder case. _____ 4. When the network produced the special show, the critics gave it very good reviews. _____ 5. People who continually complain when they dislike something rarely have many friends.

Lesson 7

Understanding Drama: An Introduction

HOW TO READ A PLAY In reading plays, however, it should always be remembered that any play, however great, loses much when not seen in action. As John Marston wrote in 1606: ―Comedies are writ to be spoken, not read; remember the life of these things consists in action‖; or, as Molière put it: ―Comedies are made to be played, not to be read.‖ Any play is so planned that it can produce its exact effect only with its required scenery, lighting, and acting. And that acting means the gesture, movement, and voice of the actor. Above all, it means the voice, the instrument which conveys to the audience the exact shade of meaning of the author and, like music, opens up the emotions. Drama read to oneself is never drama at its best, and is not even drama as it should be. Usually, too, just because readers do not recognize the difference between drama and other forms of fiction, they lose the effects they might gain even in reading. Closer attention than with a novel or short story is required. The dramatist does not guide us by explanations, analysis, and comment in our visualizing of his YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

figures. Instead, he depends on a few stage directions as to their movements, and on the rightness of his chosen words in the dialogue. Unfortunately, many a reader, accustomed to hasty reading of the sketchy stories so common in the magazines, does not piece out what is given him but sees only just what the words of the text force him to see with no effort on his part. He is not active and cooperative. No play read in this way yields its real value. First, see in your mind the setting as described. Then, reading sympathetically, thoughtfully, and slowly if need be, visualize the figures as they come and go. The lines of any good play mean more than appears at a hasty glance. They have been chosen not simply because they say what the character might have said, but because what is said will advance the plot, and, because better than some half dozen other phrases considered by the author, they will rouse the emotions of the audience. Keep the sympathetic, not the critical mood, to the fore. Reading to visualize, feel because you visualize, and feel as fully as you can. Then when you close the book, moved and admiring, and then only, let your critical training tell you whether you have done well to admire. Don‘t let prejudices, moral or artistic, cause prejudgments: keep an open mind as you read. A writer may so treat a subject for which you have never cared as to make you care for it. He may so treat a subject you have regarded as taboo as to make it acceptable and helpful. Don‘t assume because a play is different from the plays you have known that it is bad. As the general editor has said: ―It is precisely this encounter with the mental states of other generations which enlarges the outlook and sympathies of the cultivated man.‖ When a play of a different nation or period at first proves unattractive, don‘t assume that it will remain so. Rather, study the conditions of stage and audience which gave it being. Usually this will transmute a seemingly dull play into a living, appealing work of art. In any case, when you have finished reading, judge with discretion. Say, if you like, ―This play is not for me—for a person of my tastes,‖ but not, ―This is a bad play for all,‖ unless you are able to explain why what is poison for you should be poison for the general public. In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results. If a public widely read in the drama of the past and judging it as suggested would come to the acting drama of toYOUNG JI INTERNATIONAL SCHOOL / COLLEGE

day in exactly that spirit, almost anything would become possible for our dramatists.

THE ESSENTIALS OF DRAMA But what is drama? Broadly speaking, it is whatever by imitative action rouses interest or gives pleasure. The earliest of the mediæval plays, the trope of the church in which the three Marys go to the tomb to find that Christ has risen, and make their way thence rejoicing, does not differentiate one Mary from another. The words, which were given to music, have only an expository value. Here, as through the ages succeeding, it is action, not characterization, however good, not dialogue for the sake of characterization or for its own sake, which counts. Of course, this very early drama is too bald and too simple to have value as literature. As the trope in the tenth to the thirteenth centuries adds to the episode of the Resurrection or the Nativity preliminary or continuing Biblical material, so story develops around the original episode. Almost inevitably, in order to make these differing episodes convincing, characterization appears, for, unless the people are unlike, some of the episodes could not occur. The dialogue ceases to be merely expository and begins to characterize each speaker. Later it comes to have charm, amusingness, wit, that is, quality of its own. When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature. So, too, as time goes on, there develop the play of story, the play mainly of characterization, the play in which dialogue counts almost as much as plot or character, and the great masterpieces in which all these interests, plot, character, and dialogue are blended into a perfect whole. ―The Duchess of Malfi‖ 1 of Webster is a story play which illustrates a change in public taste. For a modern reader, probably more interested in the character of the Duchess than in the story itself, the last act doubtless lacks the interest it had for its own public. In Johnson‘s ―Alchemist‖ 2 it is character mainly which interests us. In Sheridan‘s ―School for Scandal,‖ 3 as in YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Congreve‘s ―Way of the World,‖ dialogue counts as much as character. In ―Hamlet,‖ ―Lear,‖ and ―Macbeth‖ 4 there is a perfect union of story, characterization, and dialogue.

THE NATURE OF TRAGEDY Once the idea was widespread that tragedy and comedy differ essentially in material. Dryden maintained that tragedy must deal with people of exalted rank in extraordinary

situations,

expressing

themselves

speech

befitting

their

extraordinary circumstances. This idea, first stated by Aristotle in his ―Poetics‖ as a result of his observation of the Greek Tragedy—which the definition perfectly fits— was fostered and expanded by critical students of dramatic theory till it found expression in the exaggeration of the Heroic Drama in England and the dignified if somewhat cold tragedies of Corneille and Racine. 5 The coming of the Sentimental Comedy in England in the first thirty years of the eighteenth century, the related ―Drame Larmoyante‖ of France, and the ―Bürgerliche Drama‖ in Germany, showed that tragedy may exist in all ranks from high to low, from educated to uneducated. What then is tragedy? In the Elizabethan period it was assumed that a play ending in death was a tragedy, but in recent years we have come to understand that to live on is sometimes far more tragic than death. Nor is the presence of tragic incidents in a play sufficient reason for calling it a tragedy, for many plays that end happily have in them profoundly moving episodes. Why, then, is it that we are so agreed in calling ―Hamlet,‖ ―The Duchess of Malfi‖ and ―The Cenci‖ 6 tragedies? Because in them character clashing with itself, with environment, or with other temperaments, moves through tragic episodes to a final catastrophe that is the logical outcome of what we have observed. By ―logical‖ I mean that the ending is seen to grow from the preceding events in accordance with the characters. That is, it conforms with human experience as known to us or as revealed to us by the dramatist in question. MELODRAMA YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Suppose, however, that we have tragic circumstance not justified by the characterization of the figures concerned. For instance, in some play on Cleopatra the special scenes may move us even if they do not put before us a character whose willfulness and exacting love seem great enough to bring about the final catastrophe. Then what have we? Melodrama in the broadest sense of the word. Melodrama in this sense of plays insufficiently motivated in characterization has existed from the beginning of drama. Technically, the word came into England early in the nineteenth century to designate an importation from France of sensational scenes with frequent musical accompaniment. As this particular combination disappeared, the name remained for plays of sensational incident and inadequate characterization. THE STORY PLAY Between the two—melodrama and tragedy—both perhaps sensational in episode, but only the second justifying its episodes by perfectly motivated character, lies the story play. In this the light and the serious, the comic and the tragic, mingle, though the ending is cheerful. ―The Merchant of Venice,‖ regarded as Shakespeare regarded it as the story of Portia and Bassanio, is clearly not a tragedy but a story play. If, however, we sympathize with Shylock as modern actors, especially by their rearrangement of the scenes, often make us, is it not a tragedy? There lies the important distinction. There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience. The trial scene of Shylock perfectly illustrates the idea: to the friends of Bassanio, as to most of the Elizabethan audience, this Jew-baiting was highly delightful; to Shylock it was torture and heartbreak. The dramatist who presents such material so as to emphasize in it what would appeal to the friends of Bassanio, writes comedy. He who presents it to an audience likely to feel as Shylock felt, writes tragedy. HIGH COMEDY, LOW COMEDY, AND FARCE Comedy divides into higher and lower. Low comedy concerns itself directly or indirectly with manners. ―The Alchemist‖ of Jonson busies itself directly with manners by means of characters varying from types of a single aspect to well-individualized figures. Comedy of intrigue, centering about a love story, deals in complicated YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

situations arising therefrom, but indirectly paints manners as it characterizes. ―The Shoemaker‘s Holiday‖ 7 may perhaps stand as a specimen of this type, though Fletcher‘s ―The Wild-Goose Chase‖ is a better example. High comedy, as George Meredith pointed out in his masterly ―Essay on Comedy,‖ deals in thoughtful laughter. This laughter comes from the recognition, made instantaneously by the author, of the comic value of a comparison or contrast. For instance, in ―Much Ado About Nothing‖ it is high comedy at which we laugh when from moment to moment we contrast Benedick and Beatrice as they see themselves and as we see them in the revelatory touches of the dramatist. Farce treats the improbable as probable, the impossible as possible. In the second case it often passes into extravaganza or burlesque. ―The Frogs‖ 8 of Aristophanes illustrates farcical burlesque. In the best farce to-day we start with some absurd premise as to character or situation, but if the premises be once granted we move logically enough to the ending. SOCIAL BACKGROUND OF DRAMA Yet, even if one understands these differences, one may find it difficult at first to appreciate the drama of a past time. Modern drama from 980 A. D. onward passes from the simple Latin trope, already described, by accumulation of incident, developing characterization, and a feeling for expression for its own sake, to similar work in the vernacular, be it English, French, or German. Then slowly it gains enormously in characterization till some of the miracle and morality plays of the late fifteenth century equal or surpass any English drama up to Marlowe. But what lay behind all this drama of miracle play and morality was an undivided church. With the coming of the Reformation and its insistence on the value and finality of individual judgment, the didactic drama gave way to the drama of entertainment—the interludes and the beginnings of the five-act plays. Yet, fine as are some of the plays of the days of Elizabeth and James I, we find in them a brutality of mood, a childish sense of the comic, a love of story for mere story‘s sake that make them oftentimes a little hard reading. Moreover, their technique—their frequent disregard of our ideas of unity, their methods of exposition by chorus, soliloquy, and aside—frequently appears to us antiquated. Except for the greatest of these plays—mainly by YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Shakespeare—the Elizabethan drama seems strange to us at a first reading. Only coming to know the conditions from which it sprang can give us its real values. Even the great dramas of Æschylus, Sophocles, and to a less extent of Euripides, because he is more modern, are best read when we know something of the Greek life around these dramas and of the stage for which they were written. To these plays a great audience of perhaps 10,000 brought a common knowledge of the myths and stories represented, akin to our universal knowledge a generation ago of Biblical story. The audience brought also memories of successive and even recent treatments of the same myth by other dramatists, taking delight, not as we do in something because it seems new, but in the individual treatment of the old story by the new dramatist. The same attitude held for the Elizabethan public which delighted in successive versions of ―Romeo and Juliet,‖ ―Julius Cæsar,‖ and ―Hamlet.‖ In judging the drama of Greece or Elizabethan England this fact must be kept constantly in mind. As one turns from Greek and Elizabethan drama, written for the delight and edification of the masses, to the work of Corneille and Racine, one faces plays written primarily for the cultivated, and worked out, not spontaneously by individual genius, but carefully according to critical theory derived not so much from study of classic drama as from commentators on a commentator on the Greek drama— Aristotle. From him, for instance, came the idea as to the essentiality of the unities of time, action, and place, themselves the result of physical conditions of the Greek stage. By contrast, then, this French tragedy of the seventeenth century is a drama of intellectuals. Then as the spirit of humanitarianism spread and men shared more and more in Samuel Johnson‘s desire ―with extensive view‖ to ―survey mankind from China to Peru,‖ the drama reflected all this. No longer did the world laugh at the selfish complacency and indulgence of the rake and fop, but it began to sympathize with his wife, fiancée, or friend who suffered from this selfishness and complacency. Illustrating that the difference between tragedy and comedy lies only in emphasis, Restoration comedy turned from thoughtless laughter to sympathetic tears. But such psychology as the sentimental comedy shows is conventional and superficial. It is in YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

the nineteenth century that the drama, ever sensitive to public moods and sentiment, undergoes great changes. In France and Germany it breaks the shackles of the pseudo classicism which had for centuries held the drama to empty speech and a dead level of characterization. Goethe, Schiller, Hugo, Dumas père, and Alfred de Vigny reveal a new world of dramatic romance and history. In turn this romance leads to realism with an underlying scientific spirit which takes nothing at its old values. MODERN PSYCHOLOGY AND SOCIOLOGY IN THE DRAMA This searching scrutiny of accepted ideas of personality, conduct, right, wrong, and even causation in general, is seen in Ibsen and all his followers. Planting themselves firmly on the new and developing science of psychology, guided by the most intense belief in individualism, demanding its passports from every accepted idea, the dramatists of the last half century have steadily enlarged the scope of their art. From mere story-telling they passed to ethical drama. Convinced by practice that it is difficult for a play in its limited time—two and a half hours at the most—to do more than state a problem or paint a set of social conditions, they have taken to merely drawing pictures or raising questions rather than attempting even to suggest an answer. As we have seen, in the eighteenth century the writer of sentimental comedy painted social conditions, but with a psychology purely intuitional. To-day we have swung to the other extreme. Recognizing the limited space of the dramatist, confused by contrasting psychological theories, puzzled by the baffling intricacies of the human soul, convinced that the great questions raised cannot be settled in a breath, or with any ready-made panacea, many a dramatist to-day merely pictures an evil condition, waiting for others to find its exact significance or, better still, a solution. ―Justice‖ of Mr. Galsworthy, like ―La Robe Rouge‖ of M. Brieux, offers no solution, yet both led to changes in the conditions portrayed—in the former, conditions of prison life; in the latter, evils attending the life of the petty judiciary of France. THE MENACE OF VAUDEVILLE AND MOVING PICTURES A veritable passion for the theatre is shown by the younger generation to-day in the United States. It crowds the theatres—if we use the word to include not only YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

places giving performances of legitimate drama but also vaudeville houses and picture shows—as in this country it never has crowded them before. To go to a theatre of the older type one must usually travel some distance and often one must save beforehand. Vaudeville and picture shows cheap enough for almost any purse are provided at our very doors. The difficulty is that what they offer is sometimes as low in art as in price. Yet surely, it may be said, there is good vaudeville, and surely proper legislation ought to dispose of what is poor or dangerous in it or the picture show. Granted, but there are inherent dangers which legislation cannot reach. In the first place, the balcony and galleries of our theatres are far less filled than they used to be before vaudeville and the picture show provided at much less expense and with greater comfort entertainment to many as satisfactory as the theatre itself. This decrease in attendance at the theatres naturally jeopardizes the chances of many a play which can be produced only if the manager feels reasonably sure of large houses or a public more general than usually frequents the orchestra. Vaudeville, too, like the collections of short stories we read in the train, is usually a mere time killer, making the least possible demand on our application and attention. In vaudeville, if something grips our interest we pay attention; if one ―turn‖ does not interest us we simply wait for the next. Sooner or later, without any effort on our part, something will win our absorbed attention. Now drama that has literary value demands, when read, as I have pointed out, concentration, an effort to visualize. Acted drama requires surrender of one‘s self, sympathetic absorption in the play as it develops. These absolutely essential conditions grow less possible for the person trained by vaudeville. The moving picture show, too, is at best drama stripped of everything but motion. The greatest appeal of all, the voice, except in so far as the phonograph can reproduce it, is wanting. But can any combination of mechanical devices such as the cinematograph and the graphophone ever equal in human significance, in reality of effect, in persuasive power, the human being—most vividly seen and felt in drama at its best? A combination of the cinematograph and the phonograph can be at best only a dramatic Frankenstein‘s automaton. Dramatic literature is really threatened by the picture show and vaudeville. THE DRAMA IN MODERN EDUCATION

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All this would be discouraging were not these conditions somewhat counteracted by drama as we find it in our schools, colleges, and social settlements. As far back as the sixteenth century in England and on the Continent the value for pronunciation, enunciation, and deportment of acting by school children was recognized. Ralph Radcliffe, a schoolmaster of Hitchen in Hertfordshire, wrote many plays for his scholars. Nicholas Udall, successively a master of Eton and Westminster schools, left us one of the early landmarks of English drama, ―Ralph Roister Doister,‖ a mixture of early English dramatic practice and borrowings from the Latin comedy. On the Continent, fathers and mothers gathered often, fondly to watch their boys in similar Latin or vernacular plays. In like manner to-day, all over this country, in grammar and high schools, wise teachers are guiding their pupils in varied expression of their dramatic instinct. Many a high school to-day has, as part of its equipment, a small stage on which standard plays of the past, plays selected from the best written to-day, and, occasionally, even plays written by the students themselves are given. From participation in such performances more results than a mere gain in enunciation, pronunciation, and deportment. The standards of a youth who associates often with the best in dramatic literature must improve. Inculcate thus pleasantly right standards of drama, and the lure of vaudeville and picture show is weakened. But the training must be broad: our youth must know the best—comedy, tragedy, farce, burlesque—in the drama of to-day and yesterday. No such training of our youth can ever be complete if in the home there is no real understanding, at least from reading, of what the best in drama has been. Otherwise how can the elders sympathize with this natural demand of the young, for probably they will not recognize either the worthiness or the permanence of the appeal which the drama properly makes. While youth inevitably seek entertainment in the theatre, their elders must see to the kind of entertainment provided. That is a fair and natural division. Year by year we receive at Ellis Island people from all over the world, people little fitted for the responsibilities of a citizenship that was planned for a people relatively homogeneous and trained for centuries in a growing political power which rested on the responsibility of the individual. How shall we reveal to this immigrant what this great varied American life means and thus assimilate him into the body YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

politic? Seeking an answer to this problem, the settlement houses have found one of their most effective means in the drama. The southern or southeastern European, filled with emotion, loves to act. In the settlement house, through carefully selected plays, he learns our language and gains the ideals of the land in which he is to live. HOW THE LEVEL OF DRAMATIC ART IS DETERMINED Responsive to all this widespread interest of the people at large, men and women all over the country are busied with the difficult art of the dramatist. In turn responsive to their needs, our colleges are developing courses in dramatic composition, though ten years ago not one existed. But to these playwrights comes sooner or later the question: â&#x20AC;&#x2022;Shall I write so as surely to make money, but pandering to the lower artistic and moral taste of my public; or shall I keep to my inculcated and self-discovered standards of dramatic art till I win my public to them?â&#x20AC;&#x2013; For the latter result there must be a considerable part of the public which so understands and loves the best of the drama of the past that it can quickly discover promise in the drama to-day. Out of the past come the standards for judging the present; standards in turn to be shaped by the practice of present-day dramatists into broader standards for the next generation. The drama possesses a great literature growing out of an eternal desire of the races. The drama is a great revealer of life. Potentially, it is a social educative force of the greatest possibilities, provided it be properly handled. You cannot annihilate it. Repressing it you bring its poorer qualities to the front. How, then, can any so-called educated man fail to try to understand it? But to understand it one must read closely, sympathetically, and above all widely. For such results a collection like this must be but the fillip that creates a craving for more. Here is only a little of all the Elizabethan and Jacobean drama. Here it is possible to represent only by a few masterpieces the vast stores of the drama in France, Germany, England, Scandinavia, Italy, Spain, and Russia in the nineteenth and twentieth centuries. To-day, English drama, with only a few exceptions better than any written since the seventeenth century, comes often to the stage. From month to month the drama is making history. In England and the United States to-day it is wonderfully alive, independent, ambitious, seeking new ways of YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

expression on an infinite variety of subjects. Yet it is often crude, especially in this country. It will never know how crude till its public forces it to closer, finer thinking, more logical characterization, and stern avoidance of mere theatricality. Back of any such gains must stand a public with a love for the drama, gained not merely from seeing plays of to-day but from wide reading in the drama of different periods and different nations in the past.

THE INFLUENCE OF THE STAGE ON THE DRAMA No drama, however great, is entirely independent of the stage on which it is given. In a great period the drama forces its stage to yield to its demands, however exacting, till that stage becomes plastic. At a time of secondary drama, plays yield to the rigidities of their stage, making life conform to the stage, not the stage to life. Consequently, just as different periods have seen different kinds of drama, they have seen different kinds of stage. In the trope the monks acted in the chancel near the high altar, to come out, as the form developed, to the space before the choir screen under the great dome of the cathedral where nave and transepts met. In that nave and in the adjoining aisles knelt or stood the rapt throng of worshipers. Forced by numbers who could not be accommodated in the cathedral and by other causes, the monks, after some generations, brought their plays out into the square in front of the cathedral. That all might see them to the best advantage they were ultimately given on raised platforms. Certainly by the time these plays passed from the hands of the churchmen to the control of the trade guilds, they were on pageant cars, a construction not unlike our floats for trade processions except that they contained two stories, the lower high enough to use for a dressing room. These pageant cars the journeymen drew, between daylight and dark, from station to station across a city like York or Chester. At each station people filled the windows of the houses, the seats built up around the sides of the square, and even the roofs. The very nature of this platform stage forbade scenery, though elaborate properties seem to have been used. By contrast, on the Continent, especially in France, constructions resembling house fronts, city gates, or walls could be freely set up on the large, fixed stage for miracle plays which was built in some great square of the city. To this one place YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

flocked all the would-be auditors. The point to remember is that down to the building of theatres the stage meant a platform, large or small, movable or stationary, in some public place. Simply treated, as was the case when it was movable, it would have a curtain at the back, shutting off a space where costumes could be changed and where the prompter could stand: scenery was out of the question. Elaborately treated, when it was stationary, constructions suggesting houses, ships, town walls, etc., might be shown at the back or side of the stage, but they seem never to have been shifted from the beginning to the end of the performance. Such houses, walls, etc., were used when needed, but when not in use were treated as non-existent. In the sixteenth century when playing passed from the hands of the guilds to groups of actors, the latter sought refuge from the noise and discomforts of the public square in the yards of inns. In those days galleries like the balconies of our theatres were on all four sides of such an inn yard, sometimes two and sometimes three. The players, erecting a rough platform opposite the entrance from the street, hung a curtain from the edge of the first gallery to their stage. In the room or rooms behind this they dressed. Thus they gained a front stage; a rear stage under the first gallery to be revealed when the curtain was drawn; an upper stage in the first balcony representing at will city walls, a balcony for Romeo and Juliet, or an upper room. High above all this one or more galleries rose which could be used for heavens in which gods and goddesses appeared. In the yard stood the pittites; in the side and end galleries sat the people who paid the higher prices. DEVELOPMENT OF THE MODERN STAGE When, in 1576, London saw its first theatre just outside Bishopsgate, it was circular, in imitation of existing bull-baiting arenas. So far as a stage projecting into the pit, the rear stage underneath the balcony, and the use of the first balcony itself were concerned, the actors merely duplicated conditions to which they had grown attached in the old inn yards. As under the older conditions, scenery was impossible except as painted cloths might be hung at the back of the balcony or under it. Hence the care of the Elizabethan dramatists to place their scene by some hint or description in the text. Moreover, a play lacking the stage settings of a century later must be given atmosphere, reality, and even charm from within. More and more, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

however, influenced by increasingly elaborate performances at court of the masks, the public pressed the theatre manager as far as possible to duplicate their gorgeous and illusory settings. But such settings at the court were on stages behind an arch like our modern proscenium. Consequently by 1660 the stage of 1590 to 1642 had shrunk behind a proscenium arch. Then follow two centuries of very elaborate staging by painted drops at the back, side flats set in grooves, and painted borders. It should be remembered that till the second half of the sixteenth century public performances were given by daylight, largely because of the difficulty in using flaring and unsteady links or cressets for artificial light. When evening performances became the vogue, candles gave the light till the discovery of illuminating gas made a revolution in theatrical lighting. About 1860, the so-called box set, a means of shutting in the whole stage, replaced for interiors a back drop and painted side flats. Undoubtedly, some of the splendid and imaginative settings of Macready, Charles Kean, and Sir Henry Irving, seemed the last word on the subject. Steadily, however, producer and dramatist have worked together to make the stage as illusive as possible. On the one hand, realism has strained it to the utmost; on the other, poetic and fantastic drama have forced it to visualize for us the realms of imagination. Responding to all this, modern science and invention have come to the aid of drama. Electricity has opened up ways of lighting not even yet fully explored. At present, particularly in Germany, most ingenious devices have been invented for shifting scenery as quickly as possible. There and elsewhere, especially in Russia and England, skill and much artistry have been shown in quickening the imagination of the audience to the utmost by suggestion rather than by representation of minute and confusing detail. Frequently to-day the elaborate scenery of the past is improved upon by a stage hung about with curtains, with some properties here and there or a painted drop at the back to give all the suggestion needed. Alert and responsive, the stage of to-day at its best, in sharpest contrast with the bare stage of the sixteenth century, is calling on architects to make it flexible, on physicists and artists to light it elusively, on great designers to arrange its decorations. In brief, the stage throughout its history, longing always and trying always to adapt itself to the demands of the dramatist, is to-day, as never before, plastic. THE COSMOPOLITANISM OF MODERN DRAMA YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Nor has the drama changed merely in these respects. Once the drama was almost wholly national. Then just because a play smacked so of its soil, it could not be intelligently heard elsewhere. In the seventies, as far as the American public was concerned, this was true of the plays of Dumas fils and Augier. Now, increased travel and all the varied means of intercommunication between nations make for such swift interchange of ideas that the dramatic success of Moscow, St. Petersburg, Stockholm, Paris, London, or Madrid is known quickly the world over. With the drawing together of the nations more common interests have developed, so that intellectual and moral movements are not merely national but worldwide. All this makes any national treatment of a world question widely interesting: it even makes the world interested in local problems. Most marked change of all, this free intercommunication of ideas tends to make even the humor of one nation comprehensible by another. To-day, then, the drama has become cosmopolitan. Broadway sees Reinhardt‘s Berlin productions: Paris and Berlin see ―Kismet.‖ Broadway knows Gorki, Brieux, and Schnitzler; English and American plays have a hearing on the Continent. For two generations the drama has been fighting to take for its motto ―Nihil mihi alienum.‖ It has won that right. Sensitive, responsive, eagerly welcomed everywhere, the drama, holding the mirror up to nature, by laughter and by tears reveals to mankind the world of men.

Elements of Drama Plot – the arrangement or series of events in a drama Character – classified as either the PROTAGONIST (central character) or ANTAGONIST (villain) Setting – time and place in which the action takes place Dialogue – exchange of words or lines between and among the characters in a play Theme – main idea of the literary work

Exercise 1 YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Make your own drama having the elements of the story.

Exercise 2 Enrich your knowledge of the conventions of the Shakespearean theatre by surfing the web for sites featuring this theatre which flourished during the reign of Elizabeth I and King James I of England.

Exercises 3 Watch parts of the film Shakespeare in Love, showing the rehearsals in the Globe Theater.

Lesson 9

Learning the Elements and Conventions of the Drama

Romeo and Juliet by William Shakespeare

Dramatis Personae CHORUS PRINCE ESCALUS, Prince of Verona. PARIS, a young Count, kinsman to the Prince. MONTAGUE, heads of two houses at variance with each other CAPULET, heads of two houses at variance with each other YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

OLD CAPULET, old man of the Capulet family ROMEO, son to Montague TYBALT, nephew to Lady Capulet MERCUTIO, kinsman to the Prince and friend to Romeo BENVOLIO, nephew to Montague, and friend to Romeo FRIAR LAURENCE, Franciscan. FRIAR JOHN, Franciscan. BALTHASAR, Servant to Romeo ABRAM, Servant to Montague SAMPSON, Servant to Capulet GREGORY, Servant to Capulet PETER, Servant to Juliet's nurse PAGE, Servant to Paris An Apothecary. Three Musicians. OFFICER of the Watch LADY MONTAGUE, wife to Montague LADY CAPULET, wife to Capulet JULIET, daughter to Capulet NURSE to Juliet Citizens of Verona; Gentlemen and Gentlewomen of both houses; Maskers, Torchbearers, Pages, Guards, Watchmen, Servants, and Attendants. SCENE â&#x20AC;&#x201D; Verona; Mantua . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 2 Enter Chorus. CHORUS. Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-crossed lovers take their life; Whose misadventured piteous overthrows YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Do with their death bury their parents' strife. The fearful passage of their death-marked love, And the continuance of their parents' rage, Which, except their children's end, nothing could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend. Exit. ACT I. SCENE I. Verona. A public place. Enter Sampson and Gregory (with swords and bucklers) of the house of Capulet. SAMPSON. Gregory, on my word, this life is better than the farm. We were bound to carry a sword, not a sickle.

GREGORY. For then we would be sick? SAMPSON. No. For if the sickle chafes your hand, then you‘re sored. Meaning you have a sored hand. GREGORY. Your sword hand is sick enough. SAMPSON. Not sick but quick, when it‘s time to strike. GREGORY. But slow to know when it‘s time for striking. SAMPSON. A dog of the house of Montague incurs my kick. GREGORY. Kick up your heels to run away, you mean. SAMPSON. It‘s the dog of a Montague who‘ll need heeling, when I‘m done with him. GREGORY. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Ay, the dog will heel, or sit, or stay at his master‘s command, but when he sees you, he‘ll go to the wall. SAMPSON. His back to the wall, you mean. GREGORY. His back! The only Montagues that run from you are their maidens. . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 3 SAMPSON. As well they should! For once I‘ve thrashed a Montague, I kick his dog and slap his sister. GREGORY. You talk of thrashing — you‘re still a farmer. SAMPSON. Ay, Gregory, when it‘s time to plow a Montague, and harrow him, and finally plant him. GREGORY. By this account, every farmer is a soldier, and every field a victory. SAMPSON. And every Montague a little plot of ground, with a single stone, if I‘m the farmer. GREGORY. You‘re a bold rooster, Sampson, to crow a victory when you‘ve never faced a foe. SAMPSON. ‗Tis not my fault, if my foes dare not face me. For well they know I‘m a pretty piece of meat! GREGORY. Be sure they don‘t think you‘re a fish, for you show silver, but you flop about and gasp for breath. But show some silver now — here come two of the house of Montague! Enter two other Servingmen [Abram and Balthasar]. SAMPSON. My trout is out. Quarrel! I will back you. GREGORY. I know you‘re bold at backing — it‘s fronting that I‘ll need. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

SAMPSON. Don‘t worry about me. GREGORY. Our enemies won‘t worry much about you, either. SAMPSON. Just keep the law on our side; let them begin. GREGORY. I will spit as I pass by, and let them take it as they list. SAMPSON. Men spit because they‘re weak and sick, and have phlegm. I will bite my thumb at them; which is disgrace to them, if they bear it. ABRAM. Do you bite your thumb at us, sir? SAMPSON. I do bite my thumb, sir. ABRAM. Do you bite your thumb at us, sir? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . ROMEO & JU LIET / 4 SAMPSON. [aside to Gregory] Is the law on our side if I say yes? GREGORY. [aside to Sampson] No. SAMPSON. No, sir, I do not bite my thumb at you, sir; but I bite my thumb, sir. GREGORY. Do you quarrel, sir? ABRAM. Quarrel, sir? No, sir. SAMPSON. But if you do, sir, I‘m your match. I serve as good a man as you. ABRAM. No better. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

SAMPSON. Well, sir. GREGORY. [aside to Sampson] Say 'better.' Here comes one of my master's kinsmen. SAMPSON. Yes, better, sir. ABRAM. You lie. SAMPSON. Draw, if you be men. Gregory, remember thy swashing blow. They fight. Enter Benvolio. BENVOLIO. Part, fools! Beats down their swords. Put up your swords. You know not what you do. Enter Tybalt. TYBALT. What, art thou drawn among these heartless hinds? Turn thee, Benvolio! look upon thy death. BENVOLIO. I do but keep the peace. Put up thy sword, Or manage it to part these men with me. TYBALT. What, drawn, and talk of peace? I hate the word As I hate hell, all Montagues, and thee. Have at thee, coward! They fight. Enter an officer, and three or four Citizens with clubs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . ROMEO & JU LIET / 5 OFFICER. Swing your clubs! Strike! Beat down their swords! CITIZENS. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Down with the Capulets! Down with the Montagues! Enter Capulet in his gown, and his Wife. CAPULET. What noise is this? Give me my long sword, ho! LADY CAPULET. A crutch, a crutch! Why call you for a sword? CAPULET. My sword, I say! Old Montague is come And flourishes his blade in spite of me. Enter Montague and his Wife. MONTAGUE. Thou villain Capulet! â&#x20AC;&#x201D; Hold me not, let me go. LADY MONTAGUE. Thou shalt not stir one foot to seek a foe. Enter Prince Escalus, with his Train. PRINCE. Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steelWill they not hear? What, ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins! On pain of torture, from those bloody hands Throw your mistempered weapons to the ground And hear the sentence of your moved prince. Three civil brawls, bred of a haughty word By thee, old Capulet, and Montague, Have thrice disturbed the quiet of our streets. If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. For now, the rest of you depart away. You, Capulet, shall go along with me; And, Montague, come you this afternoon To know our farther pleasure in this case. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Once more, on pain of death, all men depart. Exeunt all but Montague, his Wife, and Benvolio. MONTAGUE. Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began? BENVOLIO. Here were the servants of your adversary And yours, close fighting ere I did approach. I drew to part them. In the instant came The fiery Tybalt, with his sword prepared; Which, as he breathed defiance to my ears, He swung about his head, hurting no one, Except to make a hissing, scornful wind. While we were interchanging thrusts and blows,

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . ROMEO & JU LIET / 6 The Prince arrived, saving Tybalt‘s life. LADY MONTAGUE. Where‘s Romeo? Has he been seen today? I only hope he wasn‘t at this fray. BENVOLIO. Madam, an hour before the dawn I rose And walked abroad, all lost in thought, Till underneath that grove of sycamore That grows from the western wall I saw your son. I called a greeting, but he turned away And stole into the cover of the wood. It seemed to me his mood was like my own — Being one too many by my weary self — And gladly fled from him who fled from me. MONTAGUE. Many a morning has he there been seen, With tears dampening the morning dew, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Adding to mist more mists made of his sighs; But as soon as the all-cheering sun arises, Away from light my melancholy son Comes home, and in his chamber pens himself, Shuts up his windows, locks out daylight, And makes himself an artificial night. Black and portentous must this humour prove Unless good counsel may the cause remove. BENVOLIO. My noble uncle, do you know the cause? MONTAGUE. I neither know it nor can learn of him BENVOLIO. Till now, he‘s always spoken candidly.

MONTAGUE. We‘ve begged the boy to give us hints or clues, But he, his own affections' counsellor, Is to himself as secret and as close As the caterpillar in the chrysalis, Not showing his bright-colored wings. Could we but learn from whence his sorrows grow, Then we might have a chance to help the cure. Enter Romeo. BENVOLIO. See, where he comes. So please you step aside, I'll know his grievance, or be much denied. MONTAGUE. I would thou wert so happy by thy stay To hear true shrift. Come, madam, let's away. Exeunt Montague and Wife. BENVOLIO. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 7 YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Good morrow, cousin. ROMEO. Is the day so young? BENVOLIO. But new struck nine. ROMEO. Ay me! sad hours seem long. Was that my father that went hence so fast? BENVOLIO. It was. What sadness lengthens Romeo's hours? ROMEO. The lack of what would make them seem too short. BENVOLIO. Not what, but who. Are you in love?

ROMEO. Out — BENVOLIO. Of love? ROMEO. Out of favour with the one I love. BENVOLIO. Love from far away appears so kind, But once inside your heart, it can be cruel. ROMEO. Cruel when it‘s in my heart alone. Were she afflicted too, then love were sweet! Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all. Here's much to do with hate, but more with love. Why then, O brawling love! O loving hate! O anything, of nothing first created! O heavy lightness! Solemn vanity! YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Misshapen chaos of well-seeming forms! Feather of lead, clear smoke, cold fire, sick health! Still-waking sleep, nothing is what it is! I hate this loveless love I feel. Do you laugh? BENVOLIO. No, coz, I rather weep. ROMEO. Good heart, at what? BENVOLIO. At thy good heart's oppression. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 8 ROMEO. Then what an unfriendly friend thou art! Grief of my own lies heavy in my mind, Which thou wilt worsen, if you pile upon it More of thine. This love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke raised with the fume of sighs; If satisfied, a fire sparkling in lovers' eyes; If thwarted, oceans filled with lovers' tears. What else is it? A madness most polite, A bear in chains, a glistening swan in flight. Farewell, my coz. BENVOLIO. Wait! Let me go along. If you leave me so, you do me wrong. ROMEO. Leave you? Iâ&#x20AC;&#x2DC;ve lost myself; is this my face? This is not Romeo, he's some other place. BENVOLIO. Tell me in sadness, who is it that you love? ROMEO. What, shall I groan and tell thee? YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

BENVOLIO. Groan or not, that‘s up to you. You‘re sad, so sadly tell me who. ROMEO. You‘d ask a sick old man to carve his stone. In sadness, cousin, I do love a woman. BENVOLIO. I got that much when I guessed you were in love. ROMEO. Such a marksman. The one I love is fair. BENVOLIO. A right fair target is the easiest hit. ROMEO. You miss. She won‘t be hit with Cupid‘s arrow. She will not stay to hear of loving words, Nor tolerate a man with longing eyes. BENVOLIO. Then has she sworn she‘ll love no man at all? ROMEO. A waste of beauty, not to pass it on; How is it saintly, when she is so fair, To merit bliss by making me despair? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 9 She has forsworn to love, and in that vow Do I live dead that live to tell it now. BENVOLIO. Be ruled by me: forget to think of her. ROMEO. O, teach me how I should forget to think! BENVOLIO. By giving liberty unto thine eyes. Examine other beauties. ROMEO. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

'Tis the way To remind me she is far more beautiful. Farewell. Thou canst not teach me to forget. BENVOLIO. I'll pay that doctrine, or else die in debt. Exeunt. SCENE II. A Street. Enter Capulet, Count Paris, and Servant. CAPULET. But Montague is bound as well as I, In penalty alike; and 'tis not hard, I think, For men so old as we to keep the peace. PARIS. Of honourable reckoning are you both, And pity 'tis you lived at odds so long. But now, my lord, what say you to my suit? CAPULET. But saying over what Iâ&#x20AC;&#x2DC;ve said before: My child is yet a stranger in the world, She has not seen the change of fourteen years; Let two more summers wither in their pride Before we think her ripe to be a bride. PARIS. Younger than she are happy mothers made. CAPULET. And too soon marred are those so early made. The earth has swallowed all my hopes but her; She is the hopeful lady of my earth. But woo her, gentle Paris, get her heart; My will to her consent is but a part. If she agrees, then carried with her choice Are my consent and fair according voice. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

This night I hold an old accustomed feast, Whereto I have invited many a guest, Such as I love; and you among the store, One more, most welcome, makes my number more. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 10 Come, go with me. To Servant, giving him a paper. Go, sirrah, trudge about Through fair Verona; find those persons out Whose names are written there, and to them say, My house and welcome on their pleasure stay. Exeunt Capulet and Paris. SERVANT. Find them out whose names are written here? It is written that the shoemaker should meddle with his thread and the tailor with his leather, the fisher with his pencil and the painter with his nets; but I am sent to find those persons whose names are here writ. But how can I guess what names the writing person has writ here, unless he tell me with his mouth? I must to the learned. Just in time! Enter Benvolio and Romeo. BENVOLIO. Romeo, one fire burns out another's burning; One pain is lessened by another's anguish; Turn giddy, and be helped by backward spinning; One desperate grief cures with another's languish. Take some new infection to thy eye, And the rank pus of the old will die. ROMEO. Your plantain leaf is excellent for that. BENVOLIO. For what, I pray thee? YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

ROMEO. For your broken shin. BENVOLIO. What! Romeo! Art thou mad? ROMEO. Not mad, but bound more than a madman is; Shut up in Prison, kept without my food, Whipped and tormented and â&#x20AC;&#x201D; Good morning, good fellow. SERVANT. God give you good morning. I pray, sir, can you read? ROMEO. Yes, my own dark future in my misery. SERVANT. Perhaps you have learned that without book. But I pray, can you read any writing that you see? ROMEO. Yes, if I know the letters. And the language. SERVANT. I could say as much. Rest you merry! ROMEO. Wait, fellow; I can read. He reads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 11 'Signior Martino and his wife and daughters; County Anselmo and his beauteous sisters; The lady widow of Vitruvio; Signior Placentio and His lovely nieces; Mercutio and his brother Valentine; Mine uncle Capulet, his wife, and daughters; My fair niece Rosaline and Livia; Signior Valentio and His cousin Tybalt; Lucio and the lively Helena' Gives back the paper. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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A fair assembly. Whither should they come? SERVANT. Up. ROMEO. Up where? SERVANT. To supper. To our house. ROMEO. Whose house? SERVANT. My master's. ROMEO. Indeed I should have asked you that before. SERVANT. Now I'll tell you without asking. My master is the great rich Capulet; and if you be not of the house of Montagues, I pray, come and crush a cup of wine. Rest you merry! Exit. BENVOLIO. At this same ancient feast of Capulet's Sups the fair Rosaline whom thou so lovest â&#x20AC;&#x201D; With all the admired beauties of Verona. Go there, and with an unbiased eye Compare her face with some that I shall show, And I will make thee think thy swan a crow. ROMEO. When the devout religion of mine eyes Maintains such falsehood, then turn tears to fires; And let these heretics be burnt for liars! One fairer than my love? The all-seeing sun Never saw her match since first the world begun. BENVOLIO. Ha! You saw her fair, none else being by, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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But in that crystal scales let there be weigh'd Your lady's love against some other maid That I will show you shining at this feast, And she shall scant show well that now seems best. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 12 ROMEO. I'll go along, no such sight to be shown, But to rejoice in splendour of my own. Exeunt. SCENE III. Capulet's house. Enter Capulet's Wife, and Nurse. LADY CAPULET. Nurse, where's my daughter? Call her forth to me. NURSE. I swear at twelve years old I bade her come. What, lamb! what ladybird! Where's this girl? What, Juliet! Enter Juliet. JULIET. How now? Who calls? NURSE. Your mother. JULIET. Madam, I am here. What is your will? LADY CAPULET. This is the matter â&#x20AC;&#x201D; Nurse, give leave awhile, We must talk in secret. Nurse, come back again; I just remembered, thou hearest our counsel. Thou knowest my daughter's of a pretty age. NURSE. Faith, I can tell her age unto an hour. LADY CAPULET. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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She's not fourteen. NURSE. I'll lay fourteen of my teeth — And yet, to my teen be it spoken, I have but four — She is not fourteen. How long is it now To Lammastide? LADY CAPULET. A fortnight and odd days. NURSE. Even or odd, of all days in the year, Come Lammas Eve at night shall she be fourteen. Susan and she (God rest all Christian souls!) Were of an age. Well, Susan is with God; She was too good for me. But, as I said, On Lammas Eve at night shall she be fourteen; ‘Tis since the earthquake now eleven years; And she was weaned (I never shall forget it), Of all the days of the year, upon that day. And since that time it is eleven years, For then she could run and waddle all about; For even the day before, she broke her brow; And then my husband (God be with his soul! He was a merry man) took up the child. 'Yea,' said he, 'dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit! Wilt thou not, Jule?' and, by my lady, The pretty wretch left crying, and said ‗Ay!' To see now how a jest shall come about! LADY CAPULET. Enough of this. I pray thee hold thy peace. NURSE. Yes, madam. Yet I cannot choose but laugh To think she should leave crying and say 'Ay.' YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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And yet, I warrant, she had upon her brow A bump as big as a young cockerel's stone; A perilous knock; and she cried bitterly. 'Yea,' said my husband, 'fallest upon thy face? Thou wilt fall backward when thou comest to age; Wilt thou not, Jule?' She stinted, and said 'Ay!' JULIET. And stint thou too, I pray thee, nurse, say I. NURSE. Peace, I have done. God mark thee to his grace! Thou wast the prettiest babe that ever I nurs'd. If I might live to see thee married, I have my wish. LADY CAPULET. That 'married' is the very theme I came to talk of. Tell me, daughter Juliet, How stands your disposition to be married? JULIET. It is an honour that I dream not of. LADY CAPULET. Well, think of marriage now. Younger than you, Here in Verona, ladies of esteem, Are made already mothers. By my count, I was your mother much upon these years That you are still a maid. Thus then in brief: The valiant Paris seeks you for his love. NURSE. A man, young lady! lady, such a man As all the world — why he's a man of wax. LADY CAPULET. Verona's summer hath not such a flower. NURSE. Nay, he's a flower, in faith — a very flower. LADY CAPULET. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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What say you? Can you love the gentleman? This night you shall behold him at our feast. Read over the volume of young Paris's face, And find delight writ there with beauty's pen; The youngest chapter of an ancient book, Edged with gold that dazzles as you look. Shall you not share in all he might possess? Oh, having him, youâ&#x20AC;&#x2DC;ll make yourself no less. NURSE. No less? Nay, bigger! Women grow by men. LADY CAPULET. Speak briefly, can you like of Paris's love? JULIET. I'll look, and hope to like, if not to love. But no more deeply will I dart my eye Than your consent gives strength to make it fly. Enter Servingman. SERVANT. Madam, the guests are come, supper served up, you called, my young lady asked for, the nurse cursed in the pantry, and everything in extremity. I must hurry now to wait. I beseech you, follow straight. LADY CAPULET. We follow thee. Exit Servingman. Juliet, the Count is waiting. NURSE. Go, girl, seek happy nights to happy days. (Exteunt)

Exercises 1 YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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REFLECTION AND DISCUSSION

ACT 1, SCENE 1

1. What was Shakepeare‘s purpose in beginning the action of the play with the quarrel between two servants rather than the clash between Benvolio and Tybalt? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 2. What threat does Prince Escalus make against the ―enemies‖ of peace? Do you think the threat will or will not end the conflict between the feuding families? State your reasons. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 3. What is Romeo‘s mood in this first scene and what has caused it? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

Lesson 8

Learning the Elements and Conventions of the Drama

Romeo and Juliet Act YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

by William Shakespeare

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PROLOGUE Enter Chorus. CHORUS. Now old desire doth in his deathbed lie, And young affection gapes to be his heir; That beauty which love groaned for and would die, With tender Juliet matched, is now not fair. Now Romeo is beloved, and loves in turn, Alike bewitched by the charm of looks; But for his foe he thinks his heart must burn, And she steals love's sweet bait from fearful hooks. Being held a foe, he may not have access To breathe such vows as lovers long to swear, And she as much in love, her means much less To meet her new beloved anywhere; But passion lends them power, chance the means to meet, Tempering extremities with extreme sweet. Exit. ACT II. SCENE I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . ROMEO & JU LIET / 22

A lane by the wall of Capulet's orchard. Enter Romeo. alone. ROMEO. Can I go forward when my heart is here? Turn back, dull earth, and find thy center out. Climbs the wall and leaps down within it. Enter Benvolio with Mercutio. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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BENVOLIO. Romeo! my cousin Romeo! Romeo! MERCUTIO. He is wise, And, on my life, hath stolen him home to bed. BENVOLIO. He ran this way, and leapt this orchard wall. Call, good Mercutio. MERCUTIO. Nay, I'll conjure too. Romeo! humours! madman! passion! lover! Appear thou in the likeness of a sigh; Speak but one rhyme, and I am satisfied! Cry but 'Ay me!' pronounce but 'love' and 'dove'! He heareth not, he stirreth not, be moveth not; The ape is dead, and I must conjure him. I conjure thee by Rosaline's bright eyes. By her high forehead and her tresses fair, By her fine foot, straight leg, and quivering lip, And all the spittledrops that from it drip, That in thy likeness thou appear to us! BENVOLIO. If he hear thee, thou wilt anger him. MERCUTIO. This cannot anger him. His broken heart Yearned for Rosaline in every part. BENVOLIO. Come, he hath hid himself among these trees. Blind is his love and best befits the dark. MERCUTIO. Now will he sit under a heavy tree And wish his mistress were some kind of fruit To ripen and break open when it falls. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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O, Romeo, that she were! O that she were A pear! A melon! A peasepod or a squash! Romeo, good night. I'll to my truckle-bed; This field-bed is too cold for me to sleep. Come, shall we go? BENVOLIO. Go then, for 'tis in vain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 23 'To seek him here that means not to be found. Exeunt. SCENE II. Capulet's orchard. Enter Romeo. ROMEO. He jests at scars that never felt a wound. Enter Juliet above at a window. But soft! What light through yonder window breaks? It is the East, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou her maid art far more fair than she. It is my lady; O, it is my love! O that she knew she were! She speaks, yet she says nothing. What of that? Her eye discourses; I will answer it. I am too bold; 'tis not to me she speaks. Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their place till they return. See how she leans her cheek upon her hand! O that I were a glove upon that hand, That I might touch that cheek! JULIET. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Ay me! ROMEO. She speaks. O, speak again, bright angel! JULIET. O Romeo, Romeo! Why must thou be Romeo? Deny thy family and refuse thy name! Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. ROMEO. [aside] Shall I hear more, or shall I speak at this? JULIET. 'Tis but thy name that is my enemy. Thou art thyself, though not a Montague. What's Montague? it is not hand or foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? That which we call a rose By any other name would smell as sweet. Oh, give away that ‗Romeo,‘ and for that name, Which is no part of thee, take all myself. ROMEO. I take thee at thy word. Call me thy love, and I'll be new baptized; Henceforth I never will be Romeo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 24 JULIET. What man art thou that, thus bescreened in night, So stumblest on my counsel? ROMEO. By a name I know not how to tell thee who I am. My name, dear saint, is hateful to myself, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Because it is an enemy to thee. Had I it written, I would tear the word. JULIET. My ears have yet not drunk a hundred words Of that tongue's utterance, yet I know the sound. Art thou not Romeo, and a Montague? ROMEO. Neither, fair saint, if either thee dislike. JULIET. How camest thou hither, tell me, and why? The orchard walls are high and hard to climb, And this place death, considering who thou art, If any of my kinsmen find thee here. ROMEO. Stony limits cannot hold love out, And what love can do, that dares love attempt. Therefore thy kinsmen are no threat to me. JULIET. If they do see thee, they will murder thee. ROMEO. There lies more peril in thine eye Than twenty of their swords! Look thou but sweet, And I am proof against their enmity. JULIET. I would not for the world they saw thee here. ROMEO. I have night's cloak to hide me from their sight; And if thou love me not, let them find me here. My life were better ended by their hate Than to live on and on without thy love. JULIET. Thou knowest the mask of night is on my face; Else would a maiden blush bepaint my cheek YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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For that which thou hast heard me speak to-night. Fain would I dwell on form — fain, fain deny What I have spoke; but farewell compliment! Dost thou love me? I know thou wilt say 'Ay'; And I will take thy word. Yet, if thou swearest, Thou mayst prove false. At lovers' perjuries, . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 25 They say Jove laughs. O gentle Romeo, If thou dost love, pronounce it faithfully. Or if thou thinkest I am too quickly won, I'll frown, and be perverse, and say thee nay, So thou wilt woo; but else, not for the world. ROMEO. Lady, by yonder blessed moon I swear — JULIET. O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest thy love prove likewise changeable. ROMEO. What shall I swear by? JULIET. Do not swear at all; Or if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I'll believe thee. ROMEO. If my heart's dear love — JULIET. No, do not swear. Although I joy in thee, I have no joy of any vows tonight. It is too rash, too unadvised, too sudden. Sweet, good night! Good night! Good night! ROMEO. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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O, wilt thou leave me so unsatisfied? JULIET. What satisfaction canst thou have tonight? ROMEO. The exchange of thy love's faithful vow for mine. JULIET. I gave thee mine before thou didst request it; And yet I wish that I could take it back! ROMEO. Wouldst thou withdraw it? For what purpose, love? JULIET. But to be frank and give it thee again. And yet I wish but for the thing I have. My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite. I hear some noise within. Dear love, adieu! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 26 NURSE. [offstage] Juliet! JULIET. Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again. Exit. ROMEO. O blessed, blessed night! I am afraid, Being in night, all this is but a dream, Too flattering-sweet to be substantial. Enter Juliet above. JULIET. Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable, Thy purpose marriage, send me word tomorrow, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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By one that I'll procure to come to thee, Where and what time thou wilt perform the rite; And all my fortunes at thy foot I'll lay And follow thee my lord throughout the world. NURSE. [offstage] Madam! JULIET. I come, anon. — But if thou meanest not well, I do beseech thee — NURSE. [offstage] Madam! JULIET. By-and-by I come — To cease thy suit and leave me to my grief. Tomorrow will I send a message. ROMEO. Then tomorrow I will live again. JULIET. A thousand times good night! Exit. ROMEO. A thousand times the worse, to want thy light! Love goes toward love as schoolboys from their books; But love from love, towards school with heavy looks. Enter Juliet again, above. JULIET. Hist! Romeo, hist! O for a falconer's voice To lure this flown bird back again! Romeo! ROMEO. It is my soul that calls upon my name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . ROMEO & JU LIET / 27 JULIET. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Romeo! ROMEO. My dear? JULIET. At what o'clock to-morrow shall I send to thee? ROMEO. By the hour of nine. JULIET. I will not fail. It‘s twenty years till then. Wait! [pause] I have forgot why I did call thee back. ROMEO. Let me stand here till thou remember it. JULIET. I shall forget, to have thee still stand there, Remembering how I love thy company. ROMEO. And I'll still stay, to have thee still forget, Forgetting any other home but this. JULIET. 'Tis almost morning. I would have thee gone — And yet no farther than a wanton's bird, That lets it hop a little from her hand. ROMEO. I would I were thy bird. JULIET. Sweet, so would I. Yet I should kill thee with much cherishing. Good night, good night! Parting is such sweet sorrow, That I shall say good night till it be morrow. Exit. ROMEO. Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace, so sweet to rest! YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Exit.

Exercises 1 REFLECTION AND DISCUSSION

ACT 2

1. Why does Romeo hide from Benvolio and Mercutio? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

2. Do you think Benvolio and Mercutio relaize that Romeo has found a new love? Quote lines to support your answer. ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ 3. How was Romeoâ&#x20AC;&#x2DC;s attitude toward life changed since he met Juliet? ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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GRAMMAR NOTES Relative Pronouns

Relative pronouns such as that, which, who, whom, and whose are used to relate a subordinate clause to another word in the sentence.

The word which the relative pronoun refers to is called its antecedent. This may be a noun or a pronoun located in the main / principal clause.

Go over the following sentences. Note the underlined words.

1. The tall young Army lieutenant who had just come from the direction of the tracks lifted his sunburned face.

2. His fingers gripped the worn small, blue leather copy of Of Human Bondage, which was to identify to her.

3. His heart was pounding with a beat that shocked him because he could not control it.

In the first sentence, what is the function of who? Is who found in the independent clause or dependent clause? In Sentences 2 and 3, what are the functions of which and that, respectively?

Exercise 2 YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Underline the subordinate clause in each sentence. Encircle the relative pronoun ad enclose in parentheses the antecedent.

Example:

The (statement) that I have just made still reflects my position.

1. But it was a crimson sweet pea, not the little red rose that they had agreed upon.

2. So deep was his longing for the woman whose spirit had truly companioned and upheld his own. 3. This would not be love but it would be something precious â&#x20AC;&#x201C; a friendship for which he had been and must ever be grateful.

4. That young lady in the green dress suit who just went by, she begged me to wear this rose on my coat.

5. The grapevine that we planted last spring is now bearing fruits.

Exercise 3

Use the following relative pronouns in sentences of your own. Underline the subordinate clause.

1. whom

2. which

3. that YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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4. who

5. whose

Lesson 10

Learning the Elements and Conventions of the Drama

Romeo and Juliet Act V by William Shakespeare

Mantua. A street. Enter Romeo. ROMEO. If I may trust the flattering truth of sleep My dreams presage some joyful news at hand. My bosom's lord sits lightly in his throne, And all this day an unaccustomed spirit Lifts me above the ground with cheerful thoughts. I dreamt my lady came and found me dead (Strange dream that gives a dead man leave to think!) And breathed such life with kisses in my lips That I revived and was an emperor. Enter Romeo's Man Balthasar, booted. News from Verona! How now, Balthasar? Dost thou not bring me letters from the friar? How doth my lady? Is my father well? How fares my Juliet? That I ask again, For nothing can be ill if she be well. BALTHASAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 68 Then she is well, and nothing can be ill. Her body sleeps in Capuletâ&#x20AC;&#x2DC;s monument, And her immortal part with angels lives. I saw her laid low in her kindred's vault And left them weeping, to bring the word to you. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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O, pardon me for bringing these ill news, But you did charge me with this office, sir. ROMEO. Is it even so? Then I defy you, stars! Thou knowest my lodging. Get me ink and paper And hire posthorses. I will hence to-night. BALTHASAR. I do beseech you, sir, have patience. Your looks are pale and wild and do import Some misadventure. ROMEO. Leave me and do the thing I bid thee do. Hast thou no letters to me from the friar? BALTHASAR. I did not stay to ask for any, sir. ROMEO. No matter. Get thee gone And hire those horses. I'll be with thee straight. Exit Balthasar. Well, Juliet, I will lie with thee tonight. Let's see for means. O mischief, thou art swift To enter in the thoughts of desperate men! I do remember an apothecary, And hereabouts he dwells, which late I noted In tattered clothes. Meager were his looks, Sharp misery had worn him to the bones; Noting this penury, to myself I said, If a man had need of poison, though to sell it Is a mortal crime in Mantua, This desperate wretch would make the trade.â&#x20AC;&#x2DC; As I remember, this should be the house. What holiday is this? The beggar's shop is shut. Ho! Apothecary! Enter Apothecary. APOTHECARY. Who calls so loud? ROMEO. Come hither, man. I see that thou art poor. Hold, there is forty ducats. Let me have A dram of poison, such soon-speeding gear As will disperse itself through all the veins That the life-weary taker may fall dead, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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And that the chest may be discharged of breath As quickly as gunpowder, fired, Doth hurry from the fatal cannon's womb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . ROMEO & JU LIET / 69 APOTHECARY. Such mortal drugs I have; but Mantua's law Is death to any man that offers them. ROMEO. Art thou so bare and full of wretchedness And fearest to die? Famine is in thy cheeks, Need and oppression starveth in thine eyes, Contempt and beggary hangs upon thy back: The world is not thy friend, nor the world's law; The world affords no law to make thee rich; Then be not poor, but break it and take this. APOTHECARY. My poverty but not my will consents. ROMEO. I pay thy poverty and not thy will. APOTHECARY. Put this in any liquid thing you will And drink it off, and if you had the strength Of twenty men, it would dispatch you straight. ROMEO. There is thy gold â&#x20AC;&#x201D; worse poison to men's souls, Doing more murder in this loathsome world, Than these poor compounds that the law forbids. I sell thee poison; thou hast sold me none. Farewell. Buy food and get thyself in flesh. Come, nectar and not poison, go with me To Juliet's grave; for there must I use thee. Exeunt. SCENE II. Verona. Friar Laurence's cell. Enter Friar John to Friar Laurence. FRIAR JOHN. Holy Franciscan friar, brother, ho! Enter Friar Laurence. FRIAR LAURENCE. This same should be the voice of Friar John. Welcome from Mantua. What says Romeo? Or, if his mind be writ, give me his letter. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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FRIAR JOHN. I stopped along the way to share some food With Brother Simon, and found him Visiting the sick. The watchmen stopped us As we left a house where plague was rumored. They sealed the doors and would not let us out So my speedy trip to Mantua was stayed. FRIAR LAURENCE. Who bore my letter, then, to Romeo? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 70 FRIAR JOHN. I could not send it — here it is again — Nor get a messenger to bring it to thee, So fearful were they of infection. What could I do? I hope this caused no harm. FRIAR LAURENCE. Unhappy fortune! By my brotherhood, The letter was not trivial, but full of charge, Of dear import; and the neglecting it May do much danger. Friar John, go hence, Get me an iron crow and bring it straight Unto my cell. FRIAR JOHN. Brother, I'll go and bring it thee. Exit. FRIAR LAURENCE. Now, must I to the monument alone. Within this three hours will fair Juliet wake. She will beshrew me much that Romeo Hath had no notice of these accidents; But I will write again to Mantua, And keep her at my cell till Romeo come — Poor living corpse, closed in a dead man's tomb! Exit. SCENE III. Verona. A churchyard; in it the monument of the Capulets. Enter Paris and his Page with flowers and a torch. PARIS. Give me thy torch, boy. Hence, and stand aloof. Yet put it out, for I would not be seen. Under that yew tree lay thee all along, Holding thine ear close to the hollow ground. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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So shall no foot upon the churchyard tread But thou shalt hear it. Whistle then to me, As signal that thou hearest some approach. Give me those flowers. Do as I bid thee, go. PAGE. [aside] I am almost afraid to stand alone Here in the churchyard; yet I will adventure. Retires. PARIS. Sweet flower, with flowers thy bridal bed I strew O woe! thy canopy is dust and stones; Over it each night my tears will flow, And then I‘ll make it tremble with my moans. The obsequies that I for thee will keep Nightly shall be to strew thy grave and weep. Page whistles. The boy gives warning — someone doth approach. What cursed foot wanders this way tonight To cross my obsequies and true love's rite? What, with a torch? Muffle me, night, awhile. Retires. Enter Romeo and Balthasar with a torch, a mattock, and a crow of iron. . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 71 ROMEO. Give me that mattock and the wrenching iron. Hold, take this letter. Early in the morning See thou deliver it to my lord and father. Give me the light. Upon thy life I charge thee, Whatever thou hearest or seest, stand all aloof And do not interrupt me in my course. Why I descend into this bed of death Is partly to behold my lady's face, But chiefly to take thence from her dead finger A precious ring — a ring that I must use In dear employment. Therefore hence, be gone. But if thou, jealous, dost return to pry In what I farther shall intend to do, By heaven, I will tear thee joint by joint And strew this hungry churchyard with thy limbs. The time and my intents are savage-wild. BALTHASAR. I will be gone, sir, and not trouble you. ROMEO. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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So shalt thou show me friendship. Take thou that. Live, and be prosperous; and farewell, good fellow. BALTHASAR. [aside] No matter what he says, I hide and wait. His looks I fear, and his intents I doubt. Retires. ROMEO. Thou detestable mouth, thou womb of death, Gorged with the dearest morsel of the earth, Thus I enforce thy rotten jaws to open, And in despite I'll cram thee with more food. Romeo opens the tomb. PARIS. This is that banished haughty Montague That murdered my love's cousin — with which grief It is supposed the fair creature died — And here he comes to do some villainous shame To the dead bodies. I will apprehend him. Stop thy unhallowed toil, vile Montague! Can vengeance be pursued further than death? Condemned villain, I do apprehend thee. Obey, and go with me; for thou must die. ROMEO. I must indeed; and therefore came I hither. Good gentleman, test not a desperate man. Fly hence and leave me. I beseech thee. Put not another sin upon my head By urging me to fury. O, be gone! By heaven, I love thee better than myself, For I come hither armed against myself. Stay not, be gone. Live, and hereafter say A madman's mercy bid thee run away. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 72 PARIS. I defy thy mad demand, And apprehend thee for a felon here. ROMEO. Wilt thou provoke me? Then have at thee, boy! They fight. PAGE. They‘re fighting! I‘ll go call the watch. Exit. Paris falls. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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PARIS. O, I am slain! If thou be merciful, Open the tomb, lay me with Juliet. Dies. ROMEO. In faith, I will. Let me peruse this face. Mercutio's kinsman, noble Count Paris! What said my man when my betossed soul Did not attend him as we rode? I think He told me Paris should have married Juliet. Said he not so? or did I dream it so? Or am I mad, hearing him talk of Juliet To think it was so? O, give me thy hand, One writ with me in sour misfortune's book! I'll bury thee in a triumphant grave. A grave? O, no, a lantern, a bright vessel, For here lies Juliet, and her beauty makes This vault a feasting presence full of light. Death, lie thou there, by a dead man interred. Lays him in the tomb. How oft when men are at the point of death Have they been merry! which their keepers call A lightening before death. O, how may I Call this a lightening? O my love! my wife! Death, that hath sucked the honey of thy breath, Hath had no power yet upon thy beauty. Thou art not conquered. Beauty's ensign yet Is crimson in thy lips and in thy cheeks, And death's pale flag is not advanced there. Tybalt, liest thou there in thy bloody sheet? O, what more favour can I do to thee Than with that hand that cut thy youth in twain To sunder his that was thine enemy? Forgive me, cousin. Ah, dear Juliet, Why art thou yet so fair? Shall I believe That unsubstantial Death is amorous, And that the lean abhorred monster keeps Thee here in dark to be his paramour? For fear of that I still will stay with thee And never from this palace of dim night Depart again. Here, here will I remain With worms that are thy chambermaids. O, here YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Will I set up my everlasting rest And shake the yoke of inauspicious stars From this world-wearied flesh. Eyes, look your last! Arms, take your last embrace! and, lips, O you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 73 The doors of breath, seal with a righteous kiss A dateless bargain to engrossing death! Come, bitter conduct; come, unsavoury guide! Thou desperate pilot, now at once run on The dashing rocks thy seasick weary bark! Here's to my love! [Drinks.] O true apothecary! Thy drugs are quick. Thus with a kiss I die. Falls. Enter Friar Laurence, with lantern, crowbar, and spade. FRIAR LAURENCE. Saint Francis be my speed! how oft to-night Have my old feet stumbled at graves! Who's there? BALTHASAR. Here's one, a friend, and one that knows you well. FRIAR LAURENCE. Bliss be upon you! Tell me, good my friend, Whose torch is burning in the monument? BALTHASAR. There's my master, one that you love. FRIAR LAURENCE. Thy master? BALTHASAR. Romeo. FRIAR LAURENCE. Come from Mantua? How long has he been there? BALTHASAR. Full half an hour. FRIAR LAURENCE. Go with me to the vault. BALTHASAR. I dare not, sir. My master thinks Iâ&#x20AC;&#x2DC;m gone. He threatened me with death If I stayed to see what he might do. FRIAR LAURENCE. Stay then; I'll go alone. Fear comes upon me. O, much I fear some ill unthrifty thing. BALTHASAR. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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As I did sleep under this yew tree here, I dreamt my master and another fought, And that my master slew him. FRIAR LAURENCE. Romeo! Alack, alack, what blood is this which stains The stony entrance of this sepulchre? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 74 What mean these masterless and gory swords To lie discoloured by this place of peace? Enters the tomb. Romeo! Too late. Who else? What, Paris too? And steeped in blood? Ah, what an unkind hour Is guilty of this lamentable chance! The lady stirs. Juliet rises. JULIET. O comfortable friar! where is my lord? I do remember well where I should be, And there I am. Where is my Romeo? FRIAR LAURENCE. I hear some noise. Lady, come from that nest Of death, contagion, and unnatural sleep. A greater power than we can contradict Hath thwarted our intents. Come, come away. Thy husband in thy bosom there lies dead; And Paris too. Come, I'll find thee refuge Among a sisterhood of holy nuns. Stay not to question, for the watch is coming. Come, go, good Juliet. I dare no longer stay. JULIET. Go, get thee hence, for I will not away. Exit Friar. What's here? A vial, closed in my true love's hand? Poison, I see, hath been his timeless end. O churl! drunk all, and left no friendly drop To help me after? I will kiss thy lips. Haply some poison yet doth hang on them To make me die with a restorative. Kisses him. Thy lips are warm! OFFICER. [offstage] Lead, boy. Which way? YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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JULIET. Noise? Then I'll be brief. O happy dagger! Snatches Romeo's dagger. This is thy sheath; there rest, and let me die. She stabs herself and falls on Romeo's body. Enter Paris's Boy and Watch. PAGE. This is the place. There, where the torch doth burn. OFFICER. The ground is bloody. Search about the churchyard. Go, some of you; whoever you find, arrest. Exeunt some of the Watch. Pitiful sight! Here lies Count Paris, slain; And Juliet â&#x20AC;&#x201D; bleeding, warm, and newly dead, Who here has lain these two days buried. Go, tell the Prince; run to the Capulets; Raise up the Montagues! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROMEO & JU LIET / 75 Exeunt others of the Watch. Enter some of the Watch, with Romeo's Man Balthasar. 2. WATCH. Here's Romeo's man. We found him in the churchyard. OFFICER. Hold him in safety till the Prince come hither. Enter Friar Laurence and another Watchman. 3. WATCH. Here is a friar that trembles, sighs, and weeps. We took this mattock and this spade from him As he was coming from this churchyard side. OFFICER. A great suspicion! Stay the friar too. Enter the Prince and Attendants. PRINCE. What misadventure is so early up, That calls our person from our morning rest? Enter Capulet and his Wife with others. CAPULET. What should it be, that they so shriek abroad? LADY CAPULET. The people in the street cry 'Romeo,' Some 'Juliet,' and some 'Paris'; and all run, With open outcry, toward our monument. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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PRINCE. What fear is this which startles in our ears? OFFICER. Sovereign, here lies Count Paris, slain, and Romeo dead of poison; and Juliet, who we thought was dead, warm and newly killed. PRINCE. Search, seek, find out how this foul murder comes. OFFICER. Here is a friar, and Romeo's man, with instruments upon them fit to open these dead men's tombs. CAPULET. O heavens! O wife, look how our daughter bleeds! LADY CAPULET. O me! this sight of death is as a bell That warns my old age to a sepulchre. Enter Montague and wife, with others. PRINCE. Come, Montague; for thou art early up To see thy son and heir more early down. MONTAGUE. Already we grieved at Romeo‘s banishment. What new grief has come to him? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . ROMEO & JU LIET / 76 PRINCE. Look, and thou shalt see. MONTAGUE. Ill-mannered boy! what rudeness thou hast done, To press before thy father to a grave? PRINCE. Bring forth the parties of suspicion. FRIAR LAURENCE. Here I stand, both to impeach and purge — Myself condemned and myself excused. PRINCE. Then say at once what thou dost know in this. FRIAR LAURENCE. Romeo, there dead, was husband to that Juliet; And she, there dead, was Romeo's faithful wife. I married them; and their stolen marriage day Was Tybalt's doomsday, whose untimely death Banished the new-made bridegroom from this city; YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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For that, not just for Tybalt, Juliet grieved. You, to remove that siege of grief from her, Betrothed and would have married her by force To Count Paris. Then comes she to me And with wild looks bids me devise some mean To rid her from this second marriage, Or in my cell there would she kill herself. I gave her a sleeping potion which caused The look of death. Meantime I wrote to Romeo To come and raise her from her borrowed grave. But he which bore my letter, Friar John, Was stayed by accident. So I came alone To take her from her kindred's vault; Meaning to keep her closely at my cell Till I could send again for Romeo. But when I came, some minute ere the time Of her awaking, here untimely lay The noble Paris and true Romeo dead. She woke, and I entreated her come forth And bear this work of heaven with patience; But then a noise did scare me from the tomb, And she, too desperate, would not go with me, But, as it seems, did violence on herself. All this I know, and to the marriage Her nurse is privy; and if aught in this Miscarried by my fault, let my poor life Be sacrificed, some hour before his time, Unto the rigour of severest law. PRINCE. We still have known thee for a holy man. Where's Romeo's man? What can he say in this? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . ROMEO & JU LIET / 77 BALTHASAR. I brought my master news of Juliet's death; And then in haste he came from Mantua To this same place, to this same monument. This letter he early bid me give his father, And threatened me unless I left him there. PRINCE. Give me the letter. I will look on it. Reads. Where be these enemies? Capulet, Montague, YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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See what a scourge is laid upon your hate, That heaven finds means to kill your joys with love! And I, for winking at your discords, too Have lost a brace of kinsmen. All are punished. CAPULET. O brother Montague, give me thy hand. It was my daughterâ&#x20AC;&#x2DC;s will that we be joined. MONTAGUE. And I will raise a statue of pure gold In honor of my sonâ&#x20AC;&#x2DC;s beloved wife, So while Verona by that name is known, All will admire faithful Juliet. LADY MONTAGUE If only we had seen the wisdom of such love While yet our dearest children were alive. PRINCE. A glooming peace this morning with it brings. The sun for sorrow will not show his head. Go hence, to have more talk of these sad things; For never was a story of more woe Than this of Juliet and her Romeo. Exeunt omnes. THE END

GRAMMAR NOTES

Present perfect Tense and Past Perfect Tense

The present perfect tense denotes an action / condition completed in an indefinite past time, as well as an action or a condition begun in the past and continuing to the present time.

The past perfect tense denotes an action or a condition completed before another past action / condition.

Go over the following sentences by paying attention to the underlined words.

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1. ―Well,‖ I began, ―it will interest you to know that all women have changed.‖ 2. The faded figure of a woman in Philippine dress could still be distinguished although the face had become a blur.

In Sentence 1, is there a definite time for the completed action or condition indicated by the verb have changed?

In Sentence 2, which of the two actions was completed earlier?

In Sentence 1, the verb have changed is in the present perfect tense. The present perfect always expresses indefinite past time. Such words as last year or yesterday cannot be added to a verb in the present perfect to make it definite.

Study the following chart.

Uses of the Present Perfect Tense

Completed Action (indefinite time):

They have antagonized us.

Completed Condition (indefinite time):

They have been here before.

Action continuing to the present:

It has rained heavily for three

days now.

Condition continuing to the present:

Grandpa has felt tired all day.

Past Perfect Tense

In Sentence 2, there is an action which has been completed before another past action. The verb had become is in the past perfect tense.

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Uses of Past Perfect Tense

Action completed before another past action: Perhaps the nomadic hunters had drawn in the dirt before they drew on the cave walls.

Condition completed before another past action: Denise had been a figure skater until she became ill.

Exercise 1:

Write on the answer line the indicated form of each verb in the parentheses. __________ 1. I (ask – past perfect) him to deliver these packages before he left the farm. __________ 2. Our school (adopt – present perfect) the honor code. __________ 3. The class (discuss – present perfect) the new best-selling book. __________ 4. My grandma‘s hair (be – present perfect) white for so many years now. __________ 5. Kyle (be – past perfect) a roving photographer until he suffered a stroke.

Exercise 2:

Write a sentence of your own, using present perfect or past perfect tense as indicated in each number. 1. want – past perfect 2. teach – present perfect 3. drive – past perfect 4. wear – present perfect 5. cry – past perfect YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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LITERARY NOTES

Elements of the Drama What background does a reader need for appreciating a play? He / She needs some knowledge of the elements in the structure of a drama. Plot The plot is a sequence of incidents or events that make up the action. The plot begins with the situation presented in the exposition and the problem (conflict) it creates for the main character. It develops as the character attempts to resolve the conflict in which he becomes involved. Each incident grows out of the preceding one and builds on it. This rising action reaches its peak in the climax. The climax is followed by a short falling action in which all the complications that develop in the rising action are solved one by one. This is sometimes called denouement. The play ends with the resolution in which the action either ends in failure or success, depending on whether the play is a tragedy or comedy. The following diagram of a perfect triangle illustrates the plot structure of a play.

Characters YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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The playwright creates characters that seem real. He does this through the following: 1. what the characters say to reveal their attitudes, beliefs, thoughts, and feelings 2. the way they speak – their language and manner of speaking 3. what the other characters say about them 4. stage directions that indicate what a particular character does in a situation, how he reacts to a situation or another actor, or how he expresses a particular thought, opinion, or emotion As a rule, the main characters are dynamic; they undergo some change during the course of the play as a result of compelling motive and plausible situations. The minor characters are usually static; they undergo very little change or none at all. Conflict A play will usually have a protagonist (hero) who is matched against the antagonist (villain), thus creating conflict – a struggle between two opposing forces, ideas, or beliefs. The conflict may be internal (within the character himself) or it may be external (between the character and nature, society, another person, or persons). Setting In one-act plays, the setting, or the time and place, usually remains the same throughout. Occasionally, the action occurs in more than one place in which case the play is divided into scenes, each with its own setting. Theme The playwright, through the characters and the dramatic events in the story, states a compelling idea, a belief, an attitude, or a view of life. This is the theme of the play which, more often than not, is intertwined with the writer‘s purpose in telling the story.

Exercise 1: YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Read a one-act play from a collection of English or American plays. Diagram the plot structure of the play you have chosen by filling in details for each part in the structure.

Lesson 11

Writing a Script for a Play

The Unicorn in the Garden by James Thurber

Read the following carefully as a material for a skit (a short humorous play). James Thurber (1894 – 1961) was a U.S. humorist and cartoonist. The sophisticated humor of his writing contrasts with the simplicity of his line drawings. Several stories, such as ―The Secret Life of Walter Mitty‖ (1942), were filmed. He contributed to the New Yorker from 1927. His collections included ―My Life and Hard Times‖ (1933) and ―The Thurber Carnival‖ (1945). The Unicorn in the Garden James Thurber

Once upon a sunny morning, a man who sat at his breakfast looked up from his scrambled eggs to see white unicorn with a golden horn quietly cropping the roses in the garden. The man went up to the bedroom, where his wife was still asleep, and woke her. ―There‘s a unicorn in the garden,‖ he said, ―eating roses.‖ She opened one unfriendly eye and looked at him. ―The unicorn is a mythical beast,‖ she said and turned back on him. The man walked slowly downstairs and out into the garden. The unicorn was still there; he was not browsing among the tulips.

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―Here, unicorn,‖ said the man, and he pulled up a lily and gave it to him. The unicorn ate it gravely. With a high heart, because there was a unicorn in his garden, the man went upstairs and roused his wife again. ―The unicorn,‖ he said, ―ate a lily.‖ His wife sat up in bed and looked at him coldly. ―You are a booby,‖ she said, ―and I am going to have you put in the booby hatch.‖ He walked over to the door. ―He has a golden horn in the middle of his forehead,‖ he told her. Then he went back to the garden to watch the unicorn; but the unicorn had gone away. The man sat down among the roses and went to sleep. As soon as the husband had gone out of the house, the wife got up and dressed as fast as she could. She was very excited and there was a gloat in her eye. She telephoned the police and she telephoned the psychiatrist; she told them to hurry to her house and bring a straightjacket. When the police and the psychiatrist arrived, they sat down in chairs and looked at her with great interest. ―My husband,‖ she said, saw a unicorn this morning.‖ The police looked at the psychiatrist and the psychiatrist looked at the police. ―He told me it had a golden horn in the middle of the forehead,‖ she said. At a solemn signal from the psychiatrist, the police leaped from their chairs and seized the wife. They had a hard time subduing her, for she put a terrific struggle, but they finally subdued her. Just as they got her into the straightjacket, the husband came back into the house. ―Did you tell your wife you saw a unicorn?‖ asked the police. ―Of course not,‖ said the husband, ―the unicorn is a mythical beast.‖ ―That‘s all I wanted to know,‖ said the psychiatrist. ―Take her away. I‘m sorry, sir, but your wife is crazy as jaybird.‖ So they took her away, cursing and screaming, and shut her up in an institution. The husband lived happily ever after.

The Unicorn in the Garden

Characters:

Husband

Wife

Police

Psychiatrist

Place:

a house in the suburb

Time:

sunny morning

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Scene:

A dining room-kitchen on the right leads to a low stairway near the door to a partitioned bedroom on the left. In front of the house is a flower garden. Entrance is on the right.

The husband is in the dining room, eating his breakfast. He looks up from his scrambled eggs to see a white unicorn cropping the roses in the garden. His wife is still sleeping.

Husband:

(Going up to the bedroom and waking up his wife). Thereâ&#x20AC;&#x2DC;s a unicorn in the gardenâ&#x20AC;Ś eating roses.

Wife:

(Opening one eye, looking at him). The unicorn is a mythical beast! (Turning her back on him).

Husband:

(Walking slowly down the stairs and gang out to the garden, sees the unicorn). Here, unicorn. (Pulls up a lily and gives it to him).

[With a high heart, because there was a unicorn in the garden, the husband went upstairs and roused his wife again.]

Husband:

The unicorn ate a lily.

Wife:

(Sitting up in bed, looking at him coldly). You are a booby and I am going to have you put in the booby hatch!

Husband:

(Walking over to the door). He has a golden horn in the middle of his

forehead.

[Then he went to the garden to watch the unicorn but the unicorn had gone away. So he sat down among the roses and went to sleep.]

From this point in the story, continue writing the script, using the space below. Remember to stay close to the text for stage directions and dialogue.

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Adverbs of Time, Place, Manner, Frequency, and Degree An adverb modifies a verb, an adjective, or another adverb. It answers the questions where? (place), when? (time), how? (in what manner), how often? (frequency), or to what extent? (degree of intensity). The position of the adverb in relation to the word it modifies may vary. It may be placed before or after the word modified. Note the underlined words in each line or sentence. 1. He is in his late twenties, very shabbily dressed, often unkempt, and with hair that seems to have been uncut for weeks. 2. Eyeing him intently 3. Sighs happily, looks up 4. Walks away from him 5. Oh, I wish she were alive now! In Sentence 1, what is modified by shabbily? What part of speech is this word? What is the word very? How is it used? What does often indicate? In Line 2 and 3, what words are modified by intently and happily? What parts of speech are these words? In Line 4 and Sentence 5, what words are modified by away and now? What parts of speech are these words? What questions are answered by these words? What are modified? The underlined words are called adverbs. Adverbs signify time, place, and manner. Usually adverbs are classified as adverbs of time, adverbs of place, adverbs of manner, adverbs of frequency, and adverbs of degree. An adverb is a word that modifies a verb, an adjective, or another adverb. When an adverb modifies a verb, it may answer any of the following questions: Where? When? In what manner? How often? YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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When an adverb modifies an adjective or another adverb, it answers the question: To what extent? When an adverb expresses the degree of intensity of the modified adjective or adverb, such an adverb is called an intensifier or intensive modifier or adverb of degree.

Examples:

She works incredibly hard. That dog is rather old to be a house guard.

However, its excessive use should be avoided. Example of overused adverbs:

I was awfully tired and terribly famished from the extremely long hike.

As the following examples show, the position of an adverb in relation to the word it modifies can vary in a sentence. Adverbs Modifying Verbs Where? 1. Prices of commodities went up. 2. The delegates stayed there. Where? 1. The boarder cleaned the room yesterday. 2. Later, we toured the pyramids. In what manner? 1. The chairman officially announced it. 2. Linda danced gracefully. 3. Suddenly, the man appeared from the bushes. How often? 1. I seldom see you around. 2. Mother always did it right.

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3. She never studies at home. To what extent? 1. His anger was still boiling.

Adverbs Modifying Adjectives and Adverbs Modifying Adjectives To what extent? 1. It was extremely boring play. 2. His reason was quite logical.

Modifying Adverbs To what extent? 1. He lectured very competently. 2. I am not fully satisfied.

Adverbs as Parts of Verbs Some verbs require an adverb to complete their meaning. An adverb used this way is considered a part of the verb commonly referred to as a two-word verb. Examples:

The car backed up along the curbs. The champion boxer knocked out the challenger in the second

round.

Nouns Functioning as Adverbs

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Several nouns can function as adverbs that answer the questions where? or when? Some of these words are home, yesterday, today, tomorrow, mornings, afternoons, evenings, nights, week, month, and year. Compare the use of the underlined words in A and B. A. Evenings are restful times. Their home is miles from here. As what parts of the sentence are evenings and home used here? B. She works evenings. Let us go home. When does she work? Where are we to go? Adverbs or Adjectives? Adverbs usually have different forms from adjectives and thus are easily identified. Many adverbs are, in fact, formed by the addition –ly to an adjective. Adjective:

Our teacher looked pensive.

Adverb:

The professor looked at her notes pensively.

Some adjectives however, also end in –ly; therefore, you cannot assume that every word ending in –ly is an adverb. Adjectives:

an ugly scene a lonely road a lively song Some adjectives and adverbs even share the same form. You can determine the part of speech of such words by checking their function in the sentence. Adverb:

The opera ran late.

Adjective:

We enjoyed the late dinners during the fiesta.

Exercise 1: Each of the following sentences contains from one to four single-word adverbs. Underline the adverb and draw an arrow to the word it modifies. 1. Yesterday, the city engineers sketchily explained the plan they have for the recreation center. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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2. An easterly storm approached suddenly, drenching the mountain village with an extremely heavy downpour. 3. Almost apologetically, the native girl presented her handmade gift. 4. The rollercoaster crazily raced up and down before it finally released the riders. 5. The old beggar often murmurs incoherently and monotonously.

Exercise 2: The underlined word in each of the following sentences is either an adjective or an adverb. Write adj. on the answer line if the word is an adjective, and adv. if it is an adverb. _____ 1. They visited her daily in the hospital. _____ 2. Gemma performed well on her driving test. _____ 3. The students solved the hard Algebra problem quite easily. _____ 4. The skyscraper jutted high into the sky. _____ 5. The traffic cop motioned to the truck driver to turn right at the next corner.

Lesson 12

Research Paper Making

Research Paper Writing (Part One) The research paper differs from other kinds of writing because it includes factual information from a variety of sources. It takes careful planning and following a step-by-step approach to come up with a successful research paper. I.

Types of Research Paper 1. Summary and

The write sums up the works and / or opinions of other writers researchers.

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2. Evaluative found in primary

The writer states an opinion and backs it up with evidence and / or secondary sources.

3. Original information

The writer does original research that leads to new insights or about the topics.

4. Combination The writer combines approaches in one paper, such as summarizing opinions and then conducting original research. The first and second types are recommended for library papers and for beginner researchers.

II. Guidelines for Writing a Research Paper: A Step-by-Step Approach A. Choose a topic. Skim through books and encyclopedias to find an interesting topic or an interesting aspect of an assigned topic that is neither too broad nor too narrow. A topic is probably too broad if the library has several books on it or if the encyclopedia gives it more than two pages. A topic may be too narrow if you can find only one or two articles on it and if the encyclopedia does not cover it. Example:

If the topic is money, ―The History of Money in Ancient Civilizations‖ would be too broad. A narrow aspect of the topic can be ―Plastic Money for Modern Buyers: More Cons than Pros.‖

Your assigned topic is on the development of modern British and American drama. How would you narrow down the topic? Decide on a specific topic.

Exercise 1: Suppose your assigned topic is environmental issues. How would you narrow down the following broad topics to more specific topics? The first one is done. Very Broad 1. Noise pollution

Broad Noise pollution in Metro Manila Urban

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Residents 2. Air pollution 3. Water pollution 4. Endangered Species 5. Chemical Factories

B. Generate research questions. To help focus your research, formulate three to seven questions to answer first. Base these questions on your central idea. As you research answers to your questions, other questions may come up. Working with these questions and their answers will help you focus on the main points and specifics details of your study and enable you to refine your topic. Consider the following example. Specific Topic: Urban Residents

Effects of Noise Pollution on Mental Health of

Research Questions: 1. What are the sources of noise pollution in Metro Manila? 2. What are the effects of noise pollution on the mental health of city residents? 3. How does poor mental health affect a personâ&#x20AC;&#x2DC;s attitude, learning capacity, working efficiency, and relationships? What are their negative manifestations? 4. How can this problem of noise pollution be prevented or minimized? What can be done by the government and the citizenry to resolve this environmental issue? Exercise 2: Choose one of the specific topics you answered in Exercise 1, and make three (3) to five (5) research questions about it. Specific Topic:

________________________________________________

Research Questions:

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1. 2. 3. 4. 5.

C. Evaluate sources. There are two kinds of sources: primary and secondary. A primary source is a firsthand account of an event written by someone who actually experienced or observed the event. Most articles in the National Geographic are firsthand accounts; hence, they are primary sources. A secondary source is one written by a person who has researched and interpreted primary sources. Of course, there will be more secondary sources available than primary sources. Whether they are primary or secondary, make sure all your sources are – *authoritative *reliable

–

– websites, or

written by recognized authors in the field published in reputable books, newspapers, periodicals

*timely *suitable

– – your topic is

the most recent available appropriate and relevant to your topic and, if controversial, representative of different views

D. Develop a working bibliography Your bibliography is a record of the books, articles, and other sources you will consult for your paper. Making complete bibliography cards will make it easier to complete the final list of works cited. When you have found a source, record on a three by five index card the title, author, publisher, place, and date of publication. Number your cards on the upper right-hand corner so you can keep them in order. You may also include the name of the place where you found the source and any other information to help you locate the source again if you need it. Sample bibliography or source cards are as follows: Book YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Author

Kershaw, Alex. Jack London: A Life New York: St. Martin‘s, 1995

Title

Place of publication/ Publisher/Date of Publication Place

Springfield Public Library B121 L

Call Number

Magazine Author

Seaman, Donna. ―Review of Jack London: A Life,‖ Time Jan 1998:

Title of Article

Name of Magazine Date

Page

764

Place

Springfield Public Library

On-Line Article Author

Source number

Stasz, Dr. Clarine. ―John Griffith‘s Sunsite, London,‖ Berkely Digital Library On-line. Excite 18 Aug 1998.

Source number Title Title of the Database

Publication medium/ Computer service/ Date of access

Exercise 3: Prepare bibliography cards for ten sources of your research topic from the school library.

Lesson 13

Research Paper Making

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Research Paper Writing (Part Two) You are about to write your research paper. Continue with these activities until you finish your final paper. Take down notes.     

As you find a piece of information that you can use, write it on a note card. Use 5‖ x 7‖ index cards. On the upper right-hand corner of the note card, write the number of the source from the working bibliography. If you jot your own thoughts down on note cards, initial them so you will know they are yours. Place any direct quotations in quotation marks. Write the number of the page from which you have recorded or summarized the information.

This set of activities is a continuation of the ones you did in lesson 10, the first part of this lesson on research writing.

Exercise 4: On 5‖ x 7‖ index cards, prepare ten note cards containing information from your sources. Notes may include direct quotations, summaries, or outlines (in case of a chapter or several pages of information). E. Create a working outline Create a working outline to help you think about your topic critically and make your research efficient. The following tips will help you create your outline.  

 

Look for similarities on your notes; group note cards on similar topics together. Use each group as a main topic in your outline. Within groups, cluster similar note cards into subgroups that elaborate on the larger and more general main topic. Use these subgroups as the subtopics in your outline. Arrange main topics to build on your central idea. As you continue your research and learn more, revise and elaborate your outline. Before you begin your first draft, prepare a final outine.

Sample Outline YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

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Jack London â&#x20AC;&#x201C; More Than an Author I.

Childhood and youth A. Early years B. Young adulthood

II.

Literary career A. Early efforts B. Great literary successes

III.

Other interests A. Champion of social success 1. Woman suffrage 2. Prohibition B. Agricultural accomplishment

The following outline can be used for the specific topic: Effects of Noise Pollution on the Mental Health of Urban Residents. I.

Noise pollution A. Noise pollution in Metro Manila B. Sources of noise pollution

II.

Effects of noise pollution A. On well-being B. On mental health

III.

Proposed solutions A. By the government B. By the people

Exercise 5: Create a working outline for your specific topic. Have three main topics with two subtopics for your outline. I.

_________________________________________________ A. ______________________________________________ B. ______________________________________________

II.

_________________________________________________ A. ______________________________________________ B. ______________________________________________

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III.

_________________________________________________ A. ______________________________________________ B. ______________________________________________

F. Develop a thesis statement. A thesis statement is a concise idea that you try to prove, expand on, or illustrate in your writing. To write a thesis statement, rewrite your central idea into a clear, concise sentence. Make sure your sentence describes your topic and tells how you will approach the topic in the rest of the paper. This statement will help keep you on track as you write. For the specific topic on noise pollution, this thesis statement can be used: Noise pollution in Metro Manila has serious negative effects on the mental health and well-being of its residents. Exercise 6: Develop a thesis statement for your specific topic. Thesis statement: __________________________________________________ ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ G. Draft your paper, using your outline and notes. After you have made an outline and written your thesis statement, you are ready to begin drafting. Concentrate on getting all you ideas and information down on paper. You can revise your draft later. Keep in mind that your first aim in writing the first draft is to present the answer you have found to the research questions. You will be guided in this work by your thesis statement and outline. H. Cite your sources. To avoid plagiarism, which is presenting someone elseâ&#x20AC;&#x2DC;s ideas or statements as your own, you must indicate in your research paper the sources of the information presented, including all ideas, statements, quotes, and statistics taken from sources and not considered common knowledge. The reference should precede the punctuation mark that concludes the sentence, clause, or phrase containing the material you are citing.

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Your teacher may prescribe the Turabian or the Campbell form and style. In the social sciences, that standard method of documentation is the American Psychological Association (APA) using the name-and-date format for references citations in the text. The citations are contained in the text itself for an immediate identification of sources. Internal Citation After what you consider to be the best place in the text, give the author‘s name followed by comma, a space, and the year of publication. The third major challenge which I see facing our world today has to do with progressive destruction of the natural world (McDonagh, 1986). For greater variety and readability, you can also mention the author‘s name within the text and indicate the year in parentheses. As McDonagh points out, ecology is about relationships of interdependence on the planet Earth (1986). When you paraphrase or quote directly, include the page number after the date. Oxfam estimate that each year there are now around 750, 000 cases of pesticide poisoning in Third World Countries (McDonagh, 1986, p. 20). Where there are two or more authors, you must give the author‘s last names in the first internal citation. For the next citations, it is enough to use the first author‘s name with ―et al.‖ (Latin et alibi, ―and others‖ abbreviated). First citation: (Garfinkle, Garner, Schwarts, & Thompson, 1980) Subsequent citation: (Garfinkle, et al., 1980) If you cannot find the author‘s name, just take the title or an abbreviated form of it. (Welcome to cyberspace, 1995) When two articles have the same title, distinguish them by also giving the source. (―Hypochondria,‖ International Encyclopedia of Psychiatry, Psychology, Psychoanalysis and Neurology, 1980) (―Hypochondria,‖ Encyclopedia of Human Behavior, 1980) When two authors happen to have the same family name, add the first initials. (Garcia, I., 1991)

(Garcia, V., 1994)

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Exercise 7: As you write your draft, make the necessary internal citations. Be guided by the model format.

Create a bibliography At the end of your paper, include a complete list of the sources used in your final version. This is your bibliography, or list of works cited. From your bibliography cards, record the publishing information about the source. 

 

Alphabetize the source according to the last name of the author or editor (Use the name of the first author listed, if there is more than one). If the source has no author or editor, alphabetize it according to the title of .the book or article. If the source is a magazine or newspaper article that is not printed on consecutive pages, write only the first page number and a plus sign.

The proper bibliographic style for various sources is shown below. Note that in each entry, every line, except that first, is indented.

Bibliography Book with one author Auerbach, Jonathan. Becoming Jack London. Durham, NC: University Press, 1996. Book with more than one author or editor

Cassuto, Leonardo, and Jeanne Campbell Reesman, eds. Rereading Jack London. Stanford, CA: Stanford University Press, 1996

Reverse only the first author’s/editor’s name.

Magazine article Lachtman, Howard. ―Criticism of Jack London: A Selected Checklist,‖ Modern Fiction Studies. 22 (Spring 1976): 107-125. YOUNG JI INTERNATIONAL SCHOOL / COLLEGE

Title of article and magazine Volume and 152

page numbers Encyclopedia article ―London, Jack,‖ The New Encyclopedia Britannica. 1998 ed.

Title of entry/ Name of encyclopedia/ Edition

On-line article Rodriguez, Ruben. ―White Fang 2: Myth of the White Wolf.‖ La Prensa de San Antonio 4/15/98. Electronic library. On-line 24 Aug. 1989.

Title of database publication medium/ Name of computer Service/Date of access

Exercise 8: Make a complete list of the sources used in your research paper. Follow the format. J. Prepare the manuscript Follow the guidelines of the Modern Language Association when you prepare the final copy of your research paper. 

 

Heading. On separate lines on the upper left-hand corner of the first page, include your name, your teacher‘s name, the course name, and the date. Title. Center the title on the line below the heading. Numbering. Number the pages one-half inch from the top of the page on the right-hand corner. Include your last name before each page number after the first page. Spacing. Use double-spacing throughout. Margins. Leave one-inch margins on all sides of every page.

Exercise 9: Type / Print your final paper, following the guidelines.

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