©Tim De Waele/Corbis
COLLEC TION 5
Anne Frank’s Legacy
I don’t want to have lived in vain like most people…
I want to go on living even after my death!
—Anne Frank
277
COLLEC TION 5
Anne Frank’s Legacy
In this collection, you will
learn about the lasting
impact of a young girl
and her diary.
hmhfyi.com
hm
om
COLLECTION
PERFORMANCE TASK Preview
At the end of this collection, you will research and write an informative essay
comparing the experiences of Anne Frank and her family to those of other Jews
hiding during World War II.
ACADEMIC VOCABULARY
Study the words and their definitions in the chart below. You will use these words
as you discuss and write about the texts in this collection.
278
Definition
Related Forms
communicate
to convey information or exchange
(k∂-my◊´nΔ-k∑t´) ideas
v.
communicated, communicable
draft
(dr√ft) n.; v.
early versions or stages of a written
document or plan; to write such a
version
drafting, drafted
liberation
(lΔb´∂-r∑´sh∂n) n.
the act of freeing or the state of
being free
liberate, liberal
philosophy
(fΔ-l≤s´∂-f∏) n.
the underlying theory or set of ideas
related to life as a whole
philosopher, philosophic
publish
(p≠b´lΔsh) v.
to prepare and issue a book or other
material to the public
publishing, publication, public
©Tim De Waele/Corbis
Word
VIDEO
The Diary of
Anne Frank
(tr) ©Alex Kalmbach/Shutterstock; (t) ©Rasmus Holmboe Dahl/Shutterstock; (br) © Bettmann/CORBIS
Drama by Frances Goodrich and Albert Hackett
Background Anne Frank and her family were Jewish citizens of
Germany. When the Nazi party, led by Adolf Hitler, came to power in
1933, the Nazis blamed the country’s problems on the Jews. Jews were
stripped of their rights. Many were eventually sent to concentration
camps, where more than 6 million died in what became known
as the Holocaust. The Franks moved to the Netherlands to escape
persecution, but the Nazis invaded that country in 1940. In order to
survive, Anne’s family went into hiding when she was 13 years old.
They hid in attic rooms behind Mr. Frank’s office, and several other
Jews joined them. In this “Secret Annex,” Anne kept a diary about her
life in hiding. More than two years later, the group’s worst fears came
true when the Nazis found them. Everyone who had been living there
was sent to concentration camps. Anne’s diary was discovered later.
Frances Goodrich (1890–1984) and Albert Hackett
(1900–1995) were a married couple who worked
together to write screenplays for movies. They wrote
the play called The Diary of Anne Frank based
on Anne’s actual diary entries. Although the
play differs from the diary in many ways, Anne’s
father, who survived the Holocaust, believed it
captured the essence of his daughter’s diary. The
play won a Pulitzer Prize for Drama. It was later
made into a movie.
SETTING A PURPOSE As you read, think about what
the play reveals about Anne Frank’s philosophy of life. How are
her thoughts communicated?
As you read, save new
words to myWordList.
The Diary of Anne Frank: Act One
279
CHARACTERS
S E CR E T AN N E X R E S I D E N T S
Anne Frank
Margot Frank
Mr. Frank
Mrs. Frank
Peter Van Daan
Mr. Van Daan
Mrs. Van Daan
Mr. Dussel
WO R K E R S I N M R . FR AN K’S BUS I N E SS
Miep Gies (m∏p g∏s)
Mr. Kraler (krä´l∂r)
The Time. July 1942–August 1944, November 1945
The Place. Amsterdam, the Netherlands
The scene remains the same throughout the play. It is the top floor of
a warehouse and office building in Amsterdam, Holland. The sharply
peaked roof of the building is outlined against a sea of other rooftops,
stretching away into the distance. Nearby is the belfry of a church tower,
the Westertoren, whose carillon rings out the hours. Occasionally faint
sounds float up from below: the voices of children playing in the street,
the tramp of marching feet, a boat whistle from the canal.
The three rooms of the top floor and a small attic space above are
exposed to our view. The largest of the rooms is in the center, with two
small rooms, slightly raised, on either side. On the right is a bathroom,
out of sight. A narrow steep flight of stairs at the back leads up to the
attic. The rooms are sparsely furnished with a few chairs, cots, a table or
two. The windows are painted over, or covered with makeshift blackout
curtains. In the main room there is a sink, a gas ring for cooking and a
wood-burning stove for warmth.
The room on the left is hardly more than a closet. There is a skylight
in the sloping ceiling. Directly under this room is a small steep stairwell,
with steps leading down to a door. This is the only entrance from
the building below. When the door is opened we see that it has been
concealed on the outer side by a bookcase attached to it.
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ACT ONE
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Scene 1
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2
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The curtain rises on an
empty stage. It is late afternoon
November, 1945.
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The rooms are dusty, the
curtains in rags. Chairs and tables
are overturned.
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©Bettmann/Corbis
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The door at the foot of the small
stairwell swings open. Mr. Frank
comes up the steps into view. He is
a gentle, cultured European in his
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middle years. There is still a trace of
a German accent in his speech.
He stands looking slowly around,
making a supreme effort at selfcontrol. He is weak, ill. His clothes
are threadbare.
After a second he drops his
rucksack on the couch and moves
slowly about. He opens the door to
one of the smaller rooms, and then
abruptly closes it again, turning
away. He goes to the window at the
back, looking off at the Westertoren
as its carillon strikes the hour of six,
then he moves restlessly on.
The Diary of Anne Frank: Act One
281
From the street below we hear
the sound of a barrel organ and
children’s voices at play. There is a
many-colored scarf hanging from a
nail. Mr. Frank takes it, putting it
around his neck. As he starts back
for his rucksack, his eye is caught by
something lying on the floor. It is a
woman’s white glove. He holds it in
his hand and suddenly all of his selfcontrol is gone. He breaks down,
crying.
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We hear footsteps on the stairs.
Miep Gies comes up, looking for
Mr. Frank. Miep is a Dutch girl
of about twenty-two. She wears a
coat and hat, ready to go home.
She is pregnant. Her attitude
toward Mr. Frank is protective,
compassionate.
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Miep. Are you all right, Mr. Frank?
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Mr. Frank (quickly controlling
himself ). Yes, Miep, yes.
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Miep. Everyone in the office has
gone home . . . It’s after six. (then
pleading) Don’t stay up here,
Mr. Frank. What’s the use of
torturing yourself like this?
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Mr. Frank. I’ve come to say goodbye . . . I’m leaving here, Miep.
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Miep. What do you mean? Where
are you going? Where?
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Mr. Frank. I don’t know yet.
I haven’t decided.
Miep. Mr. Frank, you can’t
leave here! This is your home!
Amsterdam is your home. Your
business is here, waiting for you . . .
You’re needed here . . . Now that
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the war is over, there are things
that . . .
Mr. Frank. I can’t stay in
Amsterdam, Miep. It has too
many memories for me.
Everywhere there’s something . . .
the house we lived in . . . the
school . . . that street organ playing
out there . . . I’m not the person you
used to know, Miep. I’m a bitter
old man. (breaking off ) Forgive
me. I shouldn’t speak to you like
this . . . after all that you did for
us . . . the suffering . . .
Miep. No. No. It wasn’t suffering.
You can’t say we suffered. (As she
speaks, she straightens a chair which
is overturned.)
Mr. Frank. I know what you went
through, you and Mr. Kraler.
I’ll remember it as long as I live.
(He gives one last look around.)
Come, Miep.
(He starts for the steps, then
remembers his rucksack, going back
to get it.)
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Miep (hurrying up to a cupboard ).
Mr. Frank, did you see? There
are some of your papers here.
(She brings a bundle of papers to
him.) We found them in a heap of
rubbish on the floor after . . . after
you left.
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Mr. Frank. Burn them.
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(He opens his rucksack to put the
glove in it.)
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Miep. But, Mr. Frank, there are
letters, notes . . .
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Mr. Frank. Burn them. All of them.
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Miep. Burn this?
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(She hands him a paperbound
notebook.)
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Mr. Frank (quietly). Anne’s diary.
(He opens the diary and begins to
read.) “Monday, the sixth of July,
nineteen forty-two.” (to Miep)
Nineteen forty-two. Is it possible,
Miep? . . . Only three years ago.
(As he continues his reading, he sits
down on the couch.) “Dear Diary,
since you and I are going to be
great friends, I will start by telling
you about myself. My name is
Anne Frank. I am thirteen years
old. I was born in Germany the
twelfth of June, nineteen twentynine. As my family is Jewish, we
emigrated to Holland when Hitler
came to power.”
(As Mr. Frank reads on, another
voice joins his, as if coming from
the air. It is Anne’s Voice.)
Mr. Frank and Anne. “My father
started a business, importing spice
and herbs. Things went well for us
until nineteen forty. Then the war
came, and the Dutch capitulation,
followed by the arrival of the
Germans. Then things got very
bad for the Jews.”
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(Mr. Frank’s Voice dies out. Anne’s
Voice continues alone. The lights
dim slowly to darkness. The curtain
falls on the scene.)
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Anne’s Voice. You could not do
this and you could not do that.
They forced Father out of his
business. We had to wear yellow
(During the last lines the curtain
rises on the scene. The lights dim on.
Anne’s Voice fades out.)
Scene 2
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stars.1 I had to turn in my bike.
I couldn’t go to a Dutch school
any more. I couldn’t go to the
movies, or ride in an automobile,
or even on a streetcar, and a
million other things. But somehow
we children still managed to have
fun. Yesterday Father told me we
were going into hiding. Where,
he wouldn’t say. At five o’clock
this morning Mother woke me
and told me to hurry and get
dressed. I was to put on as many
clothes as I could. It would look
too suspicious if we walked along
carrying suitcases. It wasn’t until
we were on our way that I learned
where we were going. Our hiding
place was to be upstairs in the
building where Father used to have
his business. Three other people
were coming in with us . . . the
Van Daans and their son Peter . . .
Father knew the Van Daans but we
had never met them . . .
177
It is early morning, July, 1942.
The rooms are bare, as before, but
they are now clean and orderly.
Mr. Van Daan, a tall, portly
man in his late forties, is in the
main room, pacing up and down,
nervously smoking a cigarette. His
1
yellow stars: the six-pointed Stars of David
that the Nazis ordered all Jews to wear for
identification.
The Diary of Anne Frank: Act One
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clothes and overcoat are expensive
and well cut.
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Mrs. Van Daan sits on the
couch, clutching her possessions,
a hatbox, bags, etc. She is a pretty
woman in her early forties. She
wears a fur coat over her other
clothes.
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Peter Van Daan is standing
at the window of the room on the
right, looking down at the street
below. He is a shy, awkward boy of
sixteen. He wears a cap, a raincoat,
and long Dutch trousers, like “plus
fours.” At his feet is a black case, a
carrier for his cat.
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The yellow Star of David is
conspicuous on all of their clothes.
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confident. He wears an overcoat
and carries his hat and a small
cardboard box. He crosses to the
Van Daans, shaking hands with
each of them.)
Mr. Frank. Mrs. Van Daan,
Mr. Van Daan, Peter. (then, in
explanation of their lateness) There
were too many of the Green Police2
on the streets . . . we had to take the
long way around.
(Up the steps come Margot Frank,
Mrs. Frank, Miep [not pregnant
now] and Mr. Kraler. All of them
carry bags, packages, and so forth.
The Star of David is conspicuous on
all of the Franks’ clothing. Margot
is eighteen, beautiful, quiet, shy.
Mrs. Frank is a young mother,
gently bred, reserved. She, like
Mr. Frank, has a slight German
accent. Mr. Kraler is a Dutchman,
dependable, kindly.
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Mrs. Van Daan (rising, nervous,
excited). Something’s happened to
them! I know it!
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Mr. Van Daan. Now, Kerli!
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Mrs. Van Daan. Mr. Frank said
they’d be here at seven o’clock.
He said . . .
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Mr. Van Daan. They have two
miles to walk. You can’t expect . . .
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As Mr. Kraler and Miep go
upstage to put down their parcels,
Mrs. Frank turns back to call
Anne.)
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Mrs. Frank. Anne?
Mrs. Van Daan. They’ve been
picked up. That’s what’s happened.
They’ve been taken . . .
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(Mr. Van Daan indicates that he
hears someone coming.)
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Mr. Van Daan. You see?
(Anne comes running up the
stairs. She is thirteen, quick in
her movements, interested in
everything, mercurial in her
emotions. She wears a cape, long
wool socks and carries a schoolbag.)
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(Peter takes up his carrier and his
schoolbag, etc., and goes into the
main room as Mr. Frank comes up
the stairwell from below. Mr. Frank
looks much younger now. His
movements are brisk, his manner
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Mr. Frank (introducing them). My
wife, Edith. Mr. and Mrs. Van
Daan (Mrs. Frank hurries over,
shaking hands with them.) . . .
2
Green Police: the Nazi police who wore
green uniforms.
their son, Peter . . . my daughters,
Margot and Anne.
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Mr. Frank. Thank you, Miep.
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(Anne gives a polite little curtsy as
she shakes Mr. Van Daan’s hand.
Then she immediately starts off on
a tour of investigation of her new
home, going upstairs to the attic
room. Miep and Mr. Kraler are
putting the various things they have
brought on the shelves.)
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Mrs. Frank (to Mr. Kraler). It’s
illegal, then, the ration books?
We’ve never done anything illegal.
Mr. Kraler. I’m sorry there is still
so much confusion.
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Mr. Frank. Please. Don’t think of it.
After all, we’ll have plenty of leisure
to arrange everything ourselves.
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Miep (to Mrs. Frank). We put the
stores of food you sent in here.
Your drugs are here . . . soap,
linen here.
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Mrs. Frank. Thank you, Miep.
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Miep. I made up the beds . . . the
way Mr. Frank and Mr. Kraler said.
(She starts out.) Forgive me. I have
to hurry. I’ve got to go to the other
side of town to get some ration
books3 for you.
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Mrs. Van Daan. Ration books?
If they see our names on ration
books, they’ll know we’re here.
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Anne. It’s the Westertoren!
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Mr. Kraler. I must go. I must be
out of here and downstairs in the
office before the workmen get here.
(He starts for the stairs leading out.)
Miep or I, or both of us, will be
up each day to bring you food and
news and find out what your needs
are. Tomorrow I’ll get you a better
bolt for the door at the foot of the
stairs. It needs a bolt that you can
throw yourself and open only at
our signal. (to Mr. Frank) Oh . . .
You’ll tell them about the noise?
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Mr. Frank. I’ll tell them.
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Mr. Kraler. There isn’t
anything . . .
Miep. Don’t worry. Your
names won’t be on them.
(as she hurries out) I’ll be
up later.
3
ration books: books of stamps or coupons
issued by the government in wartime. With
these coupons, people could purchase scarce
items, such as food, clothing, and gasoline.
Mr. Kraler. This isn’t the black
market,4 Mrs. Frank. This is
what we call the white market . . .
helping all of the hundreds and
hundreds who are hiding out in
Amsterdam.
(The carillon is heard playing
the quarter-hour before eight.
Mr. Kraler looks at his watch. Anne
stops at the window as she comes
down the stairs.)
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Mr. Frank. We won’t be living here
exactly according to regulations.
(As Mr. Kraler reassures
Mrs. Frank, he takes various
small things, such as matches, soap,
etc., from his pockets, handing them
to her.)
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4
black market: a system for selling goods
illegally, in violation of rationing and
other restrictions.
The Diary of Anne Frank: Act One
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Mr. Kraler. Good-bye then for the
moment. I’ll come up again, after
the workmen leave.
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Mr. Frank. Good-bye, Mr. Kraler.
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Mrs. Frank (shaking his hand ).
How can we thank you? (The others
murmur their good-byes.)
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Mr. Kraler. I never thought I’d live
to see the day when a man like Mr.
Frank would have to go into hiding.
When you think—(He breaks off,
going out. Mr. Frank follows him
down the steps, bolting the door after
him. In the interval before he returns,
Peter goes over to Margot, shaking
hands with her. As Mr. Frank
comes back up the steps, Mrs. Frank
questions him anxiously.)
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Mrs. Frank. What did he mean,
about the noise?
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Mr. Frank. First let us take off some
of these clothes. (They all start to
take off garment after garment. On
each of their coats, sweaters, blouses,
suits, dresses, is another yellow Star
of David. Mr. and Mrs. Frank are
underdressed quite simply. The
others wear several things, sweaters,
extra dresses, bathrobes, aprons,
nightgowns, etc.)
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Mr. Van Daan. It’s a wonder we
weren’t arrested, walking along
the streets . . . Petronella with a
fur coat in July . . . and that cat of
Peter’s crying all the way.
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Anne (as she is removing a pair of
panties). A cat?
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Mrs. Frank (shocked ). Anne, please!
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Anne. It’s all right. I’ve got on
three more. (She pulls off two
more. Finally, as they have all
removed their surplus clothes, they
look to Mr. Frank, waiting for him
to speak.)
Mr. Frank. Now. About the
noise. While the men are in the
building below, we must have
complete quiet. Every sound can
be heard down there, not only in
the workrooms, but in the offices
too. The men come at about
eight-thirty, and leave at about
five-thirty. So, to be perfectly safe,
from eight in the morning until
six in the evening we must move
only when it is necessary, and then
in stockinged feet. We must not
speak above a whisper. We must
not run any water. We cannot use
the sink, or even, forgive me, the
w.c.5 The pipes go down through
the workrooms. It would be heard.
No trash . . . (Mr. Frank stops
abruptly as he hears the sound of
marching feet from the street below.
Everyone is motionless, paralyzed
with fear. Mr. Frank goes quietly
into the room on the right to look
down out of the window. Anne runs
after him, peering out with him. The
tramping feet pass without stopping.
The tension is relieved. Mr. Frank,
followed by Anne, returns to
the main room and resumes his
instructions to the group.) . . . No
trash must ever be thrown out
which might reveal that someone is
living up here . . . not even a potato
5
286 Collection 5
w.c.: water closet; toilet.
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paring. We must burn everything
in the stove at night. This is the
way we must live until it is over,
if we are to survive.
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(There is silence for a second.)
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Mrs. Frank. Until it is over.
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Mr. Frank (reassuringly). After six
we can move about . . . we can talk
and laugh and have our supper
and read and play games . . . just
as we would at home. (He looks
at his watch.) And now I think it
would be wise if we all went to our
rooms, and were settled before
eight o’clock. Mrs. Van Daan, you
and your husband will be upstairs.
I regret that there’s no place up
there for Peter. But he will be here,
near us. This will be our common
room, where we’ll meet to talk and
eat and read, like one family.
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Mr. Van Daan. And where do you
and Mrs. Frank sleep?
Mr. Frank. This room is also our
bedroom.
Mrs. Van Daan. That isn’t
right. We’ll sleep here and
you take the room upstairs.
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Mr. Van Daan. It’s your
place.
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Mr. Frank. Please. I’ve thought
this out for weeks. It’s the
best arrangement. The only
arrangement.
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Mrs. Van Daan (to Mr. Frank).
Never, never can we thank you.
(then to Mrs. Frank) I don’t know
what would have happened to us,
if it hadn’t been for Mr. Frank.
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Mr. Frank. You don’t know how
your husband helped me when I
came to this country . . . knowing
no one . . . not able to speak the
language. I can never repay him
for that. (going to Van Daan) May
I help you with your things?
Mr. Van Daan. No. No. (to Mrs.
Van Daan) Come along, liefje.6
Mrs. Van Daan. You’ll be all right,
Peter? You’re not afraid?
Peter (embarrassed). Please,
Mother.
(They start up the stairs to the attic
room above. Mr. Frank turns to
Mrs. Frank.)
Mr. Frank. You too must have some
rest, Edith. You didn’t close your
eyes last night. Nor you, Margot.
Anne. I slept, Father. Wasn’t that
funny? I knew it was the last night
in my own bed, and yet I slept
soundly.
Mr. Frank. I’m glad, Anne. Now
you’ll be able to help me straighten
things in here. (to Mrs. Frank and
Margot) Come with me . . . You
and Margot rest in this room for
the time being. (He picks up their
clothes, starting for the room on
the right.)
Mrs. Frank. You’re sure . . . ?
I could help . . . And Anne hasn’t
had her milk . . .
Mr. Frank. I’ll give it to her. (to
Anne and Peter) Anne, Peter . . .
it’s best that you take off your
6
liefje (l∏f´y∂) Dutch: little darling.
The Diary of Anne Frank: Act One
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shoes now, before you forget. (He
leads the way to the room, followed
by Margot.)
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Anne (unabashed ). Then I’ll have
to stop being a stranger, won’t I?
Is he fixed?
Mrs. Frank. You’re sure you’re not
tired, Anne?
520
Peter (startled ). Huh?
521
Anne. Did you have him fixed?
522
Peter. No.
523
Anne. I feel fine. I’m going to help
Father.
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Mrs. Frank. Peter, I’m glad you are
to be with us.
490
Peter. Yes, Mrs. Frank.
526
Anne. Oh, you ought to have him
fixed—to keep him from—you
know, fighting. Where did you go
to school?
491
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Peter. Jewish Secondary.
528
Anne. But that’s where Margot and
I go! I never saw you around.
500
(Mrs. Frank goes to join Mr. Frank
and Margot.)(During the following
scene Mr. Frank helps Margot and
Mrs. Frank to hang up their clothes.
Then he persuades them both to lie
down and rest. The Van Daans in
their room above settle themselves.
In the main room Anne and Peter
remove their shoes. Peter takes his
cat out of the carrier.)
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Anne. What’s your cat’s name?
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Peter. Mouschi.7
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Anne. Mouschi! Mouschi!
Mouschi! (She picks up the cat,
walking away with it. To Peter.)
I love cats. I have one . . . a darling
little cat. But they made me leave
her behind. I left some food and a
note for the neighbors to take care
of her . . . I’m going to miss her
terribly. What is yours? A him or
a her?
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Peter. He’s a tom. He doesn’t like
strangers.
(He takes the cat from her, putting it
back in its carrier.)
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Peter. I used to see you . . .
sometimes . . .
532
Anne. You did?
533
Peter. . . . in the school yard. You
were always in the middle of a
bunch of kids. (He takes a penknife
from his pocket.)
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Peter. I’m sort of a lone wolf. (He
starts to rip off his Star of David.)
541
Anne. What are you doing?
542
Peter. Taking it off.
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Anne. But you can’t do that.
They’ll arrest you if you go out
without your star.
546
(He tosses his knife on the table.)
547
Peter. Who’s going out?
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7
Mouschi (m◊´sh∏)
288 Collection 5
Anne. Why didn’t you ever come
over?
Anne. Why, of course! You’re right!
Of course we don’t need them any
more. (She picks up his knife and
starts to take her star off.) I wonder
what our friends will think when
we don’t show up today?
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Peter. I didn’t have any dates with
anyone.
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Anne. Oh, I did. I had a date with
Jopie to go and play ping-pong at
her house. Do you know Jopie de
Waal?8
560
Peter. No.
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Anne. Jopie’s my best friend.
I wonder what she’ll think when
she telephones and there’s no
answer? . . . Probably she’ll go over
to the house . . . I wonder what
she’ll think . . . we left everything
as if we’d suddenly been called
away . . . breakfast dishes in
the sink . . . beds not made . . .
(As she pulls off her star, the cloth
underneath shows clearly the color
and form of the star.) Look! It’s still
there! (Peter goes over to the stove
with his star.) What’re you going to
do with yours?
576
Peter. Burn it.
577
Anne (She starts to throw hers
in, and cannot.) It’s funny, I
can’t throw mine away. I don’t
know why.
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(In the bedroom, right, Margot
and Mrs. Frank are lying down.
Mr. Frank starts quietly out.)
Peter. Maybe it’s different for
a girl.
(Mr. Frank comes into the main
room.)
Mr. Frank. Forgive me, Peter. Now
let me see. We must find a bed for
your cat. (He goes to a cupboard.)
I’m glad you brought your cat.
Anne was feeling so badly about
hers. (getting a used small washtub)
Here we are. Will it be comfortable
in that?
Peter (gathering up his things).
Thanks.
610
Mr. Frank (opening the door of the
room on the left). And here is your
room. But I warn you, Peter, you
can’t grow any more. Not an inch,
or you’ll have to sleep with your
feet out of the skylight. Are you
hungry?
611
Peter. No.
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Mr. Frank. We have some bread
and butter.
614
Peter. No, thank you.
Peter. You can’t throw . . . ?
Something they branded you
with . . . ? That they made you wear
so they could spit on you?
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Mr. Frank. You can have it for
luncheon then. And tonight we
will have a real supper . . . our first
supper together.
Anne. I know. I know. But after all,
it is the Star of David, isn’t it?
619
Peter. Thanks. Thanks.
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622
(He goes into his room. During
the following scene he arranges his
possessions in his new room.)
623
Mr. Frank. That’s a nice boy, Peter.
624
Anne. He’s awfully shy, isn’t he?
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8
Jopie de Waal (y∫´p∏ d∂ väl´)
The Diary of Anne Frank: Act One
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Mr. Frank. You’ll like him, I know.
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Anne. I certainly hope so, since
he’s the only boy I’m likely to see
for months and months.
662
(Mr. Frank sits down, taking off his
shoes.)
665
Mr. Frank. Annele,9 there’s a
box there. Will you open it? (He
indicates a carton on the couch.
Anne brings it to the center table. In
the street below there is the sound of
children playing.)
667
Anne (as she opens the carton). You
know the way I’m going to think of
it here? I’m going to think of it as
a boarding house. A very peculiar
summer boarding house, like the
one that we—(She breaks off as she
pulls out some photographs.) Father!
My movie stars! I was wondering
where they were! I was looking for
them this morning . . . and Queen
Wilhelmina! How wonderful!
673
Mr. Frank. There’s something
more. Go on. Look further. (He
goes over to the sink, pouring a glass
of milk from a thermos bottle.)
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Anne (pulling out a pasteboardbound book). A diary! (She throws
her arms around her father.) I’ve
never had a diary. And I’ve always
longed for one. (She looks around
the room.) Pencil, pencil, pencil,
pencil. (She starts down the stairs.)
I’m going down to the office to get
a pencil.
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Anne (sobered ). Never . . . ? Not
even at nighttime, when everyone
is gone? Or on Sundays? Can’t I go
down to listen to the radio?
Mr. Frank. Never. I am sorry,
Anneke. It isn’t safe. No, you must
never go beyond that door.
678
Anne. I see.
679
Mr. Frank. It’ll be hard, I know.
But always remember this, Anneke.
There are no walls, there are no
bolts, no locks that anyone can put
on your mind. Miep will bring us
books. We will read history, poetry,
mythology. (He gives her the glass
of milk.) Here’s your milk. (With
his arm about her, they go over
to the couch, sitting down side by
side.) As a matter of fact, between
us, Anne, being here has certain
advantages for you. For instance,
you remember the battle you had
with your mother the other day
on the subject of overshoes? You
said you’d rather die than wear
overshoes. But in the end you had
to wear them? Well now, you see,
for as long as we are here you will
never have to wear overshoes!
Isn’t that good? And the coat that
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290 Collection 5
Mr. Frank. It doesn’t matter. I don’t
want you ever to go beyond that
door.
(For the first time Anne realizes
what “going into hiding” means.)
698
Annele/Anneke: a nickname for Anne.
Anne (startled ). But there’s no one
in the building now.
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697
9
Mr. Frank. Anne! No! (He goes after
her, catching her by the arm and
pulling her back.)
700
you inherited from Margot, you
won’t have to wear that any more.
And the piano! You won’t have
to practice on the piano. I tell
you, this is going to be a fine life
for you!
741
(Anne’s panic is gone. Peter appears
in the doorway of his room, with a
saucer in his hand. He is carrying
his cat.)
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Peter. I . . . I . . . I thought I’d
better get some water for Mouschi
before . . .
716
Mr. Frank. Of course.
754
717
(As he starts toward the sink the
carillon begins to chime the hour
of eight. He tiptoes to the window
at the back and looks down at the
street below. He turns to Peter,
indicating in pantomime that it is
too late. Peter starts back for his
room. He steps on a creaking board.
The three of them are frozen for a
minute in fear. As Peter starts away
again, Anne tiptoes over to him
and pours some of the milk from
her glass into the saucer for the cat.
Peter squats on the floor, putting the
milk before the cat. Mr. Frank gives
Anne his fountain pen, and then
goes into the room at the right. For
a second Anne watches the cat, then
she goes over to the center table, and
opens her diary.
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In the room at the right,
Mrs. Frank has sat up quickly at
the sound of the carillon. Mr. Frank
comes in and sits down beside her
on the settee, his arm comfortingly
around her.
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781
Upstairs, in the attic room,
Mr. and Mrs. Van Daan have
hung their clothes in the closet
and are now seated on the iron
bed. Mrs. Van Daan leans back
exhausted. Mr. Van Daan fans her
with a newspaper.
Anne starts to write in her diary.
The lights dim out, the curtain falls.
In the darkness Anne’s Voice
comes to us again, faintly at first,
and then with growing strength.)
Anne’s Voice. I expect I should be
describing what it feels like to go
into hiding. But I really don’t know
yet myself. I only know it’s funny
never to be able to go outdoors . . .
never to breathe fresh air . . . never
to run and shout and jump. It’s the
silence in the nights that frightens
me most. Every time I hear a creak
in the house, or a step on the street
outside, I’m sure they’re coming for
us. The days aren’t so bad. At least
we know that Miep and Mr. Kraler
are down there below us in the
office. Our protectors, we call
them. I asked Father what would
happen to them if the Nazis found
out they were hiding us. Pim said
that they would suffer the same
fate that we would . . . Imagine!
They know this, and yet when
they come up here, they’re always
cheerful and gay as if there were
nothing in the world to bother
them . . . Friday, the twenty-first of
August, nineteen forty-two. Today
I’m going to tell you our general
news. Mother is unbearable. She
insists on treating me like a baby,
The Diary of Anne Frank: Act One
291
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7
which I loathe. Otherwise things
are going better. The weather is . . .
818
(As Anne’s Voice is fading out, the
curtain rises on the scene.)
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Scene 3
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It is a little after six o’clock in the
evening, two months later.
Margot is in the bedroom at the
right, studying. Mr. Van Daan is
lying down in the attic room above.
The rest of the “ family” is in
the main room. Anne and Peter sit
opposite each other at the center
table, where they have been doing
their lessons. Mrs. Frank is on the
couch. Mrs. Van Daan is seated
with her fur coat, on which she has
been sewing, in her lap. None of
them are wearing their shoes.
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833
(Margot gets up, stretching.
Mr. Frank sits down to put on his
shoes. In the main room Peter tries
to find his.)
836
Anne (innocently). Your shoes?
837
Peter. You’ve taken them, haven’t
you?
After a few seconds of motionless
silence, Mr. Frank turns from the
window.
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840
Anne. I don’t know what you’re
talking about.
841
Peter. You’re going to be sorry!
842
Anne. Am I? (Peter goes after her.
Anne, with his shoes in her hand,
runs from him, dodging behind her
mother.)
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844
845
847
Mrs. Frank (protesting). Anne,
dear!
848
Peter. Wait till I get you!
849
Anne. I’m waiting! (Peter makes a
lunge for her. They both fall to the
floor. Peter pins her down, wrestling
with her to get the shoes.) Don’t!
Don’t! Peter, stop it. Ouch!
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292 Collection 5
Mr. Frank (to Margot). Six o’clock.
School’s over.
835
Their eyes are on Mr. Frank,
waiting for him to give them the
signal which will release them from
their day-long quiet. Mr. Frank, his
shoes in his hand, stands looking
down out of the window at the back,
watching to be sure that all of the
workmen have left the building
below.
Anne (Her pent-up energy
explodes). WHEE!
Mrs. Van Daan. I’m first for
the w.c. (She hurries off to the
bathroom. Mrs. Frank puts on her
shoes and starts up to the sink to
prepare supper. Anne sneaks Peter’s
shoes from under the table and hides
them behind her back. Mr. Frank
goes in to Margot’s room.)
Peter (to Anne). Have you seen my
shoes?
834
838
Mr. Frank (quietly, to the group).
It’s safe now. The last workman has
left. (There is an immediate stir of
relief.)
Mrs. Frank (startled, amused ).
Anne!
Mrs. Frank. Anne! . . . Peter!
(Suddenly Peter becomes
self-conscious. He grabs his shoes
roughly and starts for his room.)
868
Anne. Peter, please.
869
870
Peter. No! (He goes into his room.
Anne slams his door after him.)
860
Anne (following him). Peter,
where are you going? Come dance
with me.
861
Peter. I tell you I don’t know how.
873
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Anne. I’ll teach you.
874
863
Peter. I’m going to give Mouschi
his dinner.
875
865
Anne. Can I watch?
877
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Peter. He doesn’t like people
around while he eats.
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©Daily Mail/Rex/Alamy Images
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Mrs. Frank. Anne, dear, I think
you shouldn’t play like that with
Peter. It’s not dignified.
Anne. Who cares if it’s dignified?
I don’t want to be dignified.
(Mr. Frank and Margot come from
the room on the right. Margot
goes to help her mother. Mr. Frank
starts for the center table to correct
Margot’s school papers.)
The Diary of Anne Frank: Act One
293
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Mrs. Frank (to Anne). You
complain that I don’t treat you like
a grownup. But when I do, you
resent it.
Anne. I only want some fun . . .
someone to laugh and clown
with . . . After you’ve sat still all
day and hardly moved, you’ve got
to have some fun. I don’t know
what’s the matter with that boy.
Mr. Frank. He isn’t used to girls.
Give him a little time.
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Peter (opening the door a crack).
What is it?
Anne. Your mother says to come
out.
Peter. I’m giving Mouschi his
dinner.
Mrs. Van Daan. You know what
your father says. (She sits on the
couch, sewing on the lining of her
fur coat.)
Peter. For heaven’s sake, I haven’t
even looked at him since lunch.
896
Anne. Time? Isn’t two months
time? I could cry. (catching hold
of Margot) Come on, Margot . . .
dance with me. Come on, please.
897
Margot. I have to help with supper.
934
Peter. I don’t want you in there.
898
Anne. You know we’re going to
forget how to dance . . . When we
get out we won’t remember a thing.
935
Mrs. Van Daan. Peter!
936
(She starts to sing and dance by
herself. Mr. Frank takes her in his
arms, waltzing with her. Mrs. Van
Daan comes in from the bathroom.)
938
Peter (to Anne). Then give him
his dinner and come right out, you
hear? (He comes back to the table.
Anne shuts the door of Peter’s room
after her and disappears behind the
curtain covering his closet.)
Mrs. Van Daan. Next? (She looks
around as she starts putting on her
shoes.) Where’s Peter?
942
Anne (as they are dancing). Where
would he be!
945
Mrs. Van Daan. He hasn’t finished
his lessons, has he? His father’ll kill
him if he catches him in there with
that cat and his work not done.
947
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917
(Mr. Frank and Anne finish their
dance. They bow to each other with
extravagant formality.) Anne, get
him out of there, will you?
918
Anne (at Peter’s door). Peter? Peter?
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294 Collection 5
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Mrs. Van Daan. I’m just telling
you, that’s all.
933
Anne. I’ll feed him.
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Mrs. Van Daan (to Peter). Now is
that any way to talk to your little
girl friend?
Peter. Mother . . . for heaven’s
sake . . . will you please stop saying
that?
Mrs. Van Daan. Look at him blush!
Look at him!
Peter. Please! I’m not . . .
anyway . . . let me alone, will you?
Mrs. Van Daan. He acts like it was
something to be ashamed of. It’s
nothing to be ashamed of, to have a
little girl friend.
Peter. You’re crazy. She’s only
thirteen.
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Mrs. Van Daan. So what? And
you’re sixteen. Just perfect. Your
father’s ten years older than I
am. (to Mr. Frank) I warn you,
Mr. Frank, if this war lasts much
longer, we’re going to be related
and then . . .
965
Mr. Frank. Mazeltov!10
1003
Mrs. Frank (deliberately changing
the conversation). I wonder where
Miep is. She’s usually so prompt.
(Suddenly everything else is forgotten
as they hear the sound of an
automobile coming to a screeching
stop in the street below. They are
tense, motionless in their terror.
The car starts away. A wave of relief
sweeps over them. They pick up their
occupations again. Anne flings open
the door of Peter’s room, making a
dramatic entrance. She is dressed in
Peter’s clothes. Peter looks at her in
fury. The others are amused.)
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Anne. Good evening, everyone.
Forgive me if I don’t stay. (She
jumps up on a chair.) I have a friend
waiting for me in there. My friend
Tom. Tom Cat. Some people say
that we look alike. But Tom has the
most beautiful whiskers, and I have
only a little fuzz. I am hoping . . .
in time . . .
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Peter. Quack! Quack! Quack . . .
Quack . . . Quack . . .
(Anne pulls off the coat and
trousers.)
Anne. You are the most intolerable,
insufferable boy I’ve ever met!
1012
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Peter. Quack, quack, quack!
1014
Mrs. Van Daan (to Anne). That’s
right, Anneke! Give it to him!
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Anne (outraged—jumping down).
Peter!
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Mazeltov! (mä´z∂l tôf´)
Hebrew: Congratulations!
Anne. Well, go on. Tell them the
rest. How it was so good he read it
out loud to the class and then read
it to all his other classes!
(She throws the clothes down
the stairwell. Peter goes down
after them.)
1010
Peter. All right, Mrs. Quack
Quack!
10
Peter. I heard about you . . . How
you talked so much in class they
called you Mrs. Quack Quack.
How Mr. Smitter made you write
a composition . . . “‘Quack, quack,’
said Mrs. Quack Quack.”
1031
Anne. With all the boys in the
world . . . Why I had to get locked
up with one like you! . . .
Peter. Quack, quack, quack, and
from now on stay out of my room!
(As Peter passes her, Anne puts
out her foot, tripping him. He
picks himself up, and goes on into
his room.)
Mrs. Frank (quietly). Anne,
dear . . . your hair. (She feels Anne’s
forehead.) You’re warm. Are you
feeling all right?
Anne. Please, Mother. (She goes
over to the center table, slipping into
her shoes.)
The Diary of Anne Frank: Act One
295
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Mrs. Frank (following her). You
haven’t a fever, have you?
1034
Anne (pulling away). No. No.
1072
Mrs. Frank. You know we can’t call
a doctor here, ever. There’s only
one thing to do . . . watch carefully.
Prevent an illness before it comes.
Let me see your tongue.
1073
Mr. Van Daan. What’s for dinner
tonight?
1074
Mrs. Van Daan. Beans.
1075
Mr. Van Daan. Not again!
1076
Mrs. Van Daan. Poor Putti! I know.
But what can we do? That’s all that
Miep brought us.
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Anne. Mother, this is perfectly
absurd.
Mrs. Frank. Anne, dear, don’t
be such a baby. Let me see
your tongue. (As Anne refuses,
Mrs. Frank appeals to Mr. Frank.)
Otto . . . ?
Mr. Frank. You hear your mother,
Anne. (Anne flicks out her tongue
for a second, then turns away.)
Mrs. Frank. Come on—open up!
(as Anne opens her mouth very
wide) You seem all right . . . but
perhaps an aspirin . . .
1058
Mrs. Van Daan. For heaven’s sake,
don’t give that child any pills.
I waited for fifteen minutes this
morning for her to come out of
the w.c.
1059
Anne. I was washing my hair!
1060
Mr. Frank. I think there’s nothing
the matter with our Anne that a
ride on her bike, or a visit with her
friend Jopie de Waal wouldn’t cure.
Isn’t that so, Anne?
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(Mr. Van Daan comes down into
the room. From outside we hear
faint sounds of bombers going over
and a burst of ack-ack.)
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Mr. Van Daan. Miep not come yet?
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296 Collection 5
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Mrs. Van Daan. The workmen just
left, a little while ago.
(Mr. Van Daan starts to pace,
his hands behind his back. Anne
follows behind him, imitating him.)
Anne. We are now in what is
known as the “bean cycle.” Beans
boiled, beans en casserole, beans
with strings, beans without
strings . . .
(Peter has come out of his room.
He slides into his place at the table,
becoming immediately absorbed in
his studies.)
Mr. Van Daan (to Peter). I saw
you . . . in there, playing with
your cat.
Mrs. Van Daan. He just went in
for a second, putting his coat away.
He’s been out here all the time,
doing his lessons.
Mr. Frank (looking up from the
papers). Anne, you got an excellent
in your history paper today . . . and
very good in Latin.
Anne (sitting beside him). How
about algebra?
Mr. Frank. I’ll have to make a
confession. Up until now I’ve
managed to stay ahead of you in
algebra. Today you caught up with
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me. We’ll leave it to Margot to
correct.
1110
Anne. Isn’t algebra vile, Pim!
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Mr. Frank. Vile!
1112
Margot (to Mr. Frank). How did
I do?
1150
Anne (getting up). Excellent,
excellent, excellent, excellent!
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Mr. Frank (to Margot). You should
have used the subjunctive here . . .
Margot. Should I? . . . I thought . . .
look here . . . I didn’t use it here . . .
(The two become absorbed in the
papers.)
1123
Anne. Mrs. Van Daan, may I try
on your coat?
1124
Mrs. Frank. No, Anne.
1125
Mrs. Van Daan (giving it to Anne).
It’s all right . . . but careful with it.
(Anne puts it on and struts with it.)
My father gave me that the year
before he died. He always bought
the best that money could buy.
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Mr. Van Daan mimics Mrs. Van
Daan, speaking the first few words
in unison with her.) One summer
we had a big house in Hilversum.
The boys came buzzing round
like bees around a jam pot. And
when I was sixteen! . . . We were
wearing our skirts very short those
days and I had good-looking legs.
(She pulls up her skirt, going to Mr.
Frank.) I still have ’em. I may not
be as pretty as I used to be, but I
still have my legs. How about it,
Mr. Frank?
Mr. Van Daan. All right. All right.
We see them.
1162
Mrs. Van Daan. I’m not asking
you. I’m asking Mr. Frank.
1163
Peter. Mother, for heaven’s sake.
1164
Mrs. Van Daan. Oh, I embarrass
you, do I? Well, I just hope the
girl you marry has as good.
(then to Anne) My father used to
worry about me, with so many
boys hanging round. He told
me, if any of them gets fresh,
you say to him . . . “Remember,
Mr. So-and-So, remember I’m
a lady.”
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Anne. Mrs. Van Daan, did you
have a lot of boy friends before you
were married?
1170
Mrs. Frank. Anne, that’s a personal
question. It’s not courteous to ask
personal questions.
1173
Mrs. Van Daan. Oh I don’t mind.
(to Anne) Our house was always
swarming with boys. When I was a
girl we had . . .
1176
Mr. Van Daan. Oh, God. Not
again!
1180
Mrs. Van Daan (good-humored).
Shut up! (Without a pause, to Anne.
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Anne. “Remember, Mr. So-and-So,
remember I’m a lady.” (She gives
Mrs. Van Daan her coat.)
Mr. Van Daan. Look at you, talking
that way in front of her! Don’t you
know she puts it all down in that
diary?
Mrs. Van Daan. So, if she does? I’m
only telling the truth!
The Diary of Anne Frank: Act One
297
(Anne stretches out, putting her
ear to the floor, listening to what is
going on below. The sound of the
bombers fades away.)
1221
Mrs. Frank (setting the table).
Would you mind, Peter, if I moved
you over to the couch?
1225
Anne (listening). Miep must have
the radio on.
1228
(Peter picks up his papers,
going over to the couch beside
Mrs. Van Daan.)
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Mr. Van Daan (accusingly, to Peter).
Haven’t you finished yet?
1197
Peter. No.
1198
Mr. Van Daan. You ought to be
ashamed of yourself.
1237
Peter. All right. All right. I’m a
dunce. I’m a hopeless case. Why do
I go on?
1239
Mrs. Van Daan. You’re not
hopeless. Don’t talk that way.
It’s just that you haven’t anyone
to help you, like the girls
have. (to Mr. Frank) Maybe you
could help him, Mr. Frank?
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Mr. Frank. I’m sure that his
father . . . ?
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Mr. Van Daan. Not me. I can’t do
anything with him. He won’t listen
to me. You go ahead . . . if you
want.
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meet you before I met that one
there.
Here, sit down, Mr. Frank . . . (She
forces him down on the couch beside
Peter.) Now, Peter, you listen to
Mr. Frank.
Mr. Frank. It might be better for
us to go into Peter’s room. (Peter
jumps up eagerly, leading the way.)
Mrs. Van Daan. That’s right. You
go in there, Peter. You listen to
Mr. Frank. Mr. Frank is a highly
educated man. (As Mr. Frank is
about to follow Peter into his room,
Mrs. Frank stops him and wipes the
lipstick from his lips. Then she closes
the door after them.)
Anne (on the floor, listening). Shh!
I can hear a man’s voice talking.
Mr. Van Daan (to Anne). Isn’t it
bad enough here without your
sprawling all over the place? (Anne
sits up.)
Mrs. Van Daan (to Mr. Van Daan).
If you didn’t smoke so much, you
wouldn’t be so bad-tempered.
Mr. Van Daan. Am I smoking? Do
you see me smoking?
Mrs. Van Daan. Don’t tell me
you’ve used up all those cigarettes.
Mr. Van Daan. One package. Miep
only brought me one package.
Mr. Frank (going to Peter). What
about it, Peter? Shall we make our
school coeducational?
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Mrs. Van Daan. It’s a filthy habit
anyway. It’s a good time to break
yourself.
Mrs. Van Daan (kissing Mr. Frank).
You’re an angel, Mr. Frank. An
angel. I don’t know why I didn’t
1256
Mr. Van Daan. Oh, stop it, please.
298 Collection 5
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Mrs. Van Daan. You’re smoking
up all our money. You know that,
don’t you?
1296
Mr. Van Daan. Will you shut up?
(During this, Mrs. Frank and
Margot have studiously kept their
eyes down. But Anne, seated on
the floor, has been following the
discussion interestedly. Mr. Van
Daan turns to see her staring up at
him.) And what are you staring at?
1299
Anne. I never heard grownups
quarrel before. I thought only
children quarreled.
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Mr. Van Daan. This isn’t a quarrel!
It’s a discussion. And I never heard
children so rude before.
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Anne (rising, indignantly). I, rude!
1275
Mr. Van Daan. Yes!
1276
Mrs. Frank (quickly). Anne, will
you get me my knitting? (Anne
goes to get it.) I must remember,
when Miep comes, to ask her to
bring me some more wool.
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Margot (going to her room). I need
some hairpins and some soap.
I made a list. (She goes into her
bedroom to get the list.)
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Mrs. Frank (to Anne). Have you
some library books for Miep when
she comes?
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Anne. It’s a wonder that Miep has
a life of her own, the way we make
her run errands for us. Please,
Miep, get me some starch. Please
take my hair out and have it cut.
Tell me all the latest news, Miep.
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know she was engaged? His name
is Dirk, and Miep’s afraid the Nazis
will ship him off to Germany to
work in one of their war plants.
That’s what they’re doing with
some of the young Dutchmen . . .
they pick them up off the streets—
Mr. Van Daan (interrupting).
Don’t you ever get tired of talking?
Suppose you try keeping still for
five minutes. Just five minutes.
(He starts to pace again. Again
Anne follows him, mimicking him.
Mrs. Frank jumps up and takes her
by the arm up to the sink, and gives
her a glass of milk.)
Mrs. Frank. Come here, Anne. It’s
time for your glass of milk.
Mr. Van Daan. Talk, talk, talk. I
never heard such a child. Where
is my . . . ? Every evening it’s the
same, talk, talk, talk. (He looks
around.) Where is my . . . ?
Mrs. Van Daan. What’re you
looking for?
Mr. Van Daan. My pipe. Have you
seen my pipe?
Mrs. Van Daan. What good’s a
pipe? You haven’t got any tobacco.
Mr. Van Daan. At least I’ll have
something to hold in my mouth!
(opening Margot’s bedroom door)
Margot, have you seen my pipe?
Margot. It was on the table last
night. (Anne puts her glass of milk
on the table and picks up his pipe,
hiding it behind her back.)
(She goes over, kneeling on the couch
beside Mrs. Van Daan.) Did you
The Diary of Anne Frank: Act One
299
Mr. Van Daan. I know. I know.
Anne, did you see my pipe? . . .
Anne!
1372
Mrs. Frank. Anne, Mr. Van Daan is
speaking to you.
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Anne. Am I allowed to talk now?
1377
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Mr. Van Daan. You’re the most
aggravating . . . The trouble with
you is, you’ve been spoiled. What
you need is a good old-fashioned
spanking.
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Mrs. Van Daan. Now look what
you’ve done . . . you clumsy little
fool! My beautiful fur coat my
father gave me . . .
1380
Anne. I’m so sorry.
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Mrs. Van Daan. What do you care?
It isn’t yours . . . So go on, ruin it!
Do you know what that coat cost?
Do you? And now look at it! Look
at it!
1386
Anne. I’m very, very sorry.
1387
Mrs. Van Daan. I could kill you
for this. I could just kill you!
(Mrs. Van Daan goes up the stairs,
clutching the coat. Mr. Van Daan
starts after her.)
1376
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Anne (mimicking Mrs. Van Daan).
“Remember, Mr. So-and-So,
remember I’m a lady.” (She thrusts
the pipe into his mouth, then picks
up her glass of milk.)
1383
Mr. Van Daan (restraining himself
with difficulty). Why aren’t you
nice and quiet like your sister
Margot? Why do you have to show
off all the time? Let me give you
a little advice, young lady. Men
don’t like that kind of thing in a
girl. You know that? A man likes
a girl who’ll listen to him once in
a while . . . a domestic girl, who’ll
keep her house shining for her
husband . . . who loves to cook and
sew and . . .
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Anne. I’d cut my throat first! I’d
open my veins! I’m going to be
remarkable! I’m going to Paris . . .
1365
Mr. Van Daan (scoffingly). Paris!
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Anne. . . . to study music and art.
1367
Mr. Van Daan. Yeah! Yeah!
1406
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Anne. I’m going to be a famous
dancer or singer . . . or something
wonderful. (She makes a wide
gesture, spilling the glass of milk on
1407
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300 Collection 5
the fur coat in Mrs. Van Daan’s lap.
Margot rushes quickly over with a
towel. Anne tries to brush the milk
off with her skirt.)
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Mr. Van Daan. Petronella . . .
liefje! Liefje! . . . Come back . . . the
supper . . . come back!
Mrs. Frank. Anne, you must not
behave in that way.
Anne. It was an accident. Anyone
can have an accident.
Mrs. Frank. I don’t mean that. I
mean the answering back. You
must not answer back. They are
our guests. We must always show
the greatest courtesy to them.
We’re all living under terrible
tension. (She stops as Margot
indicates that Van Daan can hear.
When he is gone, she continues.)
That’s why we must control
ourselves . . . You don’t hear Margot
getting into arguments with them,
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do you? Watch Margot. She’s
always courteous with them. Never
familiar. She keeps her distance.
And they respect her for it. Try to
be like Margot.
1449
Anne. And have them walk all
over me, the way they do her? No,
thanks!
1454
Mrs. Frank. I’m not afraid that
anyone is going to walk all over
you, Anne. I’m afraid for other
people, that you’ll walk on them. I
don’t know what happens to you,
Anne. You are wild, self-willed. If
I had ever talked to my mother as
you talk to me . . .
1457
Anne. Things have changed.
People aren’t like that any more.
“Yes, Mother.” “No, Mother.”
“Anything you say, Mother.” I’ve
got to fight things out for myself!
Make something of myself!
1465
Mrs. Frank. It isn’t necessary to
fight to do it. Margot doesn’t fight,
and isn’t she . . . ?
1471
Anne (violently rebellious). Margot!
Margot! Margot! That’s all I hear
from everyone . . . how wonderful
Margot is . . . “Why aren’t you like
Margot?”
1474
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Margot (protesting). Oh, come on,
Anne, don’t be so . . .
Anne (paying no attention).
Everything she does is right, and
everything I do is wrong! I’m the
goat around here! . . . You’re all
against me! . . . And you worst
of all!
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(She rushes off into her room and
throws herself down on the settee,
stifling her sobs. Mrs. Frank sighs
and starts toward the stove.)
Mrs. Frank (to Margot). Let’s put
the soup on the stove . . . if there’s
anyone who cares to eat. Margot,
will you take the bread out? (Margot
gets the bread from the cupboard.)
I don’t know how we can go on
living this way . . . I can’t say a
word to Anne . . . she flies at me . . .
Margot. You know Anne. In half
an hour she’ll be out here, laughing
and joking.
Mrs. Frank. And . . . (She makes
a motion upwards, indicating the
Van Daans.) . . . I told your father it
wouldn’t work . . . but no . . . no . . .
he had to ask them, he said . . . he
owed it to him, he said. Well, he
knows now that I was right! These
quarrels! . . . This bickering!
Margot (with a warning look).
Shush. Shush.
(The buzzer for the door sounds.
Mrs. Frank gasps, startled.)
Mrs. Frank. Every time I hear that
sound, my heart stops!
Margot (starting for Peter’s door).
It’s Miep. (She knocks at the door.)
Father?
(Mr. Frank comes quickly from
Peter’s room.)
Mr. Frank. Thank you, Margot. (as
he goes down the steps to open the
outer door) Has everyone his list?
Margot. I’ll get my books. (giving
her mother a list) Here’s your list.
The Diary of Anne Frank: Act One
301
(Margot goes into her and Anne’s
bedroom on the right. Anne sits up,
hiding her tears, as Margot comes
in.) Miep’s here.
1523
(Margot picks up her books and
goes back. Anne hurries over to the
mirror, smoothing her hair.)
1527
Mr. Van Daan (coming down the
stairs). Is it Miep?
1530
Margot. Yes. Father’s gone down to
let her in.
1532
1533
Mr. Frank. Mr. Kraler has
something to talk over with us.
Something has happened, he says,
which demands an immediate
decision.
Mr. Van Daan. At last I’ll have
some cigarettes!
1534
Mrs. Frank (fearful). What is it?
1535
1504
Mrs. Frank (to Mr. Van Daan). I
can’t tell you how unhappy I am
about Mrs. Van Daan’s coat. Anne
should never have touched it.
1536
(Mr. Kraler sits down on the
couch. As he talks he takes bread,
cabbages, milk, etc., from his
briefcase, giving them to Margot
and Anne to put away.)
1505
Mr. Van Daan. She’ll be all right.
1540
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Mr. Frank. Of course we will.
1558
Mr. Kraler (rising). It’ll be just for a
night or two . . . until I find some
other place. This happened so
suddenly that I didn’t know where
to turn.
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Mrs. Frank. Is there anything I
can do?
1508
Mr. Van Daan. Don’t worry.
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(He turns to meet Miep. But it is not
Miep who comes up the steps. It is
Mr. Kraler, followed by Mr. Frank.
Their faces are grave. Anne comes
from the bedroom. Peter comes
from his room.)
1515
Mrs. Frank. Mr. Kraler!
1516
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Mr. Van Daan. How are you,
Mr. Kraler?
1518
Margot. This is a surprise.
1555
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Mrs. Frank. When Mr. Kraler
comes, the sun begins to shine.
1521
Mr. Van Daan. Miep is coming?
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Mr. Kraler. Not tonight.
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302 Collection 5
Mrs. Frank. Wouldn’t you like a
cup of coffee? . . . Or, better still,
will you have supper with us?
Mr. Kraler. Usually, when I come
up here, I try to bring you some
bit of good news. What’s the use
of telling you the bad news when
there’s nothing that you can do
about it? But today something has
happened . . . Dirk . . . Miep’s Dirk,
you know, came to me just now.
He tells me that he has a Jewish
friend living near him. A dentist.
He says he’s in trouble. He begged
me, could I do anything for this
man? Could I find him a hiding
place? . . . So I’ve come to you . . .
I know it’s a terrible thing to ask of
you, living as you are, but would
you take him in with you?
1541
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(Kraler goes to Margot and
Mrs. Frank and Anne, shaking
hands with them.)
1563
Mr. Frank. Where is he?
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Mr. Kraler. Downstairs in the office.
1601
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Mr. Frank. Good. Bring him up.
1566
Mr. Kraler. His name is Dussel . . .
Jan Dussel.
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Mr. Frank. Dussel . . . I think I
know him.
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Mr. Kraler. I’ll get him. (He goes
quickly down the steps and out.
Mr. Frank suddenly becomes
conscious of the others.)
1608
Mr. Frank. Forgive me. I spoke
without consulting you. But I knew
you’d feel as I do.
1612
Mr. Van Daan. There’s no reason
for you to consult anyone. This
is your place. You have a right to
do exactly as you please. The only
thing I feel . . . there’s so little food
as it is . . . and to take in another
person . . .
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(Peter turns away, ashamed of his
father.)
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Mr. Frank. We can stretch the food
a little. It’s only for a few days.
1624
Mr. Van Daan. You want to make
a bet?
1626
Mrs. Frank. I think it’s fine to
have him. But, Otto, where are you
going to put him? Where?
Peter. He can have my bed. I can
sleep on the floor. I wouldn’t mind.
Mr. Frank. That’s good of you,
Peter. But your room’s too small . . .
even for you.
1625
Mother, and Margot can take
Peter’s room and Peter can go in
our room with Mr. Dussel.
Margot. That’s right. We could do
that.
Mr. Frank. No, Margot. You
mustn’t sleep in that room . . .
neither you nor Anne. Mouschi has
caught some rats in there. Peter’s
brave. He doesn’t mind.
Anne. Then how about this? I’ll
come in here with you and Mother,
and Mr. Dussel can have my bed.
Mrs. Frank. No. No. No! Margot
will come in here with us and he
can have her bed. It’s the only way.
Margot, bring your things in here.
Help her, Anne.
(Margot hurries into her room to
get her things.)
Anne (to her mother). Why
Margot? Why can’t I come in here?
Mrs. Frank. Because it wouldn’t
be proper for Margot to sleep with
a . . . Please, Anne. Don’t argue.
Please. (Anne starts slowly away.)
1628
Mr. Frank. (to Anne). You don’t
mind sharing your room with
Mr. Dussel, do you, Anne?
1629
Anne. No. No, of course not.
1630
Mr. Frank. Good. (Anne goes off
into her bedroom, helping Margot.
Mr. Frank starts to search in the
cupboards.) Where’s the cognac?
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Mrs. Frank. It’s there. But, Otto, I
was saving it in case of illness.
Anne. I have a much better idea.
I’ll come in here with you and
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Mr. Frank. I think we couldn’t find
a better time to use it. Peter, will
you get five glasses for me?
(Peter goes for the glasses. Margot
comes out of her bedroom, carrying
her possessions, which she hangs
behind a curtain in the main room.
Mr. Frank finds the cognac and
pours it into the five glasses that
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Peter brings him. Mr. Van Daan
stands looking on sourly. Mrs. Van
Daan comes downstairs and looks
around at all the bustle.)
Mrs. Van Daan. What’s happening?
What’s going on?
Mr. Van Daan. Someone’s moving
in with us.
©Time Life Pictures/Getty Images
1636
Mrs. Van Daan. In here? You’re
joking.
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Margot. It’s only for a night or
two . . . until Mr. Kraler finds him
another place.
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Mr. Van Daan. Yeah! Yeah!
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(Mr. Frank hurries over as
Mr. Kraler and Dussel come up.
Dussel is a man in his late fifties,
meticulous, finicky . . . bewildered
now. He wears a raincoat. He
carries a briefcase, stuffed full, and
a small medicine case.)
1666
Mr. Frank. Come in, Mr. Dussel.
1667
Mr. Kraler. This is Mr. Frank.
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Dussel. Mr. Otto Frank?
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Mr. Frank. Yes. Let me take your
things.
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(He takes the hat and briefcase,
but Dussel clings to his medicine
case.) This is my wife Edith . . .
Mr. and Mrs. Van Daan . . . their
son, Peter . . . and my daughters,
Margot and Anne.
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Peter. Yes, sir.
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Mr. Frank. Thank you, Peter. I’ll
do it.
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(Dussel shakes hands with
everyone.)
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Mr. Kraler. Thank you, Mr. Frank.
Thank you all. Mr. Dussel, I leave
you in good hands. Oh . . . Dirk’s
coat.
1717
(Dussel hurriedly takes off the
raincoat, giving it to Mr. Kraler.
Underneath is his white dentist’s
jacket, with a yellow Star of David
on it.)
1721
Dussel (to Mr. Kraler). What can I
say to thank you . . .?
Mr. Frank (smiling). I know. I
know. “No one’s going to tell us
Dutchmen what to do with our
damn Jews!”
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Mr. Kraler. Please. Please. You
make us seem very heroic. It isn’t
that at all. We simply don’t like the
Nazis. (to Mr. Frank, who offers him
a drink) No, thanks. (then going
on) We don’t like their methods.
We don’t like . . .
Mr. Kraler (to Dussel). Pay no
attention to Mr. Frank. I’ll be
up tomorrow to see that they’re
treating you right. (to Mr. Frank)
Don’t trouble to come down again.
Peter will bolt the door after me,
won’t you, Peter?
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Mrs. Frank (to Dussel). Mr. Kraler
and Miep . . . They’re our life line.
Without them we couldn’t live.
1726
Mr. Kraler. Good night. Good
night.
Group. Good night, Mr. Kraler.
We’ll see you tomorrow, (etc., etc.)
(Mr. Kraler goes out with
Mr. Frank. Mrs. Frank gives each
one of the “grownups” a glass of
cognac.)
Mrs. Frank. Please, Mr. Dussel, sit
down.
(Mr. Dussel sinks into a chair.
Mrs. Frank gives him a glass of
cognac.)
The Diary of Anne Frank: Act One
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Dussel. I’m dreaming. I know it.
I can’t believe my eyes. Mr. Otto
Frank here! (to Mrs. Frank) You’re
not in Switzerland then? A woman
told me . . . She said she’d gone to
your house . . . the door was open,
everything was in disorder, dishes
in the sink. She said she found a
piece of paper in the wastebasket
with an address scribbled on it . . .
an address in Zurich. She said you
must have escaped to Zurich.
Anne. Father put that there
purposely . . . just so people would
think that very thing!
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Mrs. Frank (in tears). Oh, no. No!
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Dussel. They get their call-up
notice . . . come to the Jewish
theatre on such and such a day
and hour . . . bring only what you
can carry in a rucksack. And if
you refuse the call-up notice, then
they come and drag you from
your home and ship you off to
Mauthausen.11 The death camp!
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Dussel. And you’ve been here all
the time?
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Mrs. Frank. All the time . . . ever
since July.
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(Anne speaks to her father as he
comes back.)
Anne. It worked, Pim . . . the
address you left! Mr. Dussel says
that people believe we escaped to
Switzerland.
Mr. Frank. I’m glad . . . And now
let’s have a little drink to welcome
Mr. Dussel. (Before they can
drink, Mr. Dussel bolts his drink.
Mr. Frank smiles and raises his
glass.) To Mr. Dussel. Welcome.
We’re very honored to have you
with us.
(Peter walks away, humiliated.
Outside a street organ is heard dimly.)
Dussel (rising). Mr. Van Daan, you
don’t realize what is happening
outside that you should warn me of
a thing like that. You don’t realize
what’s going on . . . (As Mr. Van
Daan starts his characteristic pacing,
Dussel turns to speak to the others.)
Right here in Amsterdam every
day hundreds of Jews disappear . . .
They surround a block and search
house by house. Children come
home from school to find their
parents gone. Hundreds are being
deported . . . people that you and I
know . . . the Hallensteins . . . the
Wessels . . .
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Mr. Van Daan. Did Mr. Kraler
warn you that you won’t get much
to eat here? You can imagine . . .
three ration books among the
seven of us . . . and now you
make eight.
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Mrs. Frank. To Mr. Dussel,
welcome.
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Mrs. Frank. We didn’t know that
things had got so much worse.
(The Van Daans murmur a
welcome. The “grown-ups” drink.)
1802
Dussel. Forgive me for speaking so.
Mrs. Van Daan. Um. That was
good.
306 Collection 5
11
Mauthausen (mout´hou´z∂n): a Nazi
concentration camp in Austria.
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Anne (coming to Dussel). Do you
know the de Waals? . . . What’s
become of them? Their daughter
Jopie and I are in the same class.
Jopie’s my best friend.
1808
Dussel. They are gone.
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Anne. Gone?
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Dussel. With all the others.
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Anne. Oh, no. Not Jopie!
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(She turns away, in tears.
Mrs. Frank motions to Margot to
comfort her. Margot goes to Anne,
putting her arms comfortingly
around her.)
1851
Mrs. Van Daan. There were some
people called Wagner. They lived
near us . . . ?
1856
Mr. Frank (interrupting, with a
glance at Anne). I think we should
put this off until later. We all have
many questions we want to ask . . .
But I’m sure that Mr. Dussel would
like to get settled before supper.
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Dussel. Thank you. I would. I
brought very little with me.
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Mr. Frank (giving him his hat and
briefcase). I’m sorry we can’t give
you a room alone. But I hope you
won’t be too uncomfortable. We’ve
had to make strict rules here . . . a
schedule of hours . . . We’ll tell you
after supper. Anne, would you like
to take Mr. Dussel to his room?
1867
Anne (controlling her tears). If
you’ll come with me, Mr. Dussel?
(She starts for her room.)
1874
Dussel (shaking hands with each in
turn). Forgive me if I haven’t really
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expressed my gratitude to all of
you. This has been such a shock to
me. I’d always thought of myself as
Dutch. I was born in Holland. My
father was born in Holland, and
my grandfather. And now . . . after
all these years . . . (He breaks off.) If
you’ll excuse me.
(Dussel gives a little bow and
hurries off after Anne. Mr. Frank
and the others are subdued.)
Anne (turning on the light). Well,
here we are.
(Dussel looks around the room.
In the main room Margot speaks to
her mother.)
Margot. The news sounds pretty
bad, doesn’t it? It’s so different
from what Mr. Kraler tells
us. Mr. Kraler says things are
improving.
Mr. Van Daan. I like it better the
way Kraler tells it.
(They resume their occupations,
quietly. Peter goes off into his room.
In Anne’s room, Anne turns to
Dussel.)
Anne. You’re going to share the
room with me.
Dussel. I’m a man who’s always
lived alone. I haven’t had to adjust
myself to others. I hope you’ll bear
with me until I learn.
Anne. Let me help you. (She takes
his briefcase.) Do you always live all
alone? Have you no family at all?
Dussel. No one. (He opens his
medicine case and spreads his
bottles on the dressing table.)
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307
1917
1881
Anne. How dreadful. You must be
terribly lonely.
1918
times for the w.c. You can use it
now if you like.
1882
Dussel. I’m used to it.
1919
Dussel (stiffly). No, thank you.
1883
Anne. I don’t think I could ever get
used to it. Didn’t you even have a
pet? A cat, or a dog?
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Dussel. I have an allergy for furbearing animals. They give me
asthma.
1889
Anne. Oh, dear. Peter has a cat.
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Dussel. Here? He has it here?
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Anne. Yes. But we hardly ever see
it. He keeps it in his room all the
time. I’m sure it will be all right.
1929
Anne. I suppose you think
it’s awful, my talking about a
thing like that. But you don’t
know how important it can get
to be, especially when you’re
frightened . . . About this room, the
way Margot and I did . . . she had
it to herself in the afternoons for
studying, reading . . . lessons, you
know . . . and I took the mornings.
Would that be all right with you?
1894
Dussel. Let us hope so.
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(He takes some pills to fortify
himself.)
1933
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Anne. That’s Margot’s bed, where
you’re going to sleep. I sleep on the
sofa there. (indicating the clothes
hooks on the wall) We cleared these
off for your things. (She goes over
to the window.) The best part about
this room . . . you can look down
and see a bit of the street and the
canal. There’s a houseboat . . . you
can see the end of it . . . a bargeman
lives there with his family . . . They
have a baby and he’s just beginning
to walk and I’m so afraid he’s going
to fall into the canal some day. I
watch him . . .
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Anne. You stay here in the
mornings then. I’ll take the room
in the afternoons.
1939
Dussel. Tell me, when you’re in
here, what happens to me? Where
am I spending my time? In there,
with all the people?
1940
Anne. Yes.
1941
Dussel. I see. I see.
1942
Anne. We have supper at half
past six.
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Dussel (interrupting). Your father
spoke of a schedule.
1949
Anne (coming away from the
window). Oh, yes. It’s mostly about
the times we have to be quiet. And
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308 Collection 5
Dussel. I’m not at my best in the
morning.
Dussel (going over to the sofa).
Then, if you don’t mind . . . I like
to lie down quietly for ten minutes
before eating. I find it helps the
digestion.
Anne. Of course. I hope I’m not
going to be too much of a bother
to you. I seem to be able to get
everyone’s back up.
(Dussel lies down on the sofa,
curled up, his back to her.)
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Dussel. I always get along very well
with children. My patients all bring
their children to me, because they
know I get on well with them. So
don’t you worry about that.
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(Anne leans over him, taking his
hand and shaking it gratefully.)
Anne. Thank you. Thank you,
Mr. Dussel.
(The lights dim to darkness. The
curtain falls on the scene. Anne’s
Voice comes to us faintly at first,
and then with increasing power.)
Anne’s Voice. . . . And yesterday
I finished Cissy Van Marxvelt’s
latest book. I think she is a firstclass writer. I shall definitely let
my children read her. Monday the
twenty-first of September, nineteen
forty-two. Mr. Dussel and I had
another battle yesterday. Yes, Mr.
Dussel! According to him, nothing,
I repeat . . . nothing, is right
about me . . . my appearance, my
character, my manners. While he
was going on at me I thought . . .
sometime I’ll give you such a
smack that you’ll fly right up to
the ceiling! Why is it that every
grownup thinks he knows the way
to bring up children? Particularly
the grownups that never had any.
I keep wishing that Peter was a
girl instead of a boy. Then I would
have someone to talk to. Margot’s
a darling, but she takes everything
too seriously. To pause for a
moment on the subject of Mrs. Van
Daan. I must tell you that her
attempts to flirt with Father are
getting her nowhere. Pim, thank
goodness, won’t play.
(As she is saying the last lines, the
curtain rises on the darkened scene.
Anne’s Voice fades out.)
Scene 4
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It is the middle of the night,
several months later. The stage is
dark except for a little light which
comes through the skylight in
Peter’s room.
Everyone is in bed. Mr. and
Mrs. Frank lie on the couch in
the main room, which has been
pulled out to serve as a makeshift
double bed.
Margot is sleeping on a mattress
on the floor in the main room,
behind a curtain stretched across
for privacy. The others are all in
their accustomed rooms.
From outside we hear two
drunken soldiers singing “Lili
Marlene.” A girl’s high giggle is
heard. The sound of running feet is
heard coming closer and then fading
in the distance. Throughout the
scene there is the distant sound of
airplanes passing overhead.
A match suddenly flares
up in the attic. We dimly see
Mr. Van Daan. He is getting his
bearings. He comes quickly down
the stairs, and goes to the cupboard
where the food is stored. Again the
match flares up, and is as quickly
blown out. The dim figure is seen to
steal back up the stairs.
The Diary of Anne Frank: Act One
309
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There is quiet for a second or
two, broken only by the sound of
airplanes, and running feet on the
street below.
2071
Suddenly, out of the silence and
the dark, we hear Anne scream.
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Anne (screaming). No! No!
Don’t . . . don’t take me!
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with horror. Mr. Frank comes into
the room, and goes quickly to the
window, looking out to be sure that
no one outside had heard Anne’s
screams. Mrs. Frank holds Anne,
talking softly to her. In the main
room Margot stands on a chair,
turning on the center hanging lamp.
A light goes on in the Van Daan’s
room overhead. Peter puts his robe
on, coming out of his room.)
(She moans, tossing and crying in
her sleep. The other people wake,
terrified. Dussel sits up in bed,
furious.)
2080
Dussel. Shush! Anne! Anne, for
God’s sake, shush!
2084
Anne (still in her nightmare). Save
me! Save me!
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Dussel (to Mrs. Frank, blowing his
nose). Something must be done
about that child, Mrs. Frank.
Yelling like that! Who knows but
there’s somebody on the streets?
She’s endangering all our lives.
(She screams and screams. Dussel
gets out of bed, going over to her,
trying to wake her.)
2088
Mrs. Frank. Anne, darling.
2089
Dussel. For God’s sake! Quiet!
Quiet! You want someone to hear?
2091
Dussel. Every night she twists and
turns. I don’t sleep. I spend half my
night shushing her. And now it’s
nightmares!
(In the main room Mrs. Frank grabs
a shawl and pulls it around her. She
rushes in to Anne, taking her in her
arms. Mr. Frank hurriedly gets up,
putting on his overcoat. Margot sits
up, terrified. Peter’s light goes on in
his room.)
2093
Mrs. Frank (to Anne, in her room).
Hush, darling, hush. It’s all right.
It’s all right. (over her shoulder to
Dussel) Will you be kind enough
to turn on the light, Mr. Dussel?
(back to Anne) It’s nothing, my
darling. It was just a dream.
2100
(Dussel turns on the light in the
bedroom. Mrs. Frank holds Anne
in her arms. Gradually Anne comes
out of her nightmare, still trembling
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(Margot comes to the door of Anne’s
room, followed by Peter. Mr. Frank
goes to them, indicating that
everything is all right. Peter takes
Margot back.)
Mrs. Frank (to Anne). You’re
here, safe, you see? Nothing has
happened. (to Dussel) Please,
Mr. Dussel, go back to bed. She’ll
be herself in a minute or two.
Won’t you, Anne?
Dussel (picking up a book and
a pillow). Thank you, but I’m
going to the w.c. The one place
where there’s peace! (He stalks out.
Mr. Van Daan, in underwear and
trousers, comes down the stairs.)
Mr. Van Daan (to Dussel). What is
it? What happened?
2117
Dussel. A nightmare. She was
having a nightmare!
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Mr. Van Daan. I thought someone
was murdering her.
2116
Dussel. Unfortunately, no.
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©Rex/Daily Mail/Alamy Images
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(He goes into the bathroom. Mr. Van
Daan goes back up the stairs.
Mr. Frank, in the main room, sends
Peter back to his own bedroom.)
Mr. Frank. Thank you, Peter. Go
back to bed.
(Peter goes back to his room.
Mr. Frank follows him, turning
The Diary of Anne Frank: Act One
311
out the light and looking out the
window. Then he goes back to
the main room, and gets up on
a chair, turning out the center
hanging lamp.)
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Mrs. Frank (to Anne). Would you
like some water? (Anne shakes her
head.) Was it a very bad dream?
Perhaps if you told me . . . ?
2134
Anne. I’d rather not talk about it.
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Mrs. Frank. Poor darling. Try to
sleep then. I’ll sit right here beside
you until you fall asleep.
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(She brings a stool over, sitting
there.)
2140
Anne. You don’t have to.
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Mrs. Frank. But I’d like to stay with
you . . . very much. Really.
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Anne. I’d rather you didn’t.
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Mrs. Frank. Good night, then. (She
leans down to kiss Anne. Anne
throws her arm up over her face,
turning away. Mrs. Frank, hiding
her hurt, kisses Anne’s arm.) You’ll
be all right? There’s nothing that
you want?
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Anne. Will you please ask Father to
come.
Mrs. Frank (after a second). Of
course, Anne dear. (She hurries
out into the other room. Mr. Frank
comes to her as she comes in.) Sie
verlangt nach Dir!12
12
Sie verlangt nach Dir (z∏ fer-längt´nä KH dîr)
German: She is asking for you.
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Mr. Frank (sensing her hurt). Edith,
Liebe, schau . . .13
Mrs. Frank. Es macht nichts! Ich
danke dem lieben Herrgott, dass
sie sich wenigstens an Dich wendet,
wenn sie Trost braucht! Geh hinein,
Otto, sie ist ganz hysterisch vor
Angst.14 (as Mr. Frank hesitates)
Geh zu ihr.15 (He looks at her for a
second and then goes to get a cup of
water for Anne. Mrs. Frank sinks
down on the bed, her face in her
hands, trying to keep from sobbing
aloud. Margot comes over to her,
putting her arms around her.) She
wants nothing of me. She pulled
away when I leaned down to
kiss her.
Margot. It’s a phase . . . You heard
Father . . . Most girls go through
it . . . they turn to their fathers at
this age . . . they give all their love
to their fathers.
Mrs. Frank. You weren’t like this.
You didn’t shut me out.
Margot. She’ll get over it . . . (She
smooths the bed for Mrs. Frank
and sits beside her a moment as
Mrs. Frank lies down. In Anne’s
room Mr. Frank comes in, sitting
down by Anne. Anne flings her
arms around him, clinging to him.
13
Liebe, schau (l∏´b∂ shou´) German: Dear,
look.
14
Es macht . . . (≈s mä KHt´ nΔ KHts´! Δ KH dängk´∂
d∑m l∏´b∂n h≈r´gôt´, däs z∏ zΔ KH´ V∑N´Δ KHsht∂nz än dΔ KH´ v≈n´d∂t, v≈n z∏ trôst´
brouKHt´! g∑ hΔn-πn´, ôt´tô; z∏ Δst gänts hüst≈r´Δsh fôr ängst´) German: It’s all right. I
thank dear God that at least she turns to you
when she needs comfort. Go in, Otto; she is
hysterical with fear.
15
Geh zu ihr (g∑´ ts◊ îr´) German: Go to her.
In the distance we hear the sound of
ack-ack.)
2228
Anne. Oh, Pim. I dreamed that
they came to get us! The Green
Police! They broke down the door
and grabbed me and started to
drag me out the way they did Jopie.
2230
Mr. Frank. I want you to take this
pill.
2235
2199
Anne. What is it?
2237
2200
Mr. Frank. Something to quiet you.
2201
(She takes it and drinks the water. In
the main room Margot turns out the
light and goes back to her bed.)
2240
Mr. Frank (to Anne). Do you want
me to read to you for a while?
2243
2190
2191
2192
2193
2194
2195
2196
2197
2198
2229
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Anne. No. Just sit with me for a
minute. Was I awful? Did I yell
terribly loud? Do you think anyone
outside could have heard?
Mr. Frank. No. No. Lie quietly now.
Try to sleep.
2239
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2218
Anne. I’m a terrible coward. I’m
so disappointed in myself. I think
I’ve conquered my fear . . . I think
I’m really grown-up . . . and then
something happens . . . and I run
to you like a baby . . . I love you,
Father. I don’t love anyone but you.
2219
Mr. Frank (reproachfully). Annele!
2259
2220
Anne. It’s true. I’ve been thinking
about it for a long time. You’re the
only one I love.
2260
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2221
2222
2223
2224
2225
2226
2227
Mr. Frank. It’s fine to hear you tell
me that you love me. But I’d be
happier if you said you loved your
mother as well . . . She needs your
help so much . . . your love . . .
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2268
Anne. We have nothing in
common. She doesn’t understand
me. Whenever I try to explain my
views on life to her she asks me if
I’m constipated.
Mr. Frank. You hurt her very much
just now. She’s crying. She’s in
there crying.
Anne. I can’t help it. I only told the
truth. I didn’t want her here . . .
(then, with sudden change) Oh,
Pim, I was horrible, wasn’t I? And
the worst of it is, I can stand off
and look at myself doing it and
know it’s cruel and yet I can’t stop
doing it. What’s the matter with
me? Tell me. Don’t say it’s just a
phase! Help me.
Mr. Frank. There is so little that
we parents can do to help our
children. We can only try to set a
good example . . . point the way.
The rest you must do yourself. You
must build your own character.
Anne. I’m trying. Really I am.
Every night I think back over all
of the things I did that day that
were wrong . . . like putting the wet
mop in Mr. Dussel’s bed . . . and
this thing now with Mother. I say
to myself, that was wrong. I make
up my mind, I’m never going to do
that again. Never! Of course I may
do something worse . . . but at least
I’ll never do that again! . . . I have
a nicer side, Father . . . a sweeter,
nicer side. But I’m scared to show
it. I’m afraid that people are going
to laugh at me if I’m serious. So the
mean Anne comes to the outside
and the good Anne stays on the
The Diary of Anne Frank: Act One
313
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2300
2301
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2307
2308
2309
2310
inside, and I keep on trying to
switch them around and have the
good Anne outside and the bad
Anne inside and be what I’d like to
be . . . and might be . . . if only . . .
only . . . (She is asleep. Mr. Frank
watches her for a moment and then
turns off the light, and starts out.
The lights dim out. The curtain falls
on the scene. Anne’s Voice is heard
dimly at first, and then with growing
strength.)
2311
Anne’s Voice. . . . The air raids are
getting worse. They come over day
and night. The noise is terrifying.
Pim says it should be music to
our ears. The more planes, the
sooner will come the end of the
war. Mrs. Van Daan pretends to be
a fatalist. What will be, will be. But
when the planes come over, who is
the most frightened? No
one else but Petronella! . . .
Monday, the ninth of November,
nineteen forty-two. Wonderful
news! The Allies have landed in
Africa. Pim says that we can look
for an early finish to the war. Just
for fun he asked each of us what
was the first thing we wanted to
do when we got out of here. Mrs.
Van Daan longs to be home with
her own things, her needle-point
chairs, the Beckstein piano her
father gave her . . . the best that
money could buy. Peter would like
to go to a movie. Mr. Dussel wants
to get back to his dentist’s drill.
He’s afraid he is losing his touch.
For myself, there are so many
things . . . to ride a bike again . . .
to laugh till my belly aches . . . to
2320
314 Collection 5
2312
2313
2314
2315
2316
2317
2318
2319
have new clothes from the skin
out . . . to have a hot tub filled to
overflowing and wallow in it for
hours . . . to be back in school with
my friends . . .
(As the last lines are being said,
the curtain rises on the scene. The
lights dim on as Anne’s Voice fades
away.)
Scene 5
2321
2322
2323
2324
2325
2326
2327
2328
2329
2330
2331
2332
2333
2334
2335
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2339
2340
2341
2342
2343
It is the first night of the
Hanukkah16 celebration. Mr. Frank
is standing at the head of the table
on which is the Menorah.17He
lights the Shamos, or servant
candle, and holds it as he says the
blessing. Seated listening is all of the
“ family,” dressed in their best. The
men wear hats, Peter wears his cap.
Mr. Frank (reading from a prayer
book). “Praised be Thou, oh Lord
our God, Ruler of the universe,
who has sanctified us with Thy
commandments and bidden us
kindle the Hanukkah lights.
Praised be Thou, oh Lord our God,
Ruler of the universe, who has
wrought wondrous deliverances for
our fathers in days of old. Praised
be Thou, oh Lord our God, Ruler
of the universe, that Thou has
given us life and sustenance and
brought us to this happy season.”
(Mr. Frank lights the one candle
16
Hanukkah (hä´n∂-k∂): a Jewish holiday,
celebrated in December and lasting eight
days.
17
Menorah (m∂-nôr´∂): a candleholder with
nine branches, used in the celebration of
Hanukkah.
of the Menorah as he continues.)
“We kindle this Hanukkah light to
celebrate the great and wonderful
deeds wrought through the
zeal with which God filled the
hearts of the heroic Maccabees,
two thousand years ago. They
fought against indifference,
against tyranny and oppression,
and they restored our Temple to
us. May these lights remind us
that we should ever look to God,
whence cometh our help.” Amen.
[Pronounced O-mayn.]
2383
2358
All. Amen.
2395
2359
(Mr. Frank hands Mrs. Frank the
prayer book.)
2396
2344
2345
2346
2347
2348
2349
2350
2351
2352
2353
2354
2355
2356
2357
2360
2378
Mrs. Frank (reading). “I lift up
mine eyes unto the mountains,
from whence cometh my help. My
help cometh from the Lord who
made heaven and earth. He will
not suffer thy foot to be moved. He
that keepeth thee will not slumber.
He that keepeth Israel doth neither
slumber nor sleep. The Lord is thy
keeper. The Lord is thy shade upon
thy right hand. The sun shall not
smite thee by day, nor the moon
by night. The Lord shall keep thee
from all evil. He shall keep thy
soul. The Lord shall guard thy
going out and thy coming in, from
this time forth and forevermore.”
Amen.
2379
All. Amen.
2380
(Mrs. Frank puts down the prayer
book and goes to get the food and
wine. Margot helps her. Mr. Frank
2361
2362
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2364
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2374
2375
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2385
2386
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2388
2389
2390
takes the men’s hats and puts them
aside.)
Dussel (rising). That was very
moving.
Anne (pulling him back). It isn’t
over yet!
Mrs. Van Daan. Sit down! Sit
down!
2392
Anne. There’s a lot more, songs
and presents.
2393
Dussel. Presents?
2394
Mrs. Frank. Not this year,
unfortunately.
2391
2397
2398
2399
2400
2401
2402
2403
2404
2405
2406
2407
2408
2409
2410
2411
2412
2413
2414
2415
2416
Mrs. Van Daan. But always
on Hanukkah everyone gives
presents . . . everyone!
Dussel. Like our St. Nicholas’
Day.18 (There is a chorus of “no’s”
from the group.)
Mrs. Van Daan. No! Not like
St. Nicholas! What kind of a
Jew are you that you don’t know
Hanukkah?
Mrs. Frank (as she brings the
food). I remember particularly the
candles . . . First one, as we have
tonight. Then the second night
you light two candles, the next
night three . . . and so on until you
have eight candles burning. When
there are eight candles it is truly
beautiful.
Mrs. Van Daan. And the potato
pancakes.
18
St. Nicholas’s Day: December 6, the day
that Christian children in the Netherlands
receive gifts.
The Diary of Anne Frank: Act One
315
2417
2418
2419
2420
Mr. Van Daan. Don’t talk about
them!
2452
2453
“You have never lost your temper.
You never will, I fear,
Mrs. Van Daan. I make the best
latkes19 you ever tasted!
2454
You are so good.
2455
But if you should,
2456
Put all your cross words here.”
2457
(She tears open the package.)
2458
A new crossword puzzle book!
Where did you get it?
2422
Mrs. Frank. Invite us all next
year . . . in your own home.
2423
Mr. Frank. God willing!
2424
Mrs. Van Daan. God willing.
2425
Margot. What I remember best is
the presents we used to get when
we were little . . . eight days of
presents . . . and each day they got
better and better.
2421
2426
2427
2428
2429
2430
2431
2432
2433
2434
Mrs. Frank (sitting down). We
are all here, alive. That is present
enough.
Anne. No, it isn’t. I’ve got
something . . .
2439
(She rushes into her room, hurriedly
puts on a little hat improvised from
the lamp shade, grabs a satchel
bulging with parcels and comes
running back.)
2440
2441
2435
2436
2437
2438
2459
2460
2461
2462
2463
2464
2465
2466
2467
2468
2469
2470
Anne. It isn’t new. It’s one that
you’ve done. But I rubbed it all out,
and if you wait a little and forget,
you can do it all over again.
Margot (sitting). It’s wonderful,
Anne. Thank you. You’d never
know it wasn’t new.
(From outside we hear the sound of
a streetcar passing.)
Anne (with another gift). Mrs. Van
Daan.
2473
Mrs. Van Daan (taking it). This is
awful . . . I haven’t anything for
anyone . . . I never thought . . .
Mrs. Frank. What is it?
2474
Mr. Frank. This is all Anne’s idea.
Anne. Presents!
2475
Mrs. Van Daan (holding up a
bottle). What is it?
2471
2472
2476
2442
Mrs. Van Daan. Presents!
2443
Dussel. Look!
2444
2479
2445
Mr. Van Daan. What’s she got on
her head?
2480
Anne. It’s hair shampoo. I took
all the odds and ends of soap and
mixed them with the last of my
toilet water.
2446
Peter. A lamp shade!
2481
Mrs. Van Daan. Oh, Anneke!
2447
2482
2450
Anne (She picks out one at random).
This is for Margot. (She hands it
to Margot, pulling her to her feet.)
Read it out loud.
2451
Margot (reading).
2486
Anne. I wanted to write a poem for
all of them, but I didn’t have time.
(offering a large box to Mr. Van
Daan) Yours, Mr. Van Daan, is
really something . . . something you
want more than anything. (as she
2448
2449
2477
2478
2483
2484
2485
2487
19
latkes (lät´k∂z): potato pancakes.
316 Collection 5
2526
Anne. That’s right.
2489
waits for him to open it) Look!
Cigarettes!
2527
2490
Mr. Van Daan. Cigarettes!
2528
Dussel. You wouldn’t want to sell
that, Mrs. Frank?
2491
Anne. Two of them! Pim found
some old pipe tobacco in the
pocket lining of his coat . . . and
we made them . . . or rather,
Pim did.
2529
2534
2498
Mrs. Van Daan. Let me see . . .
Well, look at that! Light it, Putti!
Light it.
2499
(Mr. Van Daan hesitates.)
2537
2500
Anne. It’s tobacco, really it is!
There’s a little fluff in it, but not
much.
2538
2541
2506
(Everyone watches intently as
Mr. Van Daan cautiously lights it.
The cigarette flares up. Everyone
laughs.)
2507
Peter. It works!
2545
2508
Mrs. Van Daan. Look at him.
2509
Mr. Van Daan (spluttering). Thank
you, Anne. Thank you.
2548
(Anne rushes back to her satchel for
another present.)
2550
Anne (handing her mother a piece
of paper). For Mother, Hanukkah
greeting. (She pulls her mother to
her feet.)
2552
2488
2492
2493
2494
2495
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2497
2501
2502
2503
2504
2505
2530
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2510
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2520
2521
2522
Mrs. Frank (She reads.) “Here’s an
I.O.U. that I promise to pay. Ten
hours of doing whatever you say.
Signed, Anne Frank.” (Mrs. Frank,
touched, takes Anne in her arms,
holding her close.)
2547
2549
2551
2524
2525
Dussel (to Anne). Ten hours of
doing what you’re told? Anything
you’re told?
(She sits, showing her present to the
others. Anne hurries back to the
satchel and pulls out a scarf, the
scarf that Mr. Frank found in the
first scene.)
Anne (offering it to her father). For
Pim.
Mr. Frank. Anneke . . . I wasn’t
supposed to have a present! (He
takes it, unfolding it and showing it
to the others.)
Anne. It’s a muffler . . . to put
round your neck . . . like an ascot,
you know. I made it myself out of
odds and ends . . . I knitted it in the
dark each night, after I’d gone to
bed. I’m afraid it looks better in the
dark!
Mr. Frank (putting it on). It’s fine.
It fits me perfectly. Thank you,
Annele.
2553
(Anne hands Peter a ball of paper,
with a string attached to it.)
2554
Anne. That’s for Mouschi.
2555
Peter (rising to bow). On behalf of
Mouschi, I thank you.
2556
2557
2558
2559
2560
2561
2523
Mrs. Frank. Never! This is the
most precious gift I’ve ever had!
Anne (hesitant, handing him a
gift). And . . . this is yours . . . from
Mrs. Quack Quack. (as he holds it
gingerly in his hands) Well . . . open
it . . . Aren’t you going to open it?
The Diary of Anne Frank: Act One
317
Peter. I’m scared to. I know
something’s going to jump out and
hit me.
2599
2601
Dussel. For me? You have
something for me? (He opens the
small box she gives him.)
Anne. No. It’s nothing like that,
really.
2602
Anne. I made them myself.
2603
2604
2568
Mrs. Van Daan (as he is opening it).
What is it, Peter? Go on. Show it.
Dussel (puzzled). Capsules! Two
capsules!
2605
Anne. They’re ear-plugs!
2569
Anne (excitedly). It’s a safety razor!
2606
Dussel. Ear-plugs?
2570
Dussel. A what?
2607
2571
Anne. A razor!
2608
2572
Mrs. Van Daan (looking at it). You
didn’t make that out of odds and
ends.
2609
Anne. To put in your ears so you
won’t hear me when I thrash
around at night. I saw them
advertised in a magazine. They’re
not real ones . . . I made them out
of cotton and candle wax. Try
them . . . See if they don’t work . . .
see if you can hear me talk . . .
2562
2563
2564
2565
2566
2567
2573
2574
2600
2610
2611
2612
2577
Anne (to Peter). Miep got it for me.
It’s not new. It’s second-hand. But
you really do need a razor now.
2578
Dussel. For what?
2579
Anne. Look on his upper lip . . .
you can see the beginning of a
mustache.
2575
2576
2613
2614
2616
Dussel (putting them in his ears).
Wait now until I get them in . . . so.
2617
Anne. Are you ready?
2618
Dussel. Huh?
Dussel. He wants to get rid of that?
Put a little milk on it and let the cat
lick it off.
2619
Anne. Are you ready?
2620
Peter (starting for his room). Think
you’re funny, don’t you.
2622
Dussel. Good God! They’ve gone
inside! I can’t get them out! (They
laugh as Mr. Dussel jumps about,
trying to shake the plugs out of
his ears. Finally he gets them out.
Putting them away.) Thank you,
Anne! Thank you!
2615
2580
2581
2582
2583
2584
2585
2586
2621
2623
2624
2587
2588
2589
2590
2591
Dussel. Look! He can’t wait! He’s
going in to try it!
Peter. I’m going to give Mouschi
his present! (He goes into his room,
slamming the door behind him.)
2625
2626
2627
2628
2629
2592
2593
Mr. Van Daan (disgustedly).
Mouschi, Mouschi, Mouschi.
2630
2595
2596
2597
2598
(In the distance we hear a dog
persistently barking. Anne brings a
gift to Dussel.)
Anne. And last but never least, my
roommate, Mr. Dussel.
318 Collection 5
Mrs. Van Daan. Wasn’t it
cute of her?
2632
Mrs. Frank. I don’t know
when she did it.
2633
Margot. I love my present.
2634
Anne (sitting at the table). And
now let’s have the song, Father . . .
2631
2594
Mr. Van Daan. A real
Hanukkah!
2635
2636
2637
2638
2639
2640
2641
©Time Life Pictures/Getty Images
2642
2643
2644
2645
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2647
2648
please . . . (to Dussel) Have you
heard the Hanukkah song, Mr.
Dussel? The song is the whole
thing! (She sings.) “Oh, Hanukkah!
Oh Hanukkah! The sweet
celebration . . . ”
Mr. Frank (quieting her). I’m afraid,
Anne, we shouldn’t sing that song
tonight. (to Dussel) It’s a song of
jubilation, of rejoicing. One is apt
to become too enthusiastic.
Anne. Oh, please, please. Let’s sing
the song. I promise not to shout!
2649
2650
2651
2652
2653
2654
2655
2656
2657
2658
2659
2660
2661
Mr. Frank. Very well. But quietly
now . . . I’ll keep an eye on you and
when . . .
(As Anne starts to sing, she is
interrupted by Dussel, who is
snorting and wheezing.)
Dussel (pointing to Peter). You . . .
You! (Peter is coming from his
bedroom, ostentatiously holding
a bulge in his coat as if he were
holding his cat, and dangling Anne’s
present before it.) How many
times . . . I told you . . . Out! Out!
The Diary of Anne Frank: Act One
319
2700
2664
Mr. Van Daan (going to Peter). What’s
the matter with you? Haven’t you
any sense? Get that cat out of here.
2665
Peter (innocently). Cat?
2703
2666
Mr. Van Daan. You heard me. Get
it out of here!
2662
2663
2701
2702
2704
2667
2705
2706
2668
2669
2670
2671
Peter. I have no cat. (Delighted with
his joke, he opens his coat and pulls
out a bath towel. The group at the
table laugh, enjoying the joke.)
2707
2708
2709
2710
2672
2673
2674
2675
2676
2677
2678
Dussel (still wheezing). It doesn’t
need to be the cat . . . his clothes
are enough . . . when he comes out
of that room . . .
Mr. Van Daan. Don’t worry. You
won’t be bothered any more. We’re
getting rid of it.
2711
2712
2713
2714
2715
2716
2717
2679
2680
2681
2682
2683
2684
2685
2686
Dussel. At last you listen to me.
(He goes off into his bedroom.)
Mr. Van Daan (calling after him).
I’m not doing it for you. That’s all
in your mind . . . all of it! (He starts
back to his place at the table.) I’m
doing it because I’m sick of seeing
that cat eat all our food.
2718
2719
2720
2721
2722
2723
2724
2725
Peter. That’s not true! I only give
him bones . . . scraps . . .
2726
2728
2692
Mr. Van Daan. Don’t tell me! He
gets fatter every day! Damn cat
looks better than any of us. Out he
goes tonight!
2693
Peter. No! No!
2694
2734
2695
Anne. Mr. Van Daan, you can’t do
that! That’s Peter’s cat.
2696
Mrs. Frank (quietly). Anne.
2736
2697
2737
2698
Peter (to Mr. Van Daan). If he goes,
I go.
2699
Mr. Van Daan. Go! Go!
2687
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2691
320 Collection 5
2727
2729
2730
2731
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2738
2739
Mrs. Van Daan. You’re not going and
the cat’s not going! Now please . . .
this is Hanukkah . . . Hanukkah . . .
this is the time to celebrate . . . What’s
the matter with all of you? Come on,
Anne. Let’s have the song.
Anne (singing). “Oh, Hanukkah! Oh,
Hanukkah! The sweet celebration.”
Mr. Frank (rising). I think we
should first blow out the candle . . .
then we’ll have something for
tomorrow night.
Margot. But, Father, you’re
supposed to let it burn itself out.
Mr. Frank. I’m sure that God
understands shortages. (before
blowing it out) “Praised be Thou,
oh Lord our God, who hast
sustained us and permitted us to
celebrate this joyous festival.”
(He is about to blow out the candle
when suddenly there is a crash of
something falling below. They all
freeze in horror, motionless. For a
few seconds there is complete silence.
Mr. Frank slips off his shoes. The
others noiselessly follow his example.
Mr. Frank turns out a light near
him. He motions to Peter to turn off
the center lamp. Peter tries to reach
it, realizes he cannot and gets up on
a chair. Just as he is touching the
lamp he loses his balance. The chair
goes out from under him. He falls.
The iron lamp shade crashes to the
floor. There is a sound of feet below,
running down the stairs.)
Mr. Van Daan (under his breath).
God Almighty! (The only light
left comes from the Hanukkah
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2743
2744
2745
2746
2747
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2750
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2774
candle. Dussel comes from his
room. Mr. Frank creeps over to the
stairwell and stands listening. The
dog is heard barking excitedly.) Do
you hear anything?
2776
Mr. Frank (in a whisper). No. I
think they’ve gone.
2781
Mrs. Van Daan. It’s the Green
Police. They’ve found us.
2783
Mr. Frank. If they had, they
wouldn’t have left. They’d be up
here by now.
2785
Mrs. Van Daan. I know it’s the
Green Police. They’ve gone to get
help. That’s all. They’ll be back!
2788
Mr. Van Daan. Or it may have been
the Gestapo,20 looking for papers . . .
2791
Mr. Frank (interrupting). Or a thief,
looking for money.
Mrs. Van Daan. We’ve got to do
something . . . Quick! Quick!
Before they come back.
Mr. Van Daan. There isn’t anything
to do. Just wait.
(Mr. Frank holds up his hand for
them to be quiet. He is listening
intently. There is complete silence
as they all strain to hear any sound
from below. Suddenly Anne begins
to sway. With a low cry she falls to
the floor in a faint. Mrs. Frank goes
to her quickly, sitting beside her on
the floor and taking her in her arms.)
Mrs. Frank. Get some water,
please! Get some water!
2777
2778
2779
2780
2782
2784
2786
2787
(Margot starts for the sink.)
(Margot rushes to him, clinging
to him. Anne struggles to
consciousness.)
Margot. No, Father, no! There may
be someone there, waiting . . . It
may be a trap!
2793
2794
Margot. Don’t go, Father!
2795
2798
Mrs. Frank. Hush, darling, hush.
(Mr. Frank slips quietly out, down
the steps and out through the door
below.) Margot! Stay close to me.
2799
(Margot goes to her mother.)
2800
Mr. Van Daan. Shush! Shush!
2801
(Mrs. Frank whispers to Margot to
get the water. Margot goes for it.)
2790
2792
2796
2797
2802
2807
Mrs. Van Daan. Putti, where’s our
money? Get our money. I hear you
can buy the Green Police off, so
much a head. Go upstairs quick!
Get the money!
2808
Mr. Van Daan. Keep still!
2809
Mrs. Van Daan (kneeling before
him, pleading). Do you want to
be dragged off to a concentration
camp? Are you going to stand there
2803
2804
2805
2806
2811
2812
20
Mr. Frank. If they’ve found us,
they’ve found us. Get the water.
(Margot starts again for the sink.
Mr. Frank, getting a flashlight) I’m
going down.
Mr. Frank. This is Saturday. There
is no way for us to know what has
happened until Miep or Mr. Kraler
comes on Monday morning. We
cannot live with this uncertainty.
2789
2810
2775
Mr. Van Daan (grabbing Margot).
No! No! No one’s going to run water!
Gestapo (g∂-stä´p∫): the Nazi secret police
force, known for its terrorism and brutality.
The Diary of Anne Frank: Act One
321
and wait for them to come up and
get you? Do something, I tell you!
2852
Mrs. Van Daan. Thank God.
2853
Mr. Van Daan (pushing her aside).
Will you keep still! (He goes over
to the stairwell to listen. Peter goes
to his mother, helping her up onto
the sofa. There is a second of silence,
then Anne can stand it no longer.)
2854
2859
Mr. Frank. He took the cash box.
And the radio. He ran away in such
a hurry that he didn’t stop to shut
the street door. It was swinging
wide open. (A breath of relief sweeps
over them.) I think it would be
good to have some light.
2860
Margot. Are you sure it’s all right?
2822
Anne. Someone go after Father!
Make Father come back!
2861
2823
Peter (starting for the door). I’ll go.
2862
2824
Mr. Van Daan. Haven’t you done
enough?
2863
Mr. Frank. The danger has passed.
(Margot goes to light the small
lamp.) Don’t be so terrified, Anne.
We’re safe.
(He pushes Peter roughly away. In
his anger against his father Peter
grabs a chair as if to hit him with it,
then puts it down, burying his face
in his hands. Mrs. Frank begins to
pray softly.)
2865
2833
Anne. Please, please, Mr. Van
Daan. Get Father.
2871
2834
Mr. Van Daan. Quiet! Quiet!
2873
(Anne is shocked into silence.
Mrs. Frank pulls her closer, holding
her protectively in her arms.)
2874
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Mrs. Frank (softly, praying). “I lift
up mine eyes unto the mountains,
from whence cometh my help. My
help cometh from the Lord who
made heaven and earth. He will
not suffer thy foot to be moved . . .
He that keepeth thee will not
slumber . . . ” (She stops as she hears
someone coming. They all watch
the door tensely. Mr. Frank comes
quietly in. Anne rushes to him,
holding him tight.)
Mr. Frank. It was a thief. That noise
must have scared him away.
322 Collection 5
Dussel. Who says the danger has
passed? Don’t you realize we are in
greater danger than ever?
Mr. Frank. Mr. Dussel, will you be
still!
(Mr. Frank takes Anne back to the
table, making her sit down with
him, trying to calm her.)
Dussel (pointing to Peter). Thanks
to this clumsy fool, there’s someone
now who knows we’re up here!
Someone now knows we’re up here,
hiding!
2886
Mrs. Van Daan (going to Dussel).
Someone knows we’re here, yes.
But who is the someone? A thief! A
thief! You think a thief is going to
go to the Green Police and say . . . I
was robbing a place the other night
and I heard a noise up over my
head? You think a thief is going to
do that?
2887
Dussel. Yes. I think he will.
2888
Mrs. Van Daan (hysterically).
You’re crazy! (She stumbles back to
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her seat at the table. Peter follows
protectively, pushing Dussel aside.)
2925
Dussel. I think some day he’ll
be caught and then he’ll make a
bargain with the Green Police . . .
if they’ll let him off, he’ll tell them
where some Jews are hiding!
2927
2898
(He goes off into the bedroom. There
is a second of appalled silence.)
2899
Mr. Van Daan. He’s right.
2900
Anne. Father, let’s get out of here!
We can’t stay here now . . . Let’s
go . . .
2897
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2924
Mr. Van Daan. Go! Where?
Mrs. Frank (sinking into her chair
at the table). Yes. Where?
Mr. Frank (rising, to them all).
Have we lost all faith? All courage?
A moment ago we thought that
they’d come for us. We were sure it
was the end. But it wasn’t the end.
We’re alive, safe. (Mr. Van Daan
goes to the table and sits. Mr. Frank
prays.) “We thank Thee, oh Lord
our God, that in Thy infinite
mercy Thou hast again seen fit
to spare us.” (He blows out the
candle, then turns to Anne.) Come
on, Anne. The song! Let’s have
the song! (He starts to sing. Anne
finally starts falteringly to sing, as
Mr. Frank urges her on. Her voice is
hardly audible at first.)
Anne (singing). “Oh, Hanukkah!
Oh, Hanukkah! The sweet . . .
2926
2928
celebration . . . ” (As she goes on
singing, the others gradually join in,
their voices still shaking with fear.
Mrs. Van Daan sobs as she sings.)
2930
Group. “Around the feast . . .
we . . . gather
2931
In complete . . . jubilation . . .
2932
Happiest of sea . . . sons
2933
Now is here. Many are the reasons
for good cheer.”
2929
2934
2938
(Dussel comes from the bedroom.
He comes over to the table, standing
beside Margot, listening to them as
they sing.)
2939
“Together
2940
We’ll weather
2941
Whatever tomorrow may bring.”
2942
2943
(As they sing on with growing
courage, the lights start to dim.)
2944
“So hear us rejoicing
2945
And merrily voicing
2946
The Hanukkah song that we sing.
2947
Hoy!”
2948
2949
(The lights are out. The curtain
starts slowly to fall.)
2950
“Hear us rejoicing
2951
And merrily voicing
2952
The Hanukkah song that we sing.”
2953
(They are still singing, as the curtain
falls.)
2935
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2954
The Curtain Falls.
The Diary of Anne Frank: Act One
323
eBook
EL A RL.8.1, RL.8.3
ELD PI.8.6, PII.8.1
Analyze Drama
A drama, or play, is a form of literature meant to be performed by actors for
an audience. In a drama, the characters’ words and actions tell the story. The
author of a drama is called a playwright, and the text of the play is the script.
The script for a drama includes several different elements:
t The cast of characters is a list of all the characters in the play. This list
may also include a brief description of each character.
t Stage directions are instructions about how to perform the drama.
They are often italicized, and they may also be set off with parentheses.
They give readers, actors, and directors important details that explain
what is happening. For example, these stage directions help readers
imagine how Mr. Frank looks and feels when the play begins.
He stands looking slowly around, making a supreme effort
at self-control. He is weak, ill. His clothes are threadbare.
t Dialogue is the written conversation between two or more characters.
The name of a character is followed by the words that he or she speaks.
The structure of a text is the way in which it is arranged or organized. In a
drama, the script is often divided into acts and scenes.
t An act is a major division within a play, similar to a chapter in a book.
t Each act may be divided into smaller sections, called scenes.
t A new act or scene often shows that the time or place of the action
has changed.
As you review Act One, notice the important differences between Scene 1
and Scene 2. What does this difference help you to understand?
Analyzing the Text
Cite Text Evidence
Support your responses with evidence from the text.
Draw Conclusions Reread lines 679–706. What do the stage directions
and dialogue reveal about Mr. Frank?
Identify Patterns How many scenes are there in Act One of this play?
Why do the playwrights begin a new scene after line 785?
Draw Conclusions Examine lines 1339–1391. What do the stage
directions and dialogue reveal about the characters?
Analyze How does the arrival of Mr. Dussel heighten tensions in
the Annex?
324 Collection 5
ACT TWO
Scene 1
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In the darkness we hear Anne’s
Voice, again reading from the diary.
Anne’s Voice. Saturday, the first
of January, nineteen forty-four.
Another new year has begun and
we find ourselves still in our hiding
place. We have been here now for
one year, five months and twentyfive days. It seems that our life is at
a standstill.
The curtain rises on the scene.
It is late afternoon. Everyone is
bundled up against the cold. In the
main room Mrs. Frank is taking
down the laundry which is hung
across the back. Mr. Frank sits in
the chair down left, reading. Margot
is lying on the couch with a blanket
over her and the many-colored
knitted scarf around her throat.
Anne is seated at the center table,
writing in her diary. Peter, Mr. and
Mrs. Van Daan, and Dussel are all
in their own rooms, reading or lying
down.
As the lights dim on, Anne’s
Voice continues, without a break.
Anne’s Voice. We are all a
little thinner. The Van Daans’
“discussions” are as violent as ever.
Mother still does not understand
me. But then I don’t understand
her either. There is one great
change, however. A change in
myself. I read somewhere that
girls of my age don’t feel quite
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76
certain of themselves. That they
become quiet within and begin to
think of the miracle that is taking
place in their bodies. I think that
what is happening to me is so
wonderful . . . not only what can
be seen, but what is taking place
inside. Each time it has happened
I have a feeling that I have a sweet
secret. (We hear the chimes and
then a hymn being played on the
carillon outside.) And in spite of
any pain, I long for the time when
I shall feel that secret within me
again.
(The buzzer of the door below
suddenly sounds. Everyone
is startled, Mr. Frank tiptoes
cautiously to the top of the steps and
listens. Again the buzzer sounds, in
Miep’s V-for-Victory signal.)
Mr. Frank. It’s Miep! (He goes
quickly down the steps to unbolt the
door. Mrs. Frank calls upstairs to
the Van Daans and then to Peter.)
Mrs. Frank. Wake up, everyone!
Miep is here! (Anne quickly
puts her diary away. Margot sits
up, pulling the blanket around
her shoulders. Mr. Dussel sits
on the edge of his bed, listening,
disgruntled. Miep comes up the
steps, followed by Mr. Kraler. They
bring flowers, books, newspapers,
etc. Anne rushes to Miep, throwing
her arms affectionately around her.)
Miep . . . and Mr. Kraler . . . What
a delightful surprise!
Mr. Kraler. We came to bring you
New Year’s greetings.
The Diary of Anne Frank: Act Two
325
77
78
79
80
81
82
83
84
85
Mrs. Frank. You shouldn’t . . . you
should have at least one day to
yourselves. (She goes quickly to the
stove and brings down teacups and
tea for all of them.)
Anne. Don’t say that, it’s so
wonderful to see them! (sniffing at
Miep’s coat) I can smell the wind
and the cold on your clothes.
115
Mrs. Frank (taking it). A cake!
116
Mr. Van Daan. A cake! (He pinches
Miep’s cheeks gaily and hurries
up to the cupboard.) I’ll get some
plates.
117
118
119
120
121
1221
123
89
Miep (giving her the flowers).
There you are. (then to Margot,
feeling her forehead ) How are you,
Margot? . . . Feeling any better?
90
Margot. I’m all right.
128
91
Anne. We filled her full of every
kind of pill so she won’t cough and
make a noise. (She runs into her
room to put the flowers in water.
Mr. and Mrs. Van Daan come from
upstairs. Outside there is the sound
of a band playing.)
129
Mrs. Van Daan. Well, hello, Miep.
Mr. Kraler.
136
86
87
88
92
93
94
95
96
97
98
99
124
125
126
127
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100
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Mr. Kraler (giving a bouquet of
flowers to Mrs. Van Daan). With
my hope for peace in the New Year.
139
104
105
106
107
108
109
110
111
112
113
114
Peter (anxiously). Miep, have you
seen Mouschi? Have you seen him
anywhere around?
Miep. I’m sorry, Peter. I asked
everyone in the neighborhood had
they seen a gray cat. But they said
no.
(Mrs. Frank gives Miep a cup of
tea. Mr. Frank comes up the steps,
carrying a small cake on a plate.)
Mr. Frank. Look what Miep’s
brought for us!
326 Collection 5
Mrs. Frank. Thank you, Miepia.
You shouldn’t have done it. You
must have used all of your sugar
ration for weeks. (giving it to
Mrs. Van Daan) It’s beautiful,
isn’t it?
Mrs. Van Daan. It’s been ages since
I even saw a cake. Not since you
brought us one last year. (without
looking at the cake, to Miep)
Remember? Don’t you remember,
you gave us one on New Year’s
Day? Just this time last year? I’ll
never forget it because you had
“Peace in nineteen forty-three” on
it. (She looks at the cake and reads.)
“Peace in nineteen forty-four!”
143
Miep. Well, it has to come
sometime, you know. (as Dussel
comes from his room) Hello,
Mr. Dussel.
144
Mr. Kraler. How are you?
145
147
Mr. Van Daan (bringing plates and
a knife). Here’s the knife, liefje.
Now, how many of us are there?
148
Miep. None for me, thank you.
149
Mr. Frank. Oh, please. You must.
150
Miep. I couldn’t.
140
141
103
(Dussel, in his room, hastily puts
a coat on and starts out to join the
others.)
142
146
151
152
153
154
155
187
Dussel. Eight! Eight! It’s the same
number as it always is!
190
(Mr. Van Daan advances on
Dussel, the knife still in his hand.)
191
Mr. Van Daan. That’s a lie!
192
(Dussel retreats before the
onslaught of the Van Daans.)
188
189
158
Mr. Van Daan. I left Margot out.
I take it for granted Margot won’t
eat any.
159
Anne. Why wouldn’t she!
160
Mrs. Frank. I think it won’t
harm her.
196
Mr. Van Daan. All right! All right!
I just didn’t want her to start
coughing again, that’s all.
198
Dussel. And please, Mrs. Frank
should cut the cake.
201
Mr. Van Daan. What’s the
difference?
203
Mrs. Van Daan. It’s not
Mrs. Frank’s cake, is it,
Miep? It’s for all of us.
205
Dussel. Mrs. Frank divides things
better.
208
Mrs. Van Daan (going to
Dussel). What are you
trying to say?
210
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Mr. Van Daan. Oh, come
on! Stop wasting time!
214
215
179
180
181
Mrs. Van Daan (to Dussel). Don’t I
always give everybody exactly the
same? Don’t I?
216
217
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182
Mr. Van Daan. Forget it, Kerli.
183
Mrs. Van Daan. No. I want an
answer! Don’t I?
184
185
186
Mr. Van Daan always gets a little
bit more.
Mr. Van Daan. Good! That leaves
one . . . two . . . three . . . seven
of us.
Dussel. Yes. Yes. Everybody
gets exactly the same . . . except
219
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223
Mr. Frank. Please, please! (then to
Miep) You see what a little sugar
cake does to us? It goes right to
our heads!
Mr. Van Daan (handing Mrs.
Frank the knife). Here you are,
Mrs. Frank.
Mrs. Frank. Thank you. (then to
Miep as she goes to the table to cut
the cake) Are you sure you won’t
have some?
Miep (drinking her tea). No, really,
I have to go in a minute.
(The sound of the band fades out in
the distance.)
Peter (to Miep). Maybe Mouschi
went back to our house . . . they
say that cats . . . Do you ever get
over there . . . ? I mean . . . do you
suppose you could . . . ?
Miep. I’ll try, Peter. The first
minute I get I’ll try. But I’m afraid,
with him gone a week . . .
Dussel. Make up your mind,
already someone has had a nice big
dinner from that cat!
(Peter is furious, inarticulate. He
starts toward Dussel as if to hit him.
Mr. Frank stops him. Mrs. Frank
speaks quickly to ease the situation.)
The Diary of Anne Frank: Act Two
327
224
225
226
227
228
229
230
Mrs. Frank (to Miep). This is
delicious, Miep!
262
Mrs. Van Daan (eating hers).
Delicious!
264
Mr. Van Daan (finishing it in one
gulp). Dirk’s in luck to get a girl
who can bake like this!
266
263
265
267
268
269
231
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233
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238
Miep (putting down her empty
teacup). I have to run. Dirk’s taking
me to a party tonight.
Anne. How heavenly! Remember
now what everyone is wearing,
and what you have to eat and
everything, so you can tell us
tomorrow.
270
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277
Miep. I’ll give you a full report!
Good-bye, everyone!
278
Mr. Van Daan (to Miep). Just a
minute. There’s something I’d like
you to do for me. (He hurries off up
the stairs to his room.)
280
284
249
Mrs. Van Daan (sharply). Putti,
where are you going? (She rushes
up the stairs after him, calling
hysterically.) What do you want?
Putti, what are you going to do?
250
Miep (to Peter). What’s wrong?
251
Peter (his sympathy is with his
mother). Father says he’s going to
sell her fur coat. She’s crazy about
that old fur coat.
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Dussel. Is it possible? Is it possible
that anyone is so silly as to worry
about a fur coat in times like this?
Peter. It’s none of your darn
business . . . and if you say one
more thing . . . I’ll, I’ll take you and
I’ll . . . I mean it . . . I’ll . . .
328 Collection 5
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(There is a piercing scream from
Mrs. Van Daan above. She grabs
at the fur coat as Mr. Van Daan is
starting downstairs with it.)
Mrs. Van Daan. No! No! No! Don’t
you dare take that! You hear? It’s
mine! (Downstairs Peter turns
away, embarrassed, miserable.) My
father gave me that! You didn’t give
it to me. You have no right. Let go
of it . . . you hear?
(Mr. Van Daan pulls the coat from
her hands and hurries downstairs.
Mrs. Van Daan sinks to the floor,
sobbing. As Mr. Van Daan comes
into the main room the others look
away, embarrassed for him.)
Mr. Van Daan (to Mr. Kraler).
Just a little—discussion over the
advisability of selling this coat. As
I have often reminded Mrs. Van
Daan, it’s very selfish of her to keep
it when people outside are in such
desperate need of clothing . . . (He
gives the coat to Miep.) So if you
will please to sell it for us? It should
fetch a good price. And by the way,
will you get me cigarettes. I don’t
care what kind they are . . . get all
you can.
Miep. It’s terribly difficult to get
them, Mr. Van Daan. But I’ll try.
Good-bye.
(She goes. Mr. Frank follows her
down the steps to bolt the door after
her. Mrs. Frank gives Mr. Kraler a
cup of tea.)
Mrs. Frank. Are you sure you won’t
have some cake, Mr. Kraler?
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Mr. Kraler. I’d better not.
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Mr. Van Daan. You’re still feeling
badly? What does your doctor say?
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Mr. Kraler. I haven’t been to him.
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Mrs. Frank. Now, Mr. Kraler! . . .
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Mr. Kraler (sitting at the table).
Oh, I tried. But you can’t get
near a doctor these days . . .
they’re so busy. After weeks I
finally managed to get one on the
telephone. I told him I’d like an
appointment . . . I wasn’t feeling
very well. You know what he
answers . . . over the telephone . . .
Stick out your tongue! (They laugh.
He turns to Mr. Frank as Mr. Frank
comes back.) I have some contracts
here . . . I wonder if you’d look over
them with me . . .
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Mr. Frank (putting out his hand).
Of course.
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Mr. Frank. What they’d imagine
would be worse than any reality.
(As Mr. Kraler speaks, they all
listen with intense apprehension.
Mrs. Van Daan comes down the
stairs and sits on the bottom step.)
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Mr. Frank. He was from Utrecht?
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Mr. Kraler. That’s the man.
A couple of weeks ago, when I
was in the storeroom, he closed
the door and asked me . . . how’s
Mr. Frank? What do you hear
from Mr. Frank? I told him I only
knew there was a rumor that
you were in Switzerland. He said
he’d heard that rumor too, but he
thought I might know something
more. I didn’t pay any attention to
it . . . but then a thing happened
yesterday . . . He’d brought some
invoices to the office for me to
sign. As I was going through them,
I looked up. He was standing
staring at the bookcase . . . your
bookcase. He said he thought
he remembered a door there . . .
Wasn’t there a door there that used
to go up to the loft? Then he told
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Mr. Kraler (He rises). If we could
go downstairs . . . (Mr. Frank starts
ahead, Mr. Kraler speaks to the
others.) Will you forgive us? I won’t
keep him but a minute. (He starts
to follow Mr. Frank down the steps.)
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Margot (with sudden foreboding).
What’s happened? Something’s
happened! Hasn’t it, Mr. Kraler?
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(Mr. Kraler stops and comes back,
trying to reassure Margot with a
pretense of casualness.)
Mr. Kraler (turning to him, quietly).
But . . . the children . . . ?
Mr. Kraler. It’s a man in the
storeroom . . . I don’t know
whether or not you remember
him . . . Carl, about fifty, heavy-set,
near-sighted . . . He came with us
just before you left.
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Mr. Frank (coming back, to
Mr. Kraler). If it’s something that
concerns us here, it’s better that
we all hear it.
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Mr. Kraler. No, really. I want your
father’s advice . . .
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Margot. Something’s gone wrong!
I know it!
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The Diary of Anne Frank: Act Two
329
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me he wanted more money. Twenty
guilders1 more a week.
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Mr. Van Daan. Blackmail!
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Mr. Frank. Twenty guilders? Very
modest blackmail.
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Mr. Van Daan. That’s just the
beginning.
Dussel (coming to Mr. Frank).
You know what I think? He was
the thief who was down there
that night. That’s how he knows
we’re here.
Mr. Frank (to Mr. Kraler). How was
it left? What did you tell him?
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Mr. Kraler. I said I had to think
about it. What shall I do? Pay him
the money? . . Take a chance on
firing him . . . or what? I don’t
know.
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Dussel (frantic). For God’s sake
don’t fire him! Pay him what he
asks . . . keep him here where you
can have your eye on him.
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Mr. Frank. Is it so much that he’s
asking? What are they paying
nowadays?
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Mr. Kraler. He could get it in a war
plant. But this isn’t a war plant.
Mind you, I don’t know if he really
knows . . . or if he doesn’t know.
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Mr. Frank. Offer him half. Then
we’ll soon find out if it’s blackmail
or not.
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Dussel. And if it is? We’ve got to
pay it, haven’t we? Anything he
asks we’ve got to pay!
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guilders (gΔl´d∂rz): the basic monetary unit
of the Netherlands at the time.
330 Collection 5
Mr. Kraler. This may be all my
imagination. You get to a point,
these days, where you suspect
everyone and everything. Again
and again . . . on some simple look
or word, I’ve found myself . . . (The
telephone rings in the office below.)
Mrs. Van Daan (hurrying to
Mr. Kraler). There’s the telephone!
What does that mean, the
telephone ringing on a holiday?
Mr. Kraler. That’s my wife. I told
her I had to go over some papers in
my office . . . to call me there when
she got out of church. (He starts
out.) I’ll offer him half then. Goodbye . . . we’ll hope for the best!
(The group call their good-byes
half-heartedly. Mr. Frank follows
Mr. Kraler, to bolt the door
below. During the following scene,
Mr. Frank comes back up and
stands listening, disturbed.)
Dussel (to Mr. Van Daan). You
can thank your son for this . . .
smashing the light! I tell you, it’s
just a question of time now. (He
goes to the window at the back and
stands looking out.)
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Margot. Sometimes I wish the end
would come . . . whatever it is.
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Mrs. Frank (shocked ). Margot!
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(Anne goes to Margot, sitting beside
her on the couch with her arms
around her.)
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Mr. Frank. Let’s decide that when
the time comes.
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Margot. Then at least we’d know
where we were.
Mrs. Frank. You should be
ashamed of yourself! Talking that
way! Think how lucky we are!
Think of the thousands dying in
the war, every day. Think of the
people in concentration camps.
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Anne (interrupting). What’s the
good of that? What’s the good of
thinking of misery when you’re
already miserable? That’s stupid!
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Mrs. Frank. Anne!
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(As Anne goes on raging at her
mother, Mrs. Frank tries to break
in, in an effort to quiet her.)
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Anne. We’re young, Margot
and Peter and I! You grownups
have had your chance! But look
at us . . . If we begin thinking of
all the horror in the world, we’re
lost! We’re trying to hold onto
some kind of ideals . . . when
everything . . . ideals, hopes . . .
everything, are being destroyed! It
isn’t our fault that the world is in
such a mess! We weren’t around
when all this started! So don’t try
to take it out on us!
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Peter. She left her cake. (He starts
for Anne’s room with the cake.
There is silence in the main room.
Mrs. Van Daan goes up to her room,
followed by Van Daan. Dussel stays
looking out the window. Mr. Frank
brings Mrs. Frank her cake. She eats
it slowly, without relish. Mr. Frank
takes his cake to Margot and sits
quietly on the sofa beside her. Peter
stands in the doorway of Anne’s
darkened room, looking at her,
then makes a little movement to let
her know he is there. Anne sits up,
quickly, trying to hide the signs of
her tears. Peter holds out the cake to
her.) You left this.
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Anne (dully). Thanks.
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(Peter starts to go out, then comes
back.)
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(She rushes off to her room,
slamming the door after her. She
picks up a brush from the chest and
hurls it to the floor. Then she sits
on the settee, trying to control her
anger.)
Mr. Van Daan. She talks as if we
started the war! Did we start the
war? (He spots Anne’s cake. As he
starts to take it, Peter anticipates
him.)
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Peter. I thought you were fine
just now. You know just how to
talk to them. You know just how
to say it. I’m no good . . . I never
can think . . . especially when I’m
mad . . . That Dussel . . . when
he said that about Mouschi . . .
someone eating him . . . all I could
think is . . . I wanted to hit him.
I wanted to give him such a . . .
a . . . that he’d . . . That’s what I
used to do when there was an
argument at school . . . That’s the
way I . . . but here . . . And an old
man like that . . . it wouldn’t be so
good.
Anne. You’re making a big mistake
about me. I do it all wrong. I say
too much. I go too far. I hurt
people’s feelings . . .
The Diary of Anne Frank: Act Two
331
(Dussel leaves the window, going to
his room.)
570
Peter. I think you’re just fine . . .
What I want to say . . . if it wasn’t
for you around here, I don’t know.
What I mean . . .
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(Peter is interrupted by Dussel’s
turning on the light. Dussel stands
in the doorway, startled to see
Peter. Peter advances toward him
forbiddingly. Dussel backs out of the
room. Peter closes the door on him.)
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Anne. Do you mean it, Peter? Do
you really mean it?
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Peter. I said it, didn’t I?
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Anne. Thank you, Peter!
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(In the main room Mr. and
Mrs. Frank collect the dishes and
take them to the sink, washing
them. Margot lies down again on
the couch. Dussel, lost, wanders into
Peter’s room and takes up a book,
starting to read.)
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Peter (looking at the photographs
on the wall). You’ve got quite a
collection.
Peter. At least you’ve got someone
you can talk to.
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Peter. I think your father’s fine.
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Anne. Oh, he is, Peter! He is! He’s
the only one who’s ever given me
the feeling that I have any sense.
But anyway, nothing can take the
place of school and play and friends
of your own age . . . or near your
age . . . can it?
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Anne. Wouldn’t you like some in
your room? I could give you some.
Heaven knows you spend enough
time in there . . . doing heaven
knows what . . .
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Peter. It’s easier. A fight starts, or
an argument . . . I duck in there.
602
Anne. You’re lucky, having a room
to go to. His lordship is always
here . . . I hardly ever get a minute
alone. When they start in on me,
I can’t duck away. I have to stand
there and take it.
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332 Collection 5
Anne. I get so mad. They’ve
formed their opinions . . . about
everything . . . but we . . . we’re
still trying to find out . . . We have
problems here that no other people
our age have ever had. And just
as you think you’ve solved them,
something comes along and bang!
You have to start all over again.
Anne. Not really. Mother . . .
I never discuss anything serious
with her. She doesn’t understand.
Father’s all right. We can talk
about everything . . . everything
but one thing. Mother. He simply
won’t talk about her. I don’t think
you can be really intimate with
anyone if he holds something back,
do you?
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Peter. You gave some of it back
just now.
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Peter. I suppose you miss your
friends and all.
Anne. It isn’t just . . . (She breaks
off, staring up at him for a second.)
Isn’t it funny, you and I? Here
we’ve been seeing each other every
minute for almost a year and a
half, and this is the first time we’ve
ever really talked. It helps a lot to
©John Springer Collection/Corbis
The Diary of Anne Frank: Act Two
333
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have someone to talk to, don’t you
think? It helps you to let off steam.
649
Peter (going to the door). Well, any
time you want to let off steam, you
can come into my room.
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617
Anne (following him). I can get up
an awful lot of steam. You’ll have to
be careful how you say that.
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Peter. It’s all right with me.
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Anne. Do you mean it?
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Peter. I said it, didn’t I?
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(He goes out. Anne stands in her
doorway looking after him. As
Peter gets to his door he stands for a
minute looking back at her. Then he
goes into his room. Dussel rises as
he comes in, and quickly passes him,
going out. He starts across for his
room. Anne sees him coming, and
pulls her door shut. Dussel turns
back toward Peter’s room. Peter
pulls his door shut. Dussel stands
there, bewildered, forlorn.
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The scene slowly dims out.
The curtain falls on the scene. Anne’s
Voice comes over in the darkness . . .
faintly at first, and then with
growing strength.)
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Anne’s Voice. We’ve had bad news.
The people from whom Miep
got our ration books have been
arrested. So we have had to cut
down on our food. Our stomachs
are so empty that they rumble and
make strange noises, all in different
keys. Mr. Van Daan’s is deep and
low, like a bass fiddle. Mine is
high, whistling like a flute. As we
all sit around waiting for supper,
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it’s like an orchestra tuning up.
It only needs Toscanini2 to raise
his baton and we’d be off in the
Ride of the Valkyries.3 Monday,
the sixth of March, nineteen
forty-four. Mr. Kraler is in the
hospital. It seems he has ulcers.
Pim says we are his ulcers. Miep
has to run the business and us too.
The Americans have landed on
the southern tip of Italy. Father
looks for a quick finish to the
war. Mr. Dussel is waiting every
day for the warehouse man to
demand more money. Have I been
skipping too much from one
subject to another? I can’t help it.
I feel that spring is coming. I feel it
in my whole body and soul. I feel
utterly confused. I am longing . . .
so longing . . . for everything . . .
for friends . . . for someone
to talk to . . . someone who
understands . . . someone young,
who feels as I do . . .
(As these last lines are being said,
the curtain rises on the scene.
The lights dim on. Anne’s Voice
fades out.)
Scene 2
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It is evening, after supper.
From outside we hear the sound of
children playing. The “grownups,”
with the exception of Mr. Van
Daan, are all in the main room.
2
3
Toscanini (t≤s´-k∂-n∏´n∏): Arturo Toscanini,
a famous Italian orchestral conductor.
Ride of the Valkyries (v√l-kîr´∂z): a moving
passage from an opera by Richard Wagner, a
German composer.
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Mrs. Frank is doing some mending,
Mrs. Van Daan is reading a fashion
magazine. Mr. Frank is going over
business accounts. Dussel, in his
dentist’s jacket, is pacing up and
down, impatient to get into his
bedroom. Mr. Van Daan is upstairs
working on a piece of embroidery in
an embroidery frame.
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Margot. Oh, stop fishing.
723
Anne. No. No. Tell me.
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Margot. Of course you’re not.
You’ve got nice eyes . . . and a lot of
animation, and . . .
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Anne. A little vague, aren’t you?
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In his room Peter is sitting before
the mirror, smoothing his hair. As
the scene goes on, he puts on his
tie, brushes his coat and puts it on,
preparing himself meticulously for
a visit from Anne. On his wall are
now hung some of Anne’s motion
picture stars.
730
(She reaches over and takes a
brassière out of Margot’s sewing
basket. She holds it up to herself,
studying the effect in the mirror.
Outside, Mrs. Frank, feeling sorry
for Dussel, comes over, knocking at
the girls’ door.)
In her room Anne too is getting
dressed. She stands before the
mirror in her slip, trying various
ways of dressing her hair. Margot is
seated on the sofa, hemming a skirt
for Anne to wear.
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Mrs. Frank (outside). May I
come in?
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Margot. Come in, Mother.
738
Mrs. Frank (shutting the door
behind her). Mr. Dussel’s impatient
to get in here.
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In the main room Dussel can
stand it no longer. He comes over,
rapping sharply on the door of his
and Anne’s bedroom.
743
Anne (calling to him). No, no,
Mr. Dussel! I am not dressed yet.
(Dussel walks away, furious, sitting
down and burying his head in his
hands. Anne turns to Margot.)
How is that? How does that look?
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Margot (glancing at her briefly).
Fine.
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Anne. You didn’t even look.
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Margot. Of course I did. It’s fine.
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Anne. Margot, tell me, am I
terribly ugly?
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Anne (still with the brassière).
Heavens, he takes the room for
himself the entire day.
Mrs. Frank (gently). Anne, dear,
you’re not going in again tonight to
see Peter?
Anne (dignified ). That is my
intention.
Mrs. Frank. But you’ve already
spent a great deal of time in there
today.
Anne. I was in there exactly twice.
Once to get the dictionary, and
then three-quarters of an hour
before supper.
Mrs. Frank. Aren’t you afraid
you’re disturbing him?
The Diary of Anne Frank: Act Two
335
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Anne. Mother, I have some
intuition.
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Mrs. Frank. Then may I ask you
this much, Anne. Please don’t shut
the door when you go in.
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Anne. You sound like Mrs. Van
Daan! (She throws the brassière back
in Margot’s sewing basket and picks
up her blouse, putting it on.)
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Mrs. Frank. No. No. I don’t mean
to suggest anything wrong. I only
wish that you wouldn’t expose
yourself to criticism . . . that you
wouldn’t give Mrs. Van Daan the
opportunity to be unpleasant.
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Anne. Why doesn’t she say a word?
I think it’s ridiculous to take it and
take it.
Margot. You don’t understand
Mother at all, do you? She can’t
talk back. She’s not like you. It’s
just not in her nature to fight back.
Anne. Anyway . . . the only one I
worry about is you. I feel awfully
guilty about you.
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(She sits on the stool near Margot,
putting on Margot’s high-heeled
shoes.)
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Margot. What about?
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Mrs. Frank. Everyone’s on edge,
worried about Mr. Kraler. This is
one more thing . . .
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Anne. I mean, every time I go into
Peter’s room, I have a feeling I may
be hurting you. (Margot shakes her
head.) I know if it were me, I’d be
wild. I’d be desperately jealous, if it
were me.
Anne. I’m sorry, Mother. I’m going
to Peter’s room. I’m not going to
let Petronella Van Daan spoil our
friendship.
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Margot. Well, I’m not.
819
Anne. You don’t feel badly? Really?
Truly? You’re not jealous?
Anne. Mrs. Van Daan doesn’t need
an opportunity to be unpleasant!
(Mrs. Frank hesitates for a second,
then goes out, closing the door after
her. She gets a pack of playing cards
and sits at the center table, playing
solitaire. In Anne’s room Margot
hands the finished skirt to Anne. As
Anne is putting it on, Margot takes
off her high-heeled shoes and stuffs
paper in the toes so that Anne can
wear them.)
Margot (to Anne). Why don’t you
two talk in the main room? It’d
save a lot of trouble. It’s hard on
Mother, having to listen to those
remarks from Mrs. Van Daan and
not say a word.
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Margot. Of course I’m jealous . . .
jealous that you’ve got something
to get up in the morning for . . . But
jealous of you and Peter? No.
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(Anne goes back to the mirror.)
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Anne. Maybe there’s nothing to be
jealous of. Maybe he doesn’t really
like me. Maybe I’m just taking the
place of his cat . . . (She picks up a
pair of short white gloves, putting
them on.) Wouldn’t you like to
come in with us?
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Margot. I have a book.
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(The sound of the children playing
outside fades out. In the main room
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Dussel can stand it no longer. He
jumps up, going to the bedroom
door and knocking sharply.)
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Dussel. Will you please let me in
my room!
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Anne. Just a minute, dear, dear
Mr. Dussel. (She picks up her
Mother’s pink stole and adjusts it
elegantly over her shoulders, then
gives a last look in the mirror.) Well,
here I go . . . to run the gauntlet.4
(She starts out, followed by Margot.)
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Dussel (as she appears—sarcastic).
Thank you so much.
(Dussel goes into his room. Anne
goes toward Peter’s room, passing
Mrs. Van Daan and her parents at
the center table.)
Mrs. Van Daan. My God, look
at her! (Anne pays no attention.
She knocks at Peter’s door.) I don’t
know what good it is to have a son.
I never see him. He wouldn’t care
if I killed myself. (Peter opens the
door and stands aside for Anne to
come in.) Just a minute, Anne. (She
goes to them at the door.) I’d like
to say a few words to my son. Do
you mind? (Peter and Anne stand
waiting.) Peter, I don’t want you
staying up till all hours tonight.
You’ve got to have your sleep.
You’re a growing boy. You hear?
Mrs. Frank. Anne won’t stay late.
She’s going to bed promptly at
nine. Aren’t you, Anne?
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4
to run the gauntlet: to endure a series of
troubles or difficulties.
909
Anne. Yes, Mother . . . (to Mrs. Van
Daan) May we go now?
Mrs. Van Daan. Are you asking
me? I didn’t know I had anything
to say about it.
Mrs. Frank. Listen for the chimes,
Anne dear.
(The two young people go off into
Peter’s room, shutting the door after
them.)
Mrs. Van Daan (to Mrs. Frank).
In my day it was the boys who
called on the girls. Not the girls on
the boys.
Mrs. Frank. You know how young
people like to feel that they have
secrets. Peter’s room is the only
place where they can talk.
Mrs. Van Daan. Talk! That’s not
what they called it when I was
young.
(Mrs. Van Daan goes off to the
bathroom. Margot settles down
to read her book. Mr. Frank puts
his papers away and brings a
chess game to the center table. He
and Mrs. Frank start to play. In
Peter’s room, Anne speaks to Peter,
indignant, humiliated.)
Anne. Aren’t they awful? Aren’t
they impossible? Treating us as if
we were still in the nursery.
(She sits on the cot. Peter gets a
bottle of pop and two glasses.)
Peter. Don’t let it bother you. It
doesn’t bother me.
Anne. I suppose you can’t really
blame them . . . they think back
The Diary of Anne Frank: Act Two
337
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916
to what they were like at our age.
They don’t realize how much more
advanced we are . . . When you
think what wonderful discussions
we’ve had! . . . Oh, I forgot. I was
going to bring you some more
pictures.
917
Peter. Oh, these are fine, thanks.
956
918
Anne. Don’t you want some more?
Miep just brought me some new
ones.
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Peter. Maybe later. (He gives her
a glass of pop and, taking some for
himself, sits down facing her.)
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Anne (looking up at one of the
photographs). I remember when
I got that . . . I won it. I bet Jopie
that I could eat five ice-cream
cones. We’d all been playing pingpong . . . We used to have heavenly
times . . . we’d finish up with ice
cream at the Delphi, or the Oasis,
where Jews were allowed . . . there’d
always be a lot of boys . . . we’d
laugh and joke . . . I’d like to go
back to it for a few days or a week.
But after that I know I’d be bored
to death. I think more seriously
about life now. I want to be a
journalist . . . or something. I love
to write. What do you want to do?
Peter. I thought I might go off
some place . . . work on a farm
or something . . . some job that
doesn’t take much brains.
947
Anne. You shouldn’t talk that
way. You’ve got the most awful
inferiority complex.
948
Peter. I know I’m not smart.
945
946
338 Collection 5
Anne. That isn’t true. You’re much
better than I am in dozens of
things . . . arithmetic and algebra
and . . . well, you’re a million times
better than I am in algebra. (with
sudden directness) You like Margot,
don’t you? Right from the start you
liked her, liked her much better
than me.
Peter (uncomfortably). Oh, I don’t
know.
(In the main room Mrs. Van Daan
comes from the bathroom and
goes over to the sink, polishing a
coffee pot.)
967
Anne. It’s all right. Everyone feels
that way. Margot’s so good. She’s
sweet and bright and beautiful and
I’m not.
968
Peter. I wouldn’t say that.
969
Anne. Oh, no, I’m not. I know that.
I know quite well that I’m not a
beauty. I never have been and never
shall be.
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Peter. I don’t agree at all. I think
you’re pretty.
975
Anne. That’s not true!
976
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Peter. And another thing. You’ve
changed . . . from at first, I mean.
978
Anne. I have?
979
Peter. I used to think you were
awful noisy.
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Anne. And what do you think now,
Peter? How have I changed?
Peter. Well . . . er . . . you’re . . .
quieter.
(In his room Dussel takes his
pajamas and toilet articles and goes
into the bathroom to change.)
1021
Anne. I’m glad you don’t just
hate me.
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990
Peter. I never said that.
1026
Anne (relieved). Oh. I don’t
suppose that really counts, does it?
991
1027
Peter. It didn’t with me.
992
Anne. I bet when you get out of
here you’ll never think of me again.
1028
993
Peter. That’s crazy.
1029
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997
Anne. When you get back with
all of your friends, you’re going to
say . . . now what did I ever see in
that Mrs. Quack Quack.
998
Peter. I haven’t got any friends.
1035
Anne. I’ve been kissed twice. Once
a man I’d never seen before kissed
me on the cheek when he picked
me up off the ice and I was crying.
And the other was Mr. Koophuis,
a friend of Father’s who kissed
my hand. You wouldn’t say those
counted, would you?
999
Anne. Oh, Peter, of course you
have. Everyone has friends.
1036
Peter. I wouldn’t say so.
1037
Peter. Not me. I don’t want any.
I get along all right without them.
1038
Anne. Does that mean you can
get along without me? I think of
myself as your friend.
1040
Anne. I know almost for certain
that Margot would never kiss
anyone unless she was engaged
to them. And I’m sure too that
Mother never touched a man
before Pim. But I don’t know . . .
things are so different now . . .
What do you think? Do you think
a girl shouldn’t kiss anyone except
if she’s engaged or something?
It’s so hard to try to think what
to do, when here we are with the
whole world falling around our
ears and you think . . . well . . . you
don’t know what’s going to happen
tomorrow and . . . What do you
think?
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Peter. No. If they were all like you,
it’d be different.
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(He takes the glasses and the bottle
and puts them away. There is a
second’s silence and then Anne
speaks, hesitantly, shyly.)
1046
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Anne. Peter, did you ever kiss
a girl?
1014
Peter. Yes. Once.
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Anne (to cover her feelings). That
picture’s crooked. (Peter goes over,
straightening the photograph.) Was
she pretty?
1019
Peter. Huh?
1020
Anne. The girl that you kissed.
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Peter. I don’t know. I was
blindfolded. (He comes back and
sits down again.) It was at a party.
One of those kissing games.
Peter. I suppose it’d depend on the
girl. Some girls, anything they do’s
wrong. But others . . . well . . . it
wouldn’t necessarily be wrong with
them. (The carillon starts to strike
nine o’clock.) I’ve always thought
that when two people . . .
The Diary of Anne Frank: Act Two
339
1061
Anne. Nine o’clock. I have to go.
1100
1062
Peter. That’s right.
1101
1063
Anne (without moving). Good
night.
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(There is a second’s pause, then
Peter gets up and moves toward
the door.)
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Peter. You won’t let them stop you
coming?
1108
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1074
Anne. No. (She rises and starts for
the door.) Sometime I might bring
my diary. There are so many things
in it that I want to talk over with
you. There’s a lot about you.
1075
Peter. What kind of things?
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Anne. I wouldn’t want you to see
some of it. I thought you were a
nothing, just the way you thought
about me.
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Peter. Did you change your
mind, the way I changed my mind
about you?
1083
Anne. Well . . . You’ll see . . .
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1084
(For a second Anne stands looking
up at Peter, longing for him to kiss
her. As he makes no move she turns
away. Then suddenly Peter grabs
her awkwardly in his arms, kissing
her on the cheek. Anne walks out
dazed. She stands for a minute, her
back to the people in the main room.
As she regains her poise she goes to
her mother and father and Margot,
silently kissing them. They murmur
their good nights to her. As she is
about to open her bedroom door, she
catches sight of Mrs. Van Daan. She
goes quickly to her, taking her face
in her hands and kissing her first
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340 Collection 5
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on one cheek and then on the other.
Then she hurries off into her room.
Mrs. Van Daan looks after her, and
then looks over at Peter’s room. Her
suspicions are confirmed.)
Mrs. Van Daan (She knows). Ah
hah!
(The lights dim out. The curtain falls
on the scene. In the darkness Anne’s
Voice comes faintly at first and then
with growing strength.)
Anne’s Voice. By this time we all
know each other so well that if
anyone starts to tell a story, the
rest can finish it for him. We’re
having to cut down still further on
our meals. What makes it worse,
the rats have been at work again.
They’ve carried off some of our
precious food. Even Mr. Dussel
wishes now that Mouschi was
here. Thursday, the twentieth of
April, nineteen forty-four. Invasion
fever is mounting every day. Miep
tells us that people outside talk
of nothing else. For myself, life
has become much more pleasant.
I often go to Peter’s room after
supper. Oh, don’t think I’m in love,
because I’m not. But it does make
life more bearable to have someone
with whom you can exchange
views. No more tonight. P.S. . . .
I must be honest. I must confess
that I actually live for the next
meeting. Is there anything lovelier
than to sit under the skylight and
feel the sun on your cheeks and
have a darling boy in your arms?
I admit now that I’m glad the
Van Daans had a son and not a
1141
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1147
daughter. I’ve outgrown another
dress. That’s the third. I’m having
to wear Margot’s clothes after all.
I’m working hard on my French
and am now reading La Belle
Nivernaise.
(As she is saying the last lines—the
curtain rises on the scene. The lights
dim on, as Anne’s Voice fades out.)
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Scene 3
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It is night, a few weeks later.
Everyone is in bed. There is
complete quiet. In the Van Daans’
room a match flares up for a
moment and then is quickly put out.
Mr. Van Daan, in bare feet, dressed
in underwear and trousers, is
dimly seen coming stealthily down
the stairs and into the main room,
where Mr. and Mrs. Frank and
Margot are sleeping. He goes to the
food safe and again lights a match.
Then he cautiously opens the safe,
taking out a half-loaf of bread.
As he closes the safe, it creaks. He
stands rigid. Mrs. Frank sits up in
bed. She sees him.
Mrs. Frank (screaming). Otto! Otto!
Komme schnell!5
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(The rest of the people wake,
hurriedly getting up.)
1172
Mr. Frank. Was ist los? Was ist
passiert?6
Mr. Frank. Mr. Dussel! For God’s
sake! Help me, Peter!
1191
1194
(Dussel drops Mr. Van Daan,
pushing him away. He shows them
the end of a loaf of bread that he
has taken from Van Daan.)
1195
Dussel. You greedy, selfish . . . !
1196
(Margot turns on the lights.)
1197
Mrs. Van Daan. Putti . . . what is it?
1198
(All of Mrs. Frank’s gentleness, her
self-control, is gone. She is outraged,
in a frenzy of indignation.)
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6
Dussel (his hands on Van Daan’s
neck). You dirty thief . . . stealing
food . . . you good-for-nothing . . .
Peter. Let him go! Let go!
1205
Komme schnell! (kôm´e shn≈l´)
German: Come quickly!
Was ist los? Was ist passiert? (väs Δst lôs´?
väs Δst päs∏rt´?) German: What’s the
matter? What has happened?
Mrs. Van Daan (coming down the
stairs). Putti . . . Putti . . . what is it?
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5
Dussel (grabbing Mr. Van Daan).
You! You! Give me that.
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Mrs. Frank (as she rushes over
to Mr. Van Daan). Er stiehlt das
Essen!7
(Peter comes over, trying, with
Mr. Frank, to separate the two
struggling men.)
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1169
(Dussel, followed by Anne, comes
from his room.)
Mrs. Frank. The bread! He was
stealing the bread!
Dussel. It was you, and all the time
we thought it was the rats!
Mr. Frank. Mr. Van Daan, how
could you!
7
Er stiehlt das Essen! (≈r sht∏lt´ däs ≈s´∂n)
German: He is stealing food!
The Diary of Anne Frank: Act Two
341
1207
Mr. Van Daan. I’m hungry.
1245
1208
Mrs. Frank. We’re all of us hungry!
I see the children getting thinner
and thinner. Your own son
Peter . . . I’ve heard him moan in
his sleep, he’s so hungry. And you
come in the night and steal food
that should go to them . . . to the
children!
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Mrs. Van Daan (going to Mr. Van
Daan protectively). He needs more
food than the rest of us. He’s used
to more. He’s a big man.
(Mr. Van Daan breaks away, going
over and sitting on the couch.)
Mrs. Frank (turning on Mrs. Van
Daan). And you . . . you’re worse
than he is! You’re a mother, and
yet you sacrifice your child to this
man . . . this . . . this . . .
1227
Mr. Frank. Edith! Edith!
1228
(Margot picks up the pink woolen
stole, putting it over her mother’s
shoulders.)
1229
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Mrs. Frank (paying no attention,
going on to Mrs. Van Daan). Don’t
think I haven’t seen you! Always
saving the choicest bits for him!
I’ve watched you day after day and
I’ve held my tongue. But not any
longer! Not after this! Now I want
him to go! I want him to get out
of here!
1249
Mr. Frank (to Mrs. Frank). You’re
speaking in anger. You cannot
mean what you are saying.
1250
Mrs. Frank. I mean exactly that!
1251
(Mrs. Van Daan takes a cover
from the Franks’ bed, pulling it
about her.)
1247
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Mr. Frank. For two long years
we have lived here, side by side.
We have respected each other’s
rights . . . we have managed to live
in peace. Are we now going to
throw it all away? I know this will
never happen again, will it, Mr.
Van Daan?
1262
Mr. Van Daan. No. No.
1263
Mrs. Frank. He steals once! He’ll
steal again!
1254
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1240
Mr. Frank. Edith!
1277
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Mr. Van Daan. Get out of
here?
1278
Mrs. Van Daan. What do
you mean?
1280
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342 Collection 5
Mrs. Frank. Just that! Take your
things and get out!
(Mr. Van Daan, holding his
stomach, starts for the bathroom.
Anne puts her arms around him,
helping him up the step.)
Mr. Frank. Edith, please. Let us be
calm. We’ll all go to our rooms . . .
and afterwards we’ll sit down
quietly and talk this out . . . we’ll
find some way . . .
Mrs. Frank. No! No! No more talk!
I want them to leave!
Mrs. Van Daan. You’d put us out,
on the streets?
Mrs. Frank. There are other hiding
places.
Mrs. Van Daan. A cellar . . . a
closet. I know. And we have no
money left even to pay for that.
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©Mondadori/Getty Images
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Mrs. Frank. I’ll give you money.
Out of my own pocket I’ll give it
gladly. (She gets her purse from a
shelf and comes back with it.)
1292
Mrs. Van Daan. Mr. Frank, you
told Putti you’d never forget what
he’d done for you when you came
to Amsterdam. You said you could
never repay him, that you . . .
1296
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Mrs. Frank (counting out money). If
my husband had any obligation to
you, he’s paid it, over and over.
Mr. Frank. Edith, I’ve never
seen you like this before. I don’t
know you.
Mrs. Frank. I should have spoken
out long ago.
Dussel. You can’t be nice to some
people.
The Diary of Anne Frank: Act Two
343
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Mrs. Van Daan (turning on Dussel).
There would have been plenty for
all of us, if you hadn’t come
in here!
1339
Mr. Frank. We don’t need the Nazis
to destroy us. We’re destroying
ourselves.
1343
(He sits down, with his head in his
hands. Mrs. Frank goes to Mrs. Van
Daan.)
1346
Mrs. Frank (giving Mrs. Van Daan
some money). Give this to Miep.
She’ll find you a place.
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Anne. Mother, you’re not putting
Peter out. Peter hasn’t done
anything.
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Mrs. Frank. He’ll stay, of course.
When I say I must protect the
children, I mean Peter too.
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(Peter rises from the steps where he
has been sitting.)
1323
Peter. I’d have to go if Father goes.
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(Mr. Van Daan comes from the
bathroom. Mrs. Van Daan hurries
to him and takes him to the couch.
Then she gets water from the sink to
bathe his face.)
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closing the door after him. Anne
turns back to her mother, crying.)
I don’t care about the food. They
can have mine! I don’t want it!
Only don’t send them away. It’ll be
daylight soon. They’ll be caught . . .
Margot (putting her arms
comfortingly around Anne). Please,
Mother!
Mrs. Frank. They’re not going now.
They’ll stay here until Miep finds
them a place. (to Mrs. Van Daan)
But one thing I insist on! He must
never come down here again! He
must never come to this room
where the food is stored! We’ll
divide what we have . . . an equal
share for each! (Dussel hurries over
to get a sack of potatoes from the
food safe. Mrs. Frank goes on, to
Mrs. Van Daan.) You can cook it
here and take it up to him.
(Dussel brings the sack of potatoes
back to the center table.)
Margot. Oh, no. No. We haven’t
sunk so far that we’re going to fight
over a handful of rotten potatoes.
Mrs. Frank (while this is going on).
He’s no father to you . . . that man!
He doesn’t know what it is to be a
father!
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Dussel (dividing the potatoes into
piles). Mrs. Frank, Mr. Frank,
Margot, Anne, Peter, Mrs. Van
Daan, Mr. Van Daan, myself . . .
Mrs. Frank . . .
Peter (starting for his room).
I wouldn’t feel right. I couldn’t stay.
1371
(The buzzer sounds in Miep’s signal.)
1372
Mrs. Frank. Very well, then. I’m
sorry.
1373
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Mr. Frank. It’s Miep! (He hurries
over, getting his overcoat and putting
it on.)
Anne (rushing over to Peter). No,
Peter! No! (Peter goes into his room,
1375
Margot. At this hour?
1376
Mrs. Frank. It is trouble.
344 Collection 5
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Mr. Frank (as he starts down to
unbolt the door). I beg you, don’t let
her see a thing like this!
1415
Peter. Where?
1416
Mrs. Van Daan. When? When,
Miep?
1417
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Mr. Dussel (counting without
stopping). . . . Anne, Peter, Mrs. Van
Daan, Mr. Van Daan, myself . . .
1383
Margot (to Dussel). Stop it! Stop it!
1384
Dussel.. . . . Mr. Frank,
Margot, Anne, Peter, Mrs. Van
Daan, Mr. Van Daan, myself,
Mrs. Frank . . .
1422
Mrs. Van Daan. You’re keeping the
big ones for yourself! All the big
ones . . . Look at the size of that! . . .
And that! . . .
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1394
(Dussel continues on with his
dividing. Peter, with his shirt and
trousers on, comes from his room.)
1395
Margot. Stop it! Stop it!
1396
(We hear Miep’s excited voice
speaking to Mr. Frank below.)
1435
Miep. Mr. Frank . . . the most
wonderful news! . . . The invasion
has begun!
1437
Mr. Frank. Go on, tell them! Tell
them!
1440
(Miep comes running up the steps,
ahead of Mr. Frank. She has a man’s
raincoat on over her nightclothes and
a bunch of orange-colored flowers in
her hand.)
1442
Miep. Did you hear that,
everybody? Did you hear what
I said? The invasion has begun!
The invasion!
1447
(They all stare at Miep, unable to
grasp what she is telling them. Peter
is the first to recover his wits.)
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Miep. It began early this
morning . . .
(As she talks on, the realization of
what she has said begins to dawn
on them. Everyone goes crazy. A
wild demonstration takes place.
Mrs. Frank hugs Mr. Van Daan.)
Mrs. Frank. Oh, Mr. Van Daan, did
you hear that? (Dussel embraces
Mrs. Van Daan. Peter grabs a
frying pan and parades around
the room, beating on it, singing the
Dutch National Anthem. Anne
and Margot follow him, singing,
weaving in and out among the
excited grownups. Margot breaks
away to take the flowers from Miep
and distribute them to everyone.
While this pandemonium is going
on Mrs. Frank tries to make herself
heard above the excitement.)
Mrs. Frank (to Miep). How do you
know?
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Miep. The radio . . . The B.B.C.!
They said they landed on the coast
of Normandy!
1444
Peter. The British?
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Miep. British, Americans, French,
Dutch, Poles, Norwegians . . . all
of them! More than four thousand
ships! Churchill spoke, and
General Eisenhower! D-Day they
call it!
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Mr. Frank. Thank God, it’s come!
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Mrs. Van Daan. At last!
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The Diary of Anne Frank: Act Two
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Miep (starting out). I’m going to tell
Mr. Kraler. This’ll be better than
any blood transfusion.
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Mr. Frank (stopping her). What part
of Normandy did they land, did
they say?
1493
Miep. Normandy . . . that’s all
I know now . . . I’ll be up the
minute I hear some more! (She goes
hurriedly out.)
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Anne. Look at me, the way I’ve
treated Mother . . . so mean and
horrid to her.
1497
Mrs. Frank. No, Anneke, no.
1498
(Anne runs to her mother, putting
her arms around her.)
Mr. Frank (to Mrs. Frank). What
did I tell you? What did I tell you?
(Mrs. Frank indicates that he has
forgotten to bolt the door after
Miep. He hurries down the steps.
Mr. Van Daan, sitting on the couch,
suddenly breaks into a convulsive
sob. Everybody looks at him,
bewildered.)
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Mrs. Van Daan (hurrying to him).
Putti! Putti! What is it? What
happened?
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Mr. Van Daan. Please. I’m so
ashamed.
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(Mr. Frank comes back up the
steps.)
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Dussel. Oh, for God’s sake!
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Mrs. Van Daan. Don’t, Putti.
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Margot. It doesn’t matter now!
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Mr. Frank (going to Mr. Van Daan).
Didn’t you hear what Miep said?
The invasion has come! We’re
going to be liberated! This is a time
to celebrate!
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(He embraces Mrs. Frank and then
hurries to the cupboard and gets the
cognac and a glass.)
Mr. Van Daan. To steal bread from
children!
Mrs. Frank. We’ve all done things
that we’re ashamed of.
Anne. Oh, Mother, I was. I was
awful.
Mr. Van Daan. Not like me. No one
is as bad as me!
Dussel (to Mr. Van Daan). Stop it
now! Let’s be happy!
Mr. Frank (giving Mr. Van Daan
a glass of cognac). Here! Here!
Schnapps! L’chaim!8 (Van Daan
takes the cognac. They all watch
him. He gives them a feeble smile.
Anne puts up her fingers in a
V-for-Victory sign. As Van Daan
gives an answering V-sign, they are
startled to hear a loud sob from
behind them. It is Mrs. Frank,
stricken with remorse. She is sitting
on the other side of the room.)
Mrs. Frank (through her sobs).
When I think of the terrible things
I said . . .
(Mr. Frank, Anne, and Margot
hurry to her, trying to comfort her.
Mr. Van Daan brings her his glass
of cognac.)
8
346 Collection 5
Schnapps! (shnäps) German: Brandy!
L’chaim! (l∂ khä´yΔm) Hebrew: To life!
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Mr. Van Daan. No! No! You were
right!
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Mrs. Frank. That I should
speak that way to you! . . . Our
friends! . . . Our guests! (She starts
to cry again.)
1568
Dussel. Stop it, you’re spoiling the
whole invasion!
(As they are comforting her, the
lights dim out. The curtain falls.)
Anne’s Voice (faintly at first and
then with growing strength). We’re
all in much better spirits these
days. There’s still excellent news
of the invasion. The best part
about it is that I have a feeling that
friends are coming. Who knows?
Maybe I’ll be back in school by
fall. Ha, ha! The joke is on us! The
warehouse man doesn’t know a
thing and we are paying him all
that money! . . . Wednesday, the
second of July, nineteen forty-four.
The invasion seems temporarily to
be bogged down. Mr. Kraler has
to have an operation, which looks
bad. The Gestapo have found the
radio that was stolen. Mr. Dussel
says they’ll trace it back and back
to the thief, and then, it’s just a
matter of time till they get to us.
Everyone is low. Even poor Pim
can’t raise their spirits. I have
often been downcast myself . . . but
never in despair. I can shake off
everything if I write. But . . . and
that is the great question . . . will
I ever be able to write well? I want
to so much. I want to go on living
even after my death. Another
birthday has gone by, so now I
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am fifteen. Already I know what I
want. I have a goal, an opinion.
(As this is being said—the curtain
rises on the scene, the lights dim on,
and Anne’s Voice fades out.)
Scene 4
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It is an afternoon a few weeks
later . . . Everyone but Margot is in
the main room. There is a sense of
great tension.
Both Mrs. Frank and Mr. Van
Daan are nervously pacing back
and forth, Dussel is standing at the
window, looking down fixedly at the
street below. Peter is at the center
table, trying to do his lessons. Anne
sits opposite him, writing in her
diary. Mrs. Van Daan is seated on
the couch, her eyes on Mr. Frank as
he sits reading.
The sound of a telephone
ringing comes from the office
below. They all are rigid, listening
tensely. Mr. Dussel rushes down to
Mr. Frank.
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Dussel. There it goes again, the
telephone! Mr. Frank, do you hear?
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Mr. Frank (quietly). Yes. I hear.
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Dussel (pleading, insistent). But
this is the third time, Mr. Frank!
The third time in quick succession!
It’s a signal! I tell you it’s Miep,
trying to get us! For some reason
she can’t come to us and she’s
trying to warn us of something!
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Mr. Frank. Please. Please.
1601
Mr. Van Daan (to Dussel). You’re
wasting your breath.
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The Diary of Anne Frank: Act Two
347
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Dussel. Something has happened,
Mr. Frank. For three days now
Miep hasn’t been to see us! And
today not a man has come to work.
There hasn’t been a sound in the
building!
Mrs. Frank. Perhaps it’s Sunday.
We may have lost track of the days.
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Mr. Van Daan (to Anne). You with
the diary there. What day is it?
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Dussel (going to Mrs. Frank). I
don’t lose track of the days! I know
exactly what day it is! It’s Friday,
the fourth of August. Friday, and
not a man at work. (He rushes
back to Mr. Frank, pleading with
him, almost in tears.) I tell you
Mr. Kraler’s dead. That’s the only
explanation. He’s dead and they’ve
closed down the building, and
Miep’s trying to tell us!
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Mr. Frank. She’d never
telephone us.
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Dussel (frantic). Mr. Frank, answer
that! I beg you, answer it!
1628
Mr. Frank. No.
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Mr. Van Daan. Just pick it up and
listen. You don’t have to speak. Just
listen and see if it’s Miep.
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Mr. Van Daan. For God’s sake, stop it!
1659
(In the distance, a German military
band is heard playing a Viennese
waltz.)
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Mrs. Van Daan. Don’t touch me!
1676
(She hurries up the stairs, followed
by Mr. Van Daan. Peter, unable to
bear it, goes to his room. Anne looks
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Peter. Mr. Frank’s right.
1638
Mr. Van Daan. There’s no need to
tell us what side you’re on.
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348 Collection 5
Mrs. Van Daan. I think you’d be
glad if I did! I think you want me
to die!
Mr. Van Daan. Whose fault is
it we’re here? (Mrs. Van Daan
starts for her room. He follows,
talking at her.) We could’ve been
safe somewhere . . . in America
or Switzerland. But no! No! You
wouldn’t leave when I wanted to.
You couldn’t leave your things.
You couldn’t leave your precious
furniture.
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Mr. Van Daan. So we just wait here
until we die.
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Mr. Frank. No. I’ve told you, no. I’ll
do nothing that might let anyone
know we’re in the building.
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Dussel. I’m going down. (He rushes
down the steps. Mr. Frank tries
ineffectually to hold him. Dussel
runs to the lower door, unbolting it.
The telephone stops ringing. Dussel
bolts the door and comes slowly back
up the steps.) Too late. (Mr. Frank
goes to Margot in Anne’s bedroom.)
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(There is silence for a minute as they
all listen to the telephone ringing.)
Mrs. Van Daan (hysterically). I can’t
stand it! I’ll kill myself ! I’ll kill
myself !
1655
Dussel (speaking at the same time).
For God’s sake . . . I ask you.
1632
Mr. Frank. If we wait patiently,
quietly, I believe that help will
come.
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after him, deeply concerned. Dussel
returns to his post at the window.
Mr. Frank comes back into the main
room and takes a book, trying to
read. Mrs. Frank sits near the sink,
starting to peel some potatoes. Anne
quietly goes to Peter’s room, closing
the door after her. Peter is lying face
down on the cot. Anne leans over
him, holding him in her arms, trying
to bring him out of his despair.)
1718
Anne. Look, Peter, the sky. (She
looks up through the skylight.)
What a lovely, lovely day! Aren’t
the clouds beautiful? You know
what I do when it seems as if I
couldn’t stand being cooped up for
one more minute? I think myself
out. I think myself on a walk in
the park where I used to go with
Pim. Where the jonquils and the
crocus and the violets grow down
the slopes. You know the most
wonderful part about thinking
yourself out? You can have it any
way you like. You can have roses
and violets and chrysanthemums
all blooming at the same time . . .
It’s funny . . . I used to take it all
for granted . . . and now I’ve gone
crazy about everything to do with
nature. Haven’t you?
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Peter. I’ve just gone crazy. I think if
something doesn’t happen soon . . .
if we don’t get out of here . . . I can’t
stand much more of it!
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Anne (softly). I wish you had a
religion, Peter.
1717
Peter. No, thanks! Not me!
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Anne. Oh, I don’t mean you have
to be Orthodox9 . . . or believe in
heaven and hell and purgatory
and things . . . I just mean some
religion . . . it doesn’t matter what.
Just to believe in something! When
I think of all that’s out there . . .
the trees . . . and flowers . . . and
seagulls . . . when I think of the
dearness of you, Peter . . . and
the goodness of the people we
know . . . Mr. Kraler, Miep, Dirk,
the vegetable man, all risking their
lives for us every day . . . When
I think of these good things, I’m
not afraid any more . . . I find
myself, and God, and I . . . (Peter
interrupts, getting up and walking
away.)
Peter. That’s fine! But when I
begin to think, I get mad! Look at
us, hiding out for two years. Not
able to move! Caught here like . . .
waiting for them to come and get
us . . . and all for what?
Anne. We’re not the only people
that’ve had to suffer. There’ve
always been people that’ve had
to . . . sometimes one race . . .
sometimes another . . . and yet . . .
Peter. That doesn’t make me feel
any better!
Anne (going to him). I know
it’s terrible, trying to have any
faith . . . when people are doing
such horrible . . . But you know
what I sometimes think? I think
the world may be going through a
9
Orthodox: Orthodox Jews who strictly
observe Jewish laws and traditions.
The Diary of Anne Frank: Act Two
349
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phase, the way I was with Mother.
It’ll pass, maybe not for hundreds
of years, but some day . . . I still
believe, in spite of everything, that
people are really good at heart.
1797
Peter. I want to see something
now . . . Not a thousand years from
now! (He goes over, sitting down
again on the cot.)
1802
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Anne. But, Peter, if you’d only look
at it as part of a great pattern . . .
that we’re just a little minute in
the life . . . (She breaks off.) Listen
to us, going at each other like a
couple of stupid grownups! Look
at the sky now. Isn’t it lovely? (She
holds out her hand to him. Peter
takes it and rises, standing with her
at the window looking out, his arms
around her.) Some day, when we’re
outside again, I’m going to . . .
(She breaks off as she hears the
sound of a car, its brakes squealing
as it comes to a sudden stop. The
people in the other rooms also
become aware of the sound. They
listen tensely. Another car roars up
to a screeching stop. Anne and Peter
come from Peter’s room. Mr. and
Mrs. Van Daan creep down the
stairs. Dussel comes out from his
room. Everyone is listening, hardly
breathing. A doorbell clangs again
and again in the building below.
Mr. Frank starts quietly down the
steps to the door. Dussel and Peter
follow him. The others stand rigid,
waiting, terrified.
In a few seconds Dussel comes
stumbling back up the steps. He
shakes off Peter’s help and goes to
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his room. Mr. Frank bolts the door
below, and comes slowly back up
the steps. Their eyes are all on him
as he stands there for a minute.
They realize that what they feared
has happened. Mrs. Van Daan
starts to whimper. Mr. Van Daan
puts her gently in a chair, and then
hurries off up the stairs to their
room to collect their things. Peter
goes to comfort his mother. There
is a sound of violent pounding on a
door below.)
Mr. Frank (quietly). For the past
two years we have lived in fear.
Now we can live in hope.
(The pounding below becomes more
insistent. There are muffled sounds
of voices, shouting commands.)
Men’s Voices. Auf machen! Da
drinnen! Auf machen! Schnell!
Schnell! Schnell! etc., etc.10
(The street door below is forced open.
We hear the heavy tread of footsteps
coming up. Mr. Frank gets two school
bags from the shelves, and gives one
to Anne and the other to Margot.
He goes to get a bag for Mrs. Frank.
The sound of feet coming up grows
louder. Peter comes to Anne, kissing
her good-bye, then he goes to his
room to collect his things. The buzzer
of their door starts to ring. Mr. Frank
brings Mrs. Frank a bag. They stand
together, waiting. We hear the thud
of gun butts on the door, trying to
break it down.
10
Auf machen! . . . Schnell! (ouf´ mäzKH´∂n!
dä drΔn´∂n! ouf´ mä KH´∂n! shn≈l! shn≈l!
shn≈l!) German: Open up! Inside there!
Open up! Quick! Quick! Quick!
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Anne stands, holding her school
satchel, looking over at her father
and mother with a soft, reassuring
smile. She is no longer a child, but
a woman with courage to meet
whatever lies ahead.
The lights dim out. The curtain
falls on the scene. We hear a mighty
crash as the door is shattered. After
a second Anne’s Voice is heard.)
Anne’s Voice. And so it seems our
stay here is over. They are waiting
for us now. They’ve allowed us five
minutes to get our things. We can
each take a bag and whatever it
will hold of clothing. Nothing else.
So, dear Diary, that means I must
leave you behind. Good-bye for a
while. P.S. Please, please, Miep, or
Mr. Kraler, or anyone else. If you
should find this diary, will you
please keep it safe for me, because
some day I hope . . .
(Her voice stops abruptly. There
is silence. After a second the
curtain rises.)
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Scene 5
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1869
It is again the afternoon in
November, 1945. The rooms are
as we saw them in the first scene.
Mr. Kraler has joined Miep and
Mr. Frank. There are coffee cups
on the table. We see a great change
in Mr. Frank. He is calm now. His
bitterness is gone. He slowly turns
a few pages of the diary. They are
blank.
1898
1899
1900
1901
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1906
1907
Mr. Frank. No more. (He closes the
diary and puts it down on the couch
beside him.)
Miep. I’d gone to the country to
find food. When I got back the
block was surrounded by police . . .
Mr. Kraler. We made it our
business to learn how they knew.
It was the thief . . . the thief who
told them.
(Miep goes up to the gas burner,
bringing back a pot of coffee.)
Mr. Frank (after a pause). It seems
strange to say this, that anyone
could be happy in a concentration
camp. But Anne was happy in the
camp in Holland where they first
took us. After two years of being
shut up in these rooms, she could
be out . . . out in the sunshine and
the fresh air that she loved.
Miep (offering the coffee to
Mr. Frank). A little more?
Mr. Frank (holding out his cup
to her). The news of the war was
good. The British and Americans
were sweeping through France.
We felt sure that they would get to
us in time. In September we were
told that we were to be shipped to
Poland . . . The men to one camp.
The women to another. I was sent
to Auschwitz. They went to Belsen.
In January we were freed, the few
of us who were left. The war wasn’t
yet over, so it took us a long time
to get home. We’d be sent here
and there behind the lines where
The Diary of Anne Frank: Act Two
351
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we’d be safe. Each time our train
would stop . . . at a siding, or a
crossing . . . we’d all get out and
go from group to group . . . Where
were you? Were you at Belsen? At
Buchenwald? At Mauthausen? Is
it possible that you knew my wife?
Did you ever see my husband?
My son? My daughter? That’s
how I found out about my wife’s
death . . . of Margot, the Van
Daans . . . Dussel. But Anne . . . I
still hoped . . . Yesterday I went to
Rotterdam. I’d heard of a woman
there . . . She’d been in Belsen with
Anne . . . I know now.
1924
1925
1926
1927
(He picks up the diary again, and
turns the pages back to find a
certain passage. As he finds it we
hear Anne’s Voice.)
1930
Anne’s Voice. In spite of
everything, I still believe that
people are really good at heart.
1931
(Mr. Frank slowly closes the diary.)
1932
1933
Mr. Frank. She puts me to shame.
(They are silent.)
1934
The Curtain Falls.
1928
1929
COLLABORATIVE DISCUSSION Mr. Frank read this from Anne's
diary: "In spite of everything, I still believe that people are really
good at heart." With a partner, discuss examples from the play that
demonstrate that Anne really believed this to be true.
352 Collection 5
EL A RL.8.3
ELD PI.8.6
Analyze Dialogue in Drama
The story in a play is told mainly through dialogue, not only by the words
characters speak but also by the way in which they say them. Through the
dialogue, a playwright accomplishes different purposes:
t Dialogue propels the action in the story, moving the plot forward.
t Sometimes dialogue establishes a conflict that prompts characters to
make a decision.
t Dialogue reveals different qualities, or character traits, of characters,
because what people say and how they say it can reveal things such as
fear, arrogance, doubt, or bravery.
Notice how the following dialogue increases tension in the play and
reveals that Mr. Frank is forced to make a decision about a worker who may
be blackmailing them:
Mr. Frank (to Mr. Kraler). How was it left? What did you tell him?
Mr. Kraler. I said I had to think about it. What shall I do? Pay
him the money? . . . Take a chance on firing him . . . or what?
I don’t know.
As you analyze the dialogue, ask yourself, “What are these words
explaining about the plot? What are they revealing about this character?”
EL A RL.8.3
ELD PI.8.6
Analyze Incidents in Drama
Playwrights usually tell events in chronological order, the order in which
they occurred. They may, however, tell some events in a different order.
When an author interrupts the chronological order by describing
something that took place at an earlier time, it is called a flashback. A
flashback provides information that helps readers better understand a current
situation. For example, in The Diary of Anne Frank, the first scene begins in
November of 1945. Mr. Frank is speaking with Miep after World War II is over.
The scene ends with a flashback as the audience hears words that Anne
wrote in her diary during the war:
Our hiding place was to be upstairs in the building where
Father used to have his business. Three other people were
coming in with us . . . the Van Daans and their son Peter . . .
Father knew the Van Daans but we had never met them . . .
As you analyze The Diary of Anne Frank, identify where the flashback ends.
The Diary of Anne Frank: Act Two
353
eBook
Analyzing the Text
Cite Text Evidence
EL A RL.8.1, RL.8.3, W.8.4, W.8.9a,
W.8.10, SL.8.4, SL.8.6 ELD PI.8.6,
PI.8.7, PI.8.9
Support your responses with evidence from the text.
1.
Interpret Reread lines 241–291 in Act Two. What does this part of the
dialogue reveal about each of the Van Daans?
2.
Compare Explain the differences between Peter and Anne’s relationship
in Act One and in Act Two.
3.
Cause/Effect Examine the dialogue in lines 1167–1239 that describes the
aftermath of Mr. Van Daan’s theft. Explain the effect of this event and how
it propels the action of the story.
4.
Infer Mr. Frank says, “The invasion has come! We’re going to be liberated!”
What invasion is Mr. Frank speaking about?
5.
Analyze Reread lines 1624–1651. What does this section of dialogue
demonstrate about Mr. Frank and Mr. Dussel?
6.
Evaluate Does the use of an extended flashback add or detract from the
impact of this play? Explain your opinion.
Speaking and Listening
With a small group, choose a section from the play in which the dialogue
provokes a character to make a decision. Consider how each character would
sound. Rehearse the lines. Then stage a dramatic reading of the section that
communicates clearly the characters’ thoughts and feelings.
PERFORMANCE TASK
Speaking Activity: Response to
Literature Choose three characters
from the play, and plan a speech
analyzing the character of each one.
Use the character’s words, actions, and
interactions with others to support
your analysis.
t Identify each character and explain
his or her role in the play.
t Describe the character’s physical
appearance and age.
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t Discuss positive character traits as
well as any weaknesses.
t Explain the character’s motivations,
actions, and reactions in relation to
others and to historical events.
t Analyze the character’s attitudes
and feelings and how these change
or remain the same over time.
Anne Frank (1929–1945) was 13 years old when she
and her family went into hiding to avoid being sent to
concentration camps by the Nazis. During the two years
she spent living in an attic, she kept a diary, which she
called “Kitty.” After the war, Anne’s father, the only family
member to survive the concentration camps the family
was eventually sent to, chose to publish the diary. The
selection you are about to read consists of entries taken
from throughout the work.
(cl) Anne Frank Fonds - Basel/Anne Frank House - Amsterdam/Getty Images; (bg) ©ADE JOHNSON/EPA/Corbis; (tr) ©Anne Frank Fonds Basel/dpa/Corbis
from
The Diary of
a Young Girl
Diary by Anne Frank
SETTING A PURPOSE As you read, think about which of Anne’s
thoughts and feelings are similar to that of any teenager and
which are unique to her family’s particularly dire, or urgent,
situation.
Wednesday, January 13, 1943
10
Dearest Kitty,
This morning I was constantly interrupted, and as a result
I haven’t been able to finish a single thing I’ve begun.
We have a new pastime, namely, filling packages with
powdered gravy. The gravy is one of Gies & Co.’s1 products.
Mr. Kugler hasn’t been able to find anyone else to fill the
packages, and besides, it’s cheaper if we do the job. It’s the
kind of work they do in prisons. It’s incredibly boring and
makes us dizzy and giggly.
Terrible things are happening outside. At any time of
night and day, poor helpless people are being dragged out of
their homes. They’re allowed to take only a knapsack and a
1
Gies (g∏s) & Co.: the name of Mr. Frank’s company in Amsterdam.
The Diary of a Young Girl
355
20
30
40
little cash with them, and even then, they’re robbed of these
possessions on the way. Families are torn apart; men, women
and children are separated. Children come home from school
to find that their parents have disappeared. Women return
from shopping to find their houses sealed, their families gone.
The Christians in Holland are also living in fear because
their sons are being sent to Germany. Everyone is scared.
Every night hundreds of planes pass over Holland on their
way to German cities, to sow their bombs on German soil.
Every hour hundreds, or maybe even thousands, of people are
being killed in Russia and Africa. No one can keep out of the
conflict, the entire world is at war, and even though the Allies2
are doing better, the end is nowhere in sight.
As for us, we’re quite fortunate. Luckier than millions of
people. It’s quiet and safe here, and we’re using our money to
buy food. We’re so selfish that we talk about “after the war”
and look forward to new clothes and shoes, when actually we
should be saving every penny to help others when the war is
over, to salvage whatever we can.
The children in this neighborhood run around in thin
shirts and wooden shoes. They have no coats, no socks, no
caps and no one to help them. Gnawing on a carrot to still
their hunger pangs, they walk from their cold houses through
cold streets to an even colder classroom. Things have gotten
so bad in Holland that hordes of children stop passersby in the
streets to beg for a piece of bread.
I could spend hours telling you about the suffering the war
has brought, but I’d only make myself more miserable. All we
can do is wait, as calmly as possible, for it to end. Jews and
Christians alike are waiting, the whole world is waiting, and
many are waiting for death.
Yours, Anne
2
Allies: the group of countries that fought against Hitler and Germany.
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Saturday, January 30, 1943
50
60
70
80
Dearest Kitty,
I’m seething with rage, yet I can’t show it. I’d like to scream,
stamp my foot, give Mother a good shaking, cry and I don’t
know what else because of the nasty words, mocking looks
and accusations that she hurls at me day after day, piercing
me like arrows from a tightly strung bow, which are nearly
impossible to pull from my body. I’d like to scream at Mother,
Margot, the van Daans, Dussel and Father too: “Leave me
alone, let me have at least one night when I don’t cry myself
to sleep with my eyes burning and my head pounding. Let me
get away, away from everything, away from this world!” But
I can’t do that. I can’t let them see my doubts, or the wounds
they’ve inflicted on me. I couldn’t bear their sympathy or
their good-humored derision. It would only make me want to
scream even more.
Everyone thinks I’m showing off when I talk, ridiculous
when I’m silent, insolent when I answer, cunning when I have
a good idea, lazy when I’m tired, selfish when I eat one bit
more than I should, stupid, cowardly, calculating, etc., etc.
All day long I hear nothing but what an exasperating child I
am, and although I laugh it off and pretend not to mind, I do
mind. I wish I could ask God to give me another personality,
one that doesn’t antagonize everyone.
But that’s impossible. I’m stuck with the character I was
born with, and yet I’m sure I’m not a bad person. I do my best
to please everyone, more than they’d ever suspect in a million
years. When I’m upstairs, I try to laugh it off because I don’t
want them to see my troubles.
More than once, after a series of absurd reproaches, I’ve
snapped at Mother: “I don’t care what you say. Why don’t you
just wash your hands of me—I’m a hopeless case.” Of course,
she’d tell me not to talk back and virtually ignore me for two
days. Then suddenly all would be forgotten and she’d treat me
like everyone else.
insolent
(Δn´ s∂-l∂nt) adj. If
someone is insolent,
he or she is rude or
disrespectful.
reproach
(rΔ-pr∫ch´) n. A
reproach is a scolding
or blaming.
The Diary of a Young Girl
357
It’s impossible for me to be all smiles one day and
venomous3 the next. I’d rather choose the golden mean,4
which isn’t so golden, and keep my thoughts to myself.
Perhaps sometime I’ll treat the others with the same contempt
as they treat me. Oh, if only I could.
Yours, Anne
Anne Frank’s diaries are on display at the Anne Frank House in Amsterdam, the Netherlands.
Friday, February 5, 1943
3
4
venomous (v≈n´ ∂-m∂s): spiteful or bitter.
golden mean: the middle between two extremes.
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mediate
(m∏´d∏-∑t´) v. If you
mediate a conflict,
you try to settle the
differences.
©ADE JOHNSON/EPA/Corbis
90
Dearest Kitty,
Though it’s been ages since I’ve written to you about the
squabbles, there’s still no change. In the beginning Mr. Dussel
took our soon-forgotten clashes very seriously, but now he’s
grown used to them and no longer tries to mediate.
Margot and Peter aren’t exactly what you’d call “young”;
they’re both so quiet and boring. Next to them, I stick out
like a sore thumb, and I’m always being told, “Margot and
Peter don’t act that way. Why don’t you follow your sister’s
example!” I hate that.
100
110
120
130
I confess that I have absolutely no desire to be like Margot.
She’s too weak-willed and passive to suit me; she lets herself
be swayed by others and always backs down under pressure.
I want to have more spunk! But I keep ideas like these to
myself. They’d only laugh at me if I offered this in my defense.
During meals the air is filled with tension. Fortunately, the
outbursts are sometimes held in check by the “soup eaters,”
the people from the office who come up to have a cup of soup
for lunch.
This afternoon Mr. van Daan again brought up the fact
that Margot eats so little. “I suppose you do it to keep your
figure,” he added in a mocking tone.
Mother, who always comes to Margot’s defense, said
in a loud voice, “I can’t stand that stupid chatter of yours a
minute longer.”
Mrs. van D. turned red as a beet. Mr. van D. stared
straight ahead and said nothing.
Still, we often have a good laugh. Not long ago Mrs. van D.
was entertaining us with some bit of nonsense or another.
She was talking about the past, about how well she got along
with her father and what a flirt she was. “And you know,” she
continued, “my father told me that if a gentleman ever got
fresh, I was to say, ‘Remember, sir, that I’m a lady,’ and he’d
know what I meant.” We split our sides laughing, as if she’d
told us a good joke . . .
Yours, Anne
Monday evening, November 8, 1943
Dearest Kitty,
If you were to read all my letters in one sitting, you’d be
struck by the fact that they were written in a variety of moods.
It annoys me to be so dependent on the moods here in the
Annex, but I’m not the only one: we’re all subject to them.
If I’m engrossed in a book, I have to rearrange my thoughts
before I can mingle with other people, because otherwise they
might think I was strange. As you can see, I’m currently in
the middle of a depression. I couldn’t really tell you what set it
off, but I think it stems from my cowardice, which confronts
The Diary of a Young Girl
359
140
150
160
me at every turn. This evening, when Bep was still here, the
doorbell rang long and loud. I instantly turned white, my
stomach churned, and my heart beat wildly—and all because
I was afraid.
At night in bed I see myself alone in a dungeon, without
Father and Mother. Or I’m roaming the streets, or the
Annex is on fire, or they come in the middle of the night to
take us away and I crawl under my bed in desperation. I see
everything as if it were actually taking place. And to think it
might all happen soon!
Miep often says she envies us because we have such peace
and quiet here. That may be true, but she’s obviously not
thinking about our fear.
I simply can’t imagine the world will ever be normal
again for us. I do talk about “after the war,” but it’s as if I were
talking about a castle in the air, something that can never
come true.
I see the eight of us in the Annex as if we were a patch of
blue sky surrounded by menacing black clouds. The perfectly
round spot on which we’re standing is still safe, but the
clouds are moving in on us, and the ring between us and the
approaching danger is being pulled tighter and tighter. We’re
surrounded by darkness and danger, and in our desperate
search for a way out we keep bumping into each other. We
look at the fighting down below and the peace and beauty up
above. In the meantime, we’ve been cut off by the dark mass of
clouds, so that we can go neither up nor down. It looms before
us like an impenetrable wall, trying to crush us, but not yet
able to. I can only cry out and implore, “Oh, ring, ring, open
wide and let us out!”
Yours, Anne
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Thursday, November 11, 1943
170
180
190
200
Dearest Kitty,
I have a good title for this chapter:
Ode to My Fountain Pen
In Memoriam
My fountain pen was always one of my most prized
possessions; I valued it highly, especially because it had a
thick nib, and I can only write neatly with thick nibs. It has
led a long and interesting fountain-pen life, which I will
summarize below.
When I was nine, my fountain pen (packed in cotton)
arrived as a “sample of no commercial value” all the way from
Aachen,5 where my grandmother (the kindly donor) used to
live. I lay in bed with the flu, while the February winds howled
around the apartment house. This splendid fountain pen
came in a red leather case, and I showed it to my girlfriends
the first chance I got. Me, Anne Frank, the proud owner of a
fountain pen.
When I was ten, I was allowed to take the pen to school,
and to my surprise, the teacher even let me write with it.
When I was eleven, however, my treasure had to be tucked
away again, because my sixth-grade teacher allowed us to use
only school pens and inkpots. When I was twelve, I started
at the Jewish Lyceum and my fountain pen was given a new
case in honor of the occasion. Not only did it have room for a
pencil, it also had a zipper, which was much more impressive.
When I was thirteen, the fountain pen went with me to the
Annex, and together we’ve raced through countless diaries
and compositions. I’d turned fourteen and my fountain pen
was enjoying the last year of its life with me when …
It was just after five on Friday afternoon. I came out of my
room and was about to sit down at the table to write when I
was roughly pushed to one side to make room for Margot and
Father, who wanted to practice their Latin. The fountain pen
remained unused on the table, while its owner, sighing, was
forced to make do with a very tiny corner of the table, where
she began rubbing beans. That’s how we remove mold from
the beans and restore them to their original state. At a quarter
to six I swept the floor, dumped the dirt into a newspaper,
along with the rotten beans, and tossed it into the stove.
5
splendid
(spl≈n´ dΔd) adj. If
something is splendid,
it is magnificent or
very good.
Aachen (ä´k∂n): a city in Germany.
The Diary of a Young Girl
361
210
220
A giant flame shot up, and I thought it was wonderful that the
stove, which had been gasping its last breath, had made such a
miraculous recovery.
All was quiet again. The Latin students had left, and I sat
down at the table to pick up where I’d left off. But no matter
where I looked, my fountain pen was nowhere in sight. I took
another look. Margot looked, Mother looked, Father looked,
Dussel looked. But it had vanished.
“Maybe it fell into the stove, along with the beans!”
Margot suggested.
“No, it couldn’t have!” I replied.
But that evening, when my fountain pen still hadn’t turned
up, we all assumed it had been burned, especially because
celluloid is highly inflammable. Our darkest fears were
confirmed the next day when Father went to empty the stove
and discovered the clip, used to fasten it to a pocket, among
the ashes. Not a trace of the gold nib was left. “It must have
melted into stone,” Father conjectured.
I’m left with one consolation, small though it may be:
my fountain pen was cremated, 6 just as I would like to
be someday!
Saturday, January 15, 1944
230
240
My dearest Kitty,
There’s no reason for me to go on describing all our quarrels
and arguments down to the last detail. It’s enough to tell you
that we’ve divided many things like meat and fats and oils and
are frying our own potatoes. Recently we’ve been eating a little
extra rye bread because by four o’clock we’re so hungry for
dinner we can barely control our rumbling stomachs.
Mother’s birthday is rapidly approaching. She received
some extra sugar from Mr. Kugler, which sparked off jealousy
on the part of the van Daans, because Mrs. van D. didn’t
receive any on her birthday. But what’s the point of boring you
with harsh words, spiteful conversations and tears when you
know they bore us even more?
6
cremated (kr∏´ m∑t´ ∂d): burned to ashes.
362 Collection 5
conjecture
(k∂n-j≈k´ ch∂r) v. If
you conjecture, you
guess or suppose.
250
Mother has expressed a wish, which isn’t likely to come
true any time soon: not to have to see Mr. van Daan’s face for
two whole weeks. I wonder if everyone who shares a house
sooner or later ends up at odds with their fellow residents.
Or have we just had a stroke of bad luck? At mealtime, when
Dussel helps himself to a quarter of the half-filled gravy boat
and leaves the rest of us to do without, I lose my appetite and
feel like jumping to my feet, knocking him off his chair and
throwing him out the door.
Are most people so stingy and selfish? I’ve gained some
insight into human nature since I came here, which is good,
but I’ve had enough for the present. Peter says the same.
The war is going to go on despite our quarrels and our
longing for freedom and fresh air, so we should try to make
the best of our stay here.
I’m preaching, but I also believe that if I live here much
longer, I’ll turn into a dried-up old beanstalk. And all I really
want is to be an honest-to-goodness teenager!
Yours, Anne
And all I really want is to be an
honest-to-goodness teenager!!
260
270
Wednesday evening, January
19,
W
J
19 1944
Dearest Kitty,
I (there I go again!) don’t know what’s happened, but since
my dream I keep noticing how I’ve changed. By the way, I
dreamed about Peter again last night and once again I felt his
eyes penetrate mine, but this dream was less vivid and not
quite as beautiful as the last.
You know that I always used to be jealous of Margot’s
relationship with Father. There’s not a trace of my jealousy
left now; I still feel hurt when Father’s nerves cause him to be
unreasonable toward me, but then I think, “I can’t blame you
for being the way you are. You talk so much about the minds
of children and adolescents, but you don’t know the first
thing about them!” I long for more than Father’s affection,
more than his hugs and kisses. Isn’t it awful of me to be so
The Diary of a Young Girl
363
280
preoccupied with myself? Shouldn’t I, who want to be good
and kind, forgive them first? I forgive Mother too, but every
time she makes a sarcastic remark or laughs at me, it’s all I can
do to control myself.
I know I’m far from being what I should; will I ever be?
Anne Frank
PS. Father asked if I told you about the cake. For Mother’s
birthday, she received a real mocha cake, prewar quality,7 from
the office. It was a really nice day! But at the moment there’s
no room in my head for things like that.
Saturday, January 22, 1944
290
300
Dearest Kitty,
Can you tell me why people go to such lengths to hide their
real selves? Or why I always behave very differently when I’m
in the company of others? Why do people have so little trust
in one another? I know there must be a reason, but sometimes
I think it’s horrible that you can’t ever confide in anyone, not
even those closest to you.
It seems as if I’ve grown up since the night I had that
dream, as if I’ve become more independent. You’ll be amazed
when I tell you that even my attitude toward the van Daans
has changed. I’ve stopped looking at all the discussions and
arguments from my family’s biased point of view. What’s
brought on such a radical change? Well, you see, I suddenly
realized that if Mother had been different, if she’d been a real
mom, our relationship would have been very, very different.
Mrs. van Daan is by no means a wonderful person, yet half
the arguments could have been avoided if Mother hadn’t been
so hard to deal with every time they got onto a tricky subject.
Mrs. van Daan does have one good point, though: you can
talk to her. She may be selfish, stingy and underhanded, but
she’ll readily back down as long as you don’t provoke her and
make her unreasonable. This tactic doesn’t work every time,
7
prewar quality: the better standard of goods before the war when there were no
shortages of materials.
364 Collection 5
310
320
330
340
but if you’re patient, you can keep trying and see how far
you get.
All the conflicts about our upbringing, about not
pampering children, about the food—about everything,
absolutely everything—might have taken a different turn if
we’d remained open and on friendly terms instead of always
seeing the worst side.
I know exactly what you’re going to say, Kitty. “But, Anne,
are these words really coming from your lips? From you, who
have had to put up with so many unkind words from upstairs?
From you, who are aware of all the injustices?”
And yet they are coming from me. I want to take a fresh
look at things and form my own opinion, not just ape my
parents, as in the proverb “The apple never falls far from
the tree.” I want to reexamine the van Daans and decide for
myself what’s true and what’s been blown out of proportion.
If I wind up being disappointed in them, I can always side
with Father and Mother. But if not, I can try to change their
attitude. And if that doesn’t work, I’ll have to stick with my
own opinions and judgment. I’ll take every opportunity to
speak openly to Mrs. van D. about our many differences and
not be afraid—despite my reputation as a smart aleck—to offer
my impartial opinion. I won’t say anything negative about my
own family, though that doesn’t mean I won’t defend them if
somebody else does, and as of today, my gossiping is a thing of
the past.
Up to now I was absolutely convinced that the van Daans
were entirely to blame for the quarrels, but now I’m sure the
fault was largely ours. We were right as far as the issues were
concerned, but intelligent people (such as ourselves!) should
have more insight into how to deal with others.
I hope I’ve got at least a touch of that insight, and that I’ll
find an occasion to put it to good use.
Yours, Anne
COLLABORATIVE DISCUSSION With a partner, discuss how
Anne’s ideas and reactions compare to those of you and your
friends. Cite specific evidence from the text to support your ideas.
The Diary of a Young Girl
365
EL A RI.8.3, RI.8.6
ELD PI.8.6
Analyze Text: Elements of a Diary
A diary is a daily record of a writer’s thoughts, experiences, and feelings. While
the term journal has a similar definition, diary entries are often composed in
the form of a letter addressed to the diary itself, as they are in The Diary of a
Young Girl. The first lines of The Diary of a Young Girl reveal many of a diary’s
main elements:
WEDNESDAY, JANUARY 13, 1943
Dearest Kitty,
The heading contains the date
on which the entry was made.
The salutation reveals to whom
the entry has been addressed.
This morning I was constantly interrupted, and as a result
I haven’t been able to finish a single thing I’ve begun.
First-person point
of view is used to
share thoughts and
experiences using
pronouns such as I
and me.
As you review The Diary of a Young Girl, notice whether Anne Frank uses
the same elements with each diary entry.
EL A RI.8.1
ELD PI.8.6
Make Inferences
Though some writers intend to publish their diaries, most writers assume their
diaries will remain private. As a result, certain explanations may be omitted.
To make sense of the text, readers may need to make inferences, or logical
guesses about meaning based on clues in the text and one’s own knowledge.
For example, look at this passage from The Diary of a Young Girl:
This evening, when Bep was still here, the doorbell rang long
and loud. I instantly turned white, my stomach churned, and
my heart beat wildly—and all because I was afraid.
Anne does not explain why the sound of the doorbell frightens her, but you
can make an inference about it.
What the text says:
The doorbell rang.
+
What I know:
The Franks are hiding
from the Nazis.
=
Inference:
Anne is afraid they have
been discovered.
Use your knowledge of the Franks’ situation to make other inferences as
you analyze the diary.
366 Collection 5
eBook
Analyzing the Text
Cite Text Evidence
EL A RI.8.1, RI.8.2, RI.8.3, RI.8.4, RI.8.5,
RI.8.6, SL.8.1a, SL.8.1b, SL.8.4, SL.8.4a
ELD PI.8.1, PI.8.6, PI.8.8, PI.8.9
Support your responses with evidence from the text.
1.
Infer Reread lines 5–26. What clues in the entry help readers make
inferences about why “Mr. Kugler hasn’t been able to find anyone else to
fill the packages” of powdered gravy?
2.
Analyze What is the effect of the repetition in Anne’s statement that “All
we can do is wait . . . Jews and Christians alike are waiting, the whole world
is waiting, and many are waiting for death”?
3.
Infer Read over lines 48–80. What is Anne’s view of the tension between
herself and her family? Consider how Anne’s living conditions might
contribute to her frustrations.
4.
Interpret A simile makes a comparison between two unlike things using
the word like or as. Reread lines 152–164. What does Anne Frank reveal
about her perspective with her use of the simile ”I see the eight of us in
the Annex as if we were a patch of blue sky surrounded by menacing
black clouds.”
5.
Draw Conclusions Reread lines 167–175. Notice that the elements of this
entry differ from the others. Why might Anne Frank have used a slightly
different form here?
6.
Compare How does Anne compare her situation in the Annex to what
others are facing, particularly to the other two young people there?
7.
Draw Conclusions Over what span of time are the entries in this excerpt
from the diary written? Explain how Anne’s perspective has changed
during this time.
PERFORMANCE TASK
Speaking Activity: Narrative
What does the story that Anne tells
about her fountain pen reveal about
her as a writer and a person? Perform
this story as a skit for the class.
t Working in groups, analyze Anne’s
purpose for including the story
of her pen. What makes the pen
so special to her? Why is the pen
especially important during her
time in the Annex?
t As you prepare your skit, be sure
to maintain Anne’s style and use of
details to describe the pen. Show
how the events of the day led her to
destroy her beloved pen.
t After performing the skit, discuss
how Anne’s narrative, voice, and
vivid description helped to bring
this story to life.
The Diary of a Young Girl
367
EL A L.8.4a, L.8.4d, L.8.5c
ELD PI.8.6, PI.8.8
Critical Vocabulary
insolent
reproach
splendid
conjecture
mediate
Practice and Apply Explain your response to each question.
1.
Which of the following might require someone to mediate? Why?
choices to end a disagreement
choices on a menu
2.
Which of the following would you describe as conjecture? Why?
someone explaining
someone guessing
3.
Which of the following would you describe as insolent? Why?
a disobedient child
a lost hiker
4.
Which of the following would you describe as splendid? Why?
a lovely view
a challenging test
5.
Which of the following would you describe as a reproach? Why?
a second draft of a story
a thorough scolding
Vocabulary Strategy: Connotation and
Denotation
Many words have both a denotation and a connotation. A word’s denotation
is its dictionary definition. A word’s connotations are the ideas and feelings
associated with the word. Study this example from The Diary of a Young Girl:
Things have gotten so bad in Holland that hordes
of children . . . beg for a piece of bread.
While the denotation of horde is “a large group,” the word’s connotation
suggests an out-of-control swarm that is desperate for food.
Practice and Apply Tell how the meaning of each sentence would change
if the underlined word were replaced by the word in parentheses.
1.
The families in the Annex had to be stingy with their food. (sparing)
2.
The view from a certain window in the Annex was splendid. (fine)
3.
Anne was bothered by the conflicts between the families. (battles)
368 Collection 5
Background Anne Frank’s The Diary of a Young Girl has
become one of the most well-known books in the world,
but it is not always recognized as a skillfully crafted piece
of literature. Author Francine Prose (b. 1947), a successful
novelist and nonfiction writer, researched the diary to learn
more about how it was written, how it came to be published,
and how it has been received over time. She published her
findings in a book, from which this selection is excerpted.
from
ANNE FRANK:
The Book,
The Life,
The Afterlife
(c) ©Oleksiy Mark/Shutterstock; (tr) ©Paul Hawthorne/AP Images; (bg) ©gregor/Shutterstock
Literary Criticism by Francine Prose
SETTING A PURPOSE Has The Diary of a Young Girl become a
classic because of its author’s tragically short life, or because of
the quality of the writing? As you read, focus on the differing
opinions about this question.
T
10
he first time i read the diary of anne frank, I was
younger than its author was when, at the age of thirteen,
she began to write it. I can still picture myself sitting crosslegged on the floor of the bedroom in the house in which I
grew up and reading until the daylight faded around me and
I had to turn on the lamp. I lost track of my surroundings
and felt as if I were entering the Amsterdam attic in which
a Jewish girl and her family hid from the Nazis, and where,
with the aid of their Dutch “helpers,” they survived for two
years and a month, until they were betrayed to the authorities,
arrested, and deported. I was enthralled by Anne’s vivid
descriptions of her adored father, Otto; of her conflicts with
her mother, Edith, and her sister, Margot; of her romance
with Peter van Pels; and of her irritation with Hermann
Anne Frank: The Book, the Life, the Afterlife
369
20
30
40
50
and Auguste van Pels and the dentist, Fritz Pfeffer, with
whom the Franks shared the secret annex. I remember that
when I finished the book, I went back to the first page and
started again, and that I read and reread the diary until I
was older than Anne Frank was when she died, at fifteen,
in Bergen-Belsen.1
In the summer of 2005, I read the diary once more. I
had just begun making notes for a novel that, I knew, would
be narrated in the voice of a thirteen-year-old girl. Having
written a book suggesting that writers seek guidance from a
close and thoughtful reading of the classics, I thought I should
follow my own advice, and it occurred to me that the greatest
book ever written about a thirteen-year-old girl was Anne
Frank’s diary.
Like most of Anne Frank’s readers, I had viewed her book
as the innocent and spontaneous outpourings of a teenager.
But now, rereading it as an adult, I quickly became convinced
that I was in the presence of a consciously crafted work of
literature. I understood, as I could not have as a child, how
much art is required to give the impression of artlessness,
how much control is necessary in order to seem natural, how
almost nothing is more difficult for a writer than to find
a narrative voice as fresh and unaffected as Anne Frank’s.
I appreciated, as I did not when I was a girl, her technical
proficiency, the novelistic qualities of her diary, her ability to
turn living people into characters, her observational powers,
her eye for detail, her ear for dialogue and monologue, and the
sense of pacing that guides her as she intersperses sections of
reflection with dramatized scenes.
I kept pausing to marvel at the fact that one of the greatest
books about the Nazi genocide2 should have been written
by a girl between the ages of thirteen and fifteen—not a
demographic3 we commonly associate with literary genius.
How astonishing that a teenager could have written so
intelligently and so movingly about a subject that continues to
overwhelm the adult imagination. What makes it even more
impressive is that this deceptively unassuming book focuses
on a particular moment and on specific people, and at the
same time speaks, in ways that seem timeless and universal,
1
2
3
Bergen-Belsen: the Nazi concentration camp where Anne Frank was sent.
Nazi genocide: the systematic killing of Jews by the Nazis.
demographic (d≈m´∂-gr√f´ Δk): part of a population.
370 Collection 5
intersperse
(Δn´t∂r spûrs´) v.
If you intersperse
something, you
distribute it in
different places.
60
70
80
90
about adolescence and family life. It tells the truth about
certain human beings’ ineradicable desire to exterminate
the largest possible number of other human beings, even
as it celebrates the will to survive and the determination
to maintain one’s decency and dignity under the most
dehumanizing circumstances.
Anne Frank thought of herself not merely as a girl who
happened to be keeping a diary, but as a writer. According
to Hanneli Goslar, a childhood friend, Anne’s passion for
writing began when she was still in school. “Anne would sit
in class between lessons and she would shield her diary and
she would write and write. Everybody would ask her, ‘What
are you writing?’ And the answer always was, ‘It’s none of
your business.”’ In April 1944, four months before the attic in
which the Franks found refuge was raided by the Nazis, Anne
Frank recorded her wish to become a writer. “If I haven’t any
talent for writing books or newspaper articles, well, then I can
always write for myself.… I want to go on living even after my
death! And therefore I am grateful to God for giving me this
gift, this possibility of developing myself and of writing, of
expressing all that is in me!”
Much has been made of how differently we see Anne
Frank after the so-called Definitive Edition of her diary,
published in 1995, restored certain passages that Otto
Frank had cut from the version that appeared in Holland
in 1947 and in the United States in 1952. In fact, though
the Definitive Edition is almost a third longer than the first
published version of The Diary of a Young Girl, the sections
that were reinstated—barbed comments about Edith Frank
and the Van Pelses, and other entries revealing the extent of
Anne’s curiosity about sexuality and about her body—don’t
substantially change our perception of her.
On the other hand, there is a scene in Miep Gies’s memoir,
Anne Frank Remembered, that actually does alter our image of
Anne. Along with the other helpers, the employees of Opekta,
Otto Frank’s spice and pectin business, Miep risked her life to
keep eight Jews alive for two years and a month, an experience
she describes in a book that sharpens and enhances our sense
of what the hidden Jews and their Dutch rescuers endured.
The scene begins when Miep accidentally interrupts Anne
while she is at work on her diary.
ineradicable
(Δn´Δ r√d´Δ-k∂-b∂l) adj.
If something is
ineradicable, it
is impossible to
remove.
refuge
(r≈f´y◊j) n. A refuge
is shelter from
danger.
Anne Frank: The Book, the Life, the Afterlife
371
I saw that Anne was writing intently,
and hadn’t heard me. I was quite close to
her and was about to turn and go when
she looked up, surprised, and saw me
standing there. In our many encounters
over the years, I’d seen Anne, like a
chameleon, go from mood to mood, but
always with friendliness. …But I saw a
look on her face at this moment that I’d
never seen before. It was a look of dark
concentration, as if she had a throbbing
headache. The look pierced me, and I
was speechless. She was suddenly another
person there writing at that table.
100
110
120
130
The Anne whom Miep observed was another person:
a writer, interrupted.
In his 1967 essay, “The Development of Anne Frank,” John
Berryman4 asked “whether Anne Frank has had any serious
readers, for I find no indication in anything written about
her that anyone has taken her with real seriousness.” That is
no longer completely true. In an incisive 1989 New Yorker
essay, “Not Even a Nice Girl,” Judith Thurman remarked on
the skill with which Anne Frank constructed her narrative.
A small number of critics and historians have called attention
to Anne’s precocious literary talent. In her introduction
to the British edition of The Tales from the House Behind,
a collection of Anne’s fiction and her autobiographical
compositions, the British author G. B. Stern wrote, “One
thing is certain, that Anne was a writer in embryo.” But is a
“writer in embryo” the same as one who has emerged, at once
newborn and mature?
The fact remains that Anne Frank has only rarely been
given her due as a writer. With few exceptions, her diary has
still never been taken seriously as literature, perhaps because
it is a diary, or, more likely, because its author was a girl. Her
book has been discussed as eyewitness testimony, as a war
document, as a Holocaust narrative or not, as a book written
during the time of war that is only tangentially about the
war, and as a springboard for conversations about racism
4
John Berryman: an American poet and scholar.
372 Collection 5
incisive
(Δn-sπ´sΔv) adj. If
something is incisive,
it is penetrating,
clear, and sharp.
precocious
(prΔ-k∫´sh∂s) adj.
If someone is
precocious, the
person is mentally
advanced for his or
her age.
tangential
(t√n-j≈n´sh∂l) adj.
If something is
tangential, it is only
slightly connected.
140
and intolerance. But it has hardly ever been viewed as a work
of art.
Harold Bloom tells us why: “A child’s diary, even when she
was so natural a writer, rarely could sustain literary criticism.
Since this diary is emblematic of hundreds of thousands of
murdered children, criticism is irrelevant. I myself have no
qualifications except as a literary critic. One cannot write
about Anne Frank’s Diary as if Shakespeare, or Philip Roth, 5
is the subject.”
emblematic
(≈m´bl∂-m√t´Δk) adj.
If something is
emblematic, it
is a symbol for
something else.
A child’s diary, even when she
was so natural a writer, rarely could
sustain literary criticism.
150
160
The Dutch novelist Harry Mulisch attributed the diary’s
popularity to the fact that its young author died soon after
writing it: “The work by this child is not simply not a work of
art, but in a certain sense it is a work of art made by life itself:
it is a found object. It was after all literally found among the
debris on the floor after the eight characters departed . . . . ”
Writing in the New Republic, Robert Alter, a critic and biblical
scholar, agreed: “I do not mean to sound impervious to
the poignancy of the Diary. Still, many diaries of Jews who
perished have been published that reflect a complexity of
adult perspective and, in some instances, of a direct grappling
with the barbarity6 of Nazism; and these are absent from
Anne Frank’s writing . . . . Anne may have been a bright and
admirably introspective girl, but there is not much in her diary
that is emotionally demanding, and her reflections on the
world have the quality of banality that one would expect from
a 14-year-old. What makes the Diary moving is the shadow
cast back over it by the notice of the death at the end. Try to
imagine (as Philip Roth did, for other reasons, in The Ghost
Writer) an Anne Frank who survived Bergen-Belsen, and, let
us say, settled in Cleveland, became a journalist, married and
5
6
impervious
(Δm-p≠r´v∏-∂s) adj.
If something is
impervious, it is
impossible to
penetrate.
poignant
(poin´y∂nt) adj.
If something is
poignant, it is
profoundly moving
or touching.
banal
(b∂-n√l´) adj. If
something is banal, it
is very commonplace,
dull, and unoriginal.
Philip Roth: an award-winning American novelist known for his depictions of
American Jewish life.
barbarity (bär-b√r´Δ-t∏): savage cruelty or brutality.
Anne Frank: The Book, the Life, the Afterlife
373
170
180
190
had two children. Would anyone care about her wartime diary
except as an account of the material circumstances of hiding
out from the Nazis in Amsterdam?”
At once admiring of Anne’s gifts and troubled by a sense
of how they have been underestimated, I began to think it
might be interesting and perhaps useful for students newly
introduced to Anne’s diary and for readers who have grown
accustomed to seeing it in a certain light to consider her work
from a more literary perspective. What aspects of the book
have helped to ensure its long and influential afterlife? Why
has Anne Frank become such an iconic figure for so many
readers, in so many countries? What is it about her voice
that continues to engage and move her audience? How have
the various interpretations and versions of her diary—the
Broadway play, the Hollywood film, the schoolroom lessons,
the newspaper articles that keep her in the public eye—
influenced our idea of who she was and what she wrote?
The book I imagined would address those questions, mostly
through a close reading of the diary. Such a book would explore
the ways in which Anne’s diary found an enduring place in
the culture and consciousness of the world. I would argue for
Anne Frank’s talent as a writer. Regardless of her age and her
gender, she managed to create something that transcended7
what she herself called “the unbosomings8 of a thirteen-yearold” and that should be awarded its place among the great
memoirs and spiritual confessions, as well as among the most
significant records of the era in which she lived.
COLLABORATIVE DISCUSSION What do you think distinguishes
an ordinary piece of writing from great literature? With a partner,
discuss which of the author’s reasons for considering Anne Frank’s
diary a work of art seem most convincing to you. Cite specific
evidence from the text to support your ideas.
7
8
transcended (tr√n-s≈nd´∂d): surpassed or went beyond the limits.
unbosoming (≠n-b≥z´∂m-ing): revealing one’s personal thoughts.
374 Collection 5
Determine Author’s Point of View
EL A RI.8.6
ELD PI.8.6, PI.8.7
An author’s viewpoint is his or her position or attitude about a particular
subject. This viewpoint is formed by the combination of ideas, values,
feelings, and philosophy that influence and shape a writer’s opinions. When
determining an author’s viewpoint, ask yourself,
t What opinions does the author express about this topic?
t What facts or other details suggest how the author feels?
t Are reasons provided to support a particular view?
t How has the author’s background affected his or her attitudes?
Sometimes an author will mention the viewpoints of others. If these
views are similar to the author’s own, they may be used to support the
author’s opinions. If these viewpoints are different than the author’s own,
they may be presented so that the author can disprove them by offering
a counterargument.
As you analyze the essay, look for clues to help you determine Francine
Prose’s viewpoint on the literary quality of Anne Frank’s diary.
EL A RI.8.4
ELD PI.8.8
Analyze the Meanings of
Words and Phrases
Every piece of writing has a particular tone. The tone expresses the author’s
attitude toward his or her subject. For example, a literary work might have a
serious, humorous, sad, or respectful tone.
An author’s selection of words, or word choice, contributes to the
tone because words not only communicate ideas, they also convey specific
feelings. Notice the word choice in this passage from Anne Frank: The Book,
the Life, the Afterlife.
I kept pausing to marvel at the fact that one of the greatest
books about the Nazi genocide should have been written
by a girl between the ages of thirteen and fifteen—not a
demographic we commonly associate with literary genius.
How astonishing that a teenager could have written so
intelligently and so movingly about a subject that continues to
overwhelm the adult imagination.
Words such
as these
help create
a respectful,
admiring
tone.
Choose a passage from this selection and identify the words that
contribute to the tone.
Anne Frank: The Book, The Life, the Afterlife
375
eBook
Analyzing the Text
Cite Text Evidence
EL A RI.8.1, RI.8.2, RI.8.3, RI.8.4, RI.8.6, RI.8.8,
W.8.4, W.8.9b, W.8.10, SL.8.1a, SL.8.1b
ELD PI.8.1, PI.8.5, PI.8.6, PI.8.8, PI.8.10
Support your responses with evidence from the text.
1.
Cite Evidence What evidence in the essay demonstrates clearly that even
as a young girl, Francine Prose loved the book The Diary of Anne Frank?
2.
Compare Reread lines 29–43. Complete a chart like this one to show how
the author’s view of Anne Frank’s diary changed over time. What might
explain the change?
Prose’s Viewpoint as a Child
Prose’s Viewpoint as an Adult
3.
Draw Conclusions How is the Definitive Edition of Anne Frank’s diary
different from the version that was originally published? Identify the
evidence Prose provides to suggest why Anne’s father made the decisions
he did about the first edition.
4.
Evaluate How does Francine Prose respond to John Berryman’s
view, expressed in lines 111–114, that Anne Frank never had any
“serious readers”?
5.
Analyze Why do you think Prose chose to include the quote from Robert
Alter that appears in lines 150–166? Identify her counterargument to
his view.
6.
Analyze A claim is a writer’s position on an issue. What is the main claim
Prose makes about Anne Frank’s writing?
PERFORMANCE TASK
Writing Activity: Analysis At the end
of her essay, Francine Prose writes, “I
would argue for Anne Frank’s talent as
a writer.” Do you think Prose has made
a convincing argument? Write an
analysis that explains why or why not.
t Work with a partner to analyze the
argument. Remember to listen
politely and to share ideas in a
respectful way as you complete a
graphic organizer showing Prose’s
claims and supporting evidence.
376 Collection 5
t Discuss whether the evidence Prose
presents is relevant and sufficient
and if her reasoning is sound.
t Next, work together to evaluate the
author’s tone and word choice. Do
they strengthen her claims? Why or
why not?
t When you are ready to write,
begin your analysis by stating your
view. Then support that view with
evidence from the text.
EL A L.8.4b, L.8.4d
ELD PI.8.6, PI.8.12
Critical Vocabulary
intersperse
ineradicable
refuge
incisive
precocious
tangential
emblematic
impervious
poignant
banal
Practice and Apply Use your understanding of the vocabulary words to
answer each question.
1.
Are birds likely to take refuge in a nest or in the sky?
2.
Is an incisive news article insightful and clear or vague and confusing?
3.
Would a precocious child write a note or a novel?
4.
Which is emblematic of royalty, a star or a crown?
5.
If you are impervious to bullies’ taunts, will you remain calm or get upset?
6.
Are bad habits eradicable or ineradicable?
7.
Which has a tangential connection to astronomy, biology or astrology?
8.
To intersperse a story with illustrations, would you place the drawings
throughout the text or all at the end?
9.
Would a banal TV commercial lead you to buy a product or not?
10. Would a poignant story be more likely to be forgotten or remembered?
Vocabulary Strategy: Latin Suffixes
You know that a suffix is a word part added to the end of a base word or a
word root. The Latin suffixes -able and -ible form adjectives and mean “able to
be,” “capable of,” or “worthy of.” Look at this example from the text:
It tells the truth about certain human beings’
ineradicable desire to exterminate . . .
Knowing the meaning of the suffix -able can help you figure out that
ineradicable means “not able to be eliminated.”
Practice and Apply Find the word in each sentence that has the Latin suffix
-able or -ible. Use the meaning of the suffix to help you write a definition of
the word. Check each definition you write in a dictionary.
1.
Anne Frank’s vivid descriptions are enthralling and credible.
2.
Critics find her writing commendable but do not consider it literature.
3.
Is it conceivable that a teenager could write a great book about genocide?
4.
Anne Frank made complex personal and historical events comprehensible.
Anne Frank: The Book, The Life, the Afterlife
377
EL A L.8.2a, L.8.2b
ELD PI.8.10
Language Conventions: Use Ellipses
An ellipsis is a punctuation mark that consists of three dots, or periods.
Ellipses are used to indicate an omission in text or a long pause.
Use an ellipsis to
Example
show that a word or words have been
omitted from a quotation
“I can still picture myself sitting
cross-legged on the floor of the
bedroom . . . reading until the
daylight faded . . . .”
indicate a pause that is longer than one
indicated by a comma or a dash
She wondered . . . what was Anne’s
life like in that Amsterdam attic?
Notice that when the omitted words are at the end of a sentence, the
ellipsis are placed after the period or other end punctuation mark.
“In our many encounters over the years, I’d seen Anne,
like a chameleon, go from mood to mood, but always with
friendliness. . . . ”
Practice and Apply Rewrite the sentences. Add one or more ellipses
to indicate a long pause or to take the place of the underlined words in
the quotation.
1.
She had an amazing gift as a writer a fresh voice technical proficiency.
2.
“Anne Frank thought of herself not merely as a girl who happened to be
keeping a diary, but as a writer. According to Hanneli Goslar, a childhood
friend, Anne’s passion for writing began when she was still in school.”
3.
“At once admiring of Anne’s gifts and troubled by a sense of how they
have been underestimated, I began to think it might be interesting and
perhaps useful for students newly introduced to Anne’s diary and for
readers who have grown accustomed to seeing it in a certain light to
consider her work from a more literary perspective.”
4.
“On the other hand, there is a scene in Miep Gies’s memoir, Anne Frank
Remembered, that actually does alter our image of Anne. Along with the
other helpers, the employees of Opekta, Otto Frank’s spice and pectin
business, Miep risked her life to keep eight Jews alive for two years and a
month, an experience she describes in a book that sharpens and enhances
our sense of what the hidden Jews and their Dutch rescuers endured. The
scene begins when Miep accidentally interrupts Anne while she is at work
on her diary.”
378 Collection 5
VIDEO
Background The first German concentration camps were built only
for opponents of the Nazi Party. Later, these camps were also used to
imprison Jews and other supposed enemies of the state. Auschwitz,
the largest Nazi concentration camp, was opened in 1940 in
southern Poland. Inside, prisoners were forced to do work for the Nazi
government. Those who were unable to do useful work were killed.
Over one million Jews were sent to Auschwitz. Most of them died inside
its walls. The camp was finally abandoned by German soldiers as the
Russian army advanced upon it in 1945.
After Auschwitz
(c) ©Jose Garza/Houghton Mifflin Harcourt; (tr) ©Sophie Bassouls/Sygma/Corbis
Speech by Elie Wiesel
Elie Wiesel (b. 1928) was born in Romania. After the
Germans invaded his town, Wiesel and his family were sent
to Auschwitz. Only Wiesel and two of his sisters survived.
After the war, Wiesel moved to France and became a
journalist. It was there that he wrote Night, a book about
his experiences at Auschwitz. The book has sold millions
of copies in many different languages. Wiesel later moved
to the United States. There he devoted himself to ensuring
that the deaths of millions of Jews in concentration camps
would never be forgotten, and that other human beings
would never be subjected to such crimes. In 1986, Wiesel
was awarded the Nobel Peace Prize for his life’s work.
SETTING A PURPOSE The horrible crimes committed
in Nazi concentration camps occurred long ago. As
you read, think about why the author continues to
reflect on these events. Why does he believe people
need to be reminded of them? Write down any
questions you have.
After Auschwitz
379
10
1
2
A7713: the identification number tattooed on Wiesel at Auschwitz.
malediction (m√l´Δ–dΔk´sh∂n): curse.
380 Collection 5
©Jonathan Noden-Wilkinson/Shutterstock
“A
fter Auschwitz, the human condition is not the same,
nothing will be the same.”
Here heaven and earth are on fire.
I speak to you as a man, who 50 years and nine days ago
had no name, no hope, no future and was known only by his
number, A7713.1
I speak as a Jew who has seen what humanity has done
to itself by trying to exterminate an entire people and inflict
suffering and humiliation and death on so many others.
In this place of darkness and malediction2 we can
but stand in awe and remember its stateless, faceless and
nameless victims. Close your eyes and look: endless nocturnal
processions are converging here, and here it is always night.
Here heaven and earth are on fire.
Close your eyes and listen. Listen to the silent screams
of terrified mothers, the prayers of anguished old men and
women. Listen to the tears of children, Jewish children, a
beautiful little girl among them, with golden hair, whose
vulnerable tenderness has never left me. Look and listen as
20
they quietly walk towards dark flames so gigantic that the
planet itself seemed in danger.
All these men and women and children came from
everywhere, a gathering of exiles drawn by death.
Yitgadal veyitkadash, Shmay Rabba.3
30
In this kingdom of darkness there were many people.
People who came from all the occupied lands of Europe. And
then there were the Gypsies and the Poles and the Czechs . . .
It is true that not all the victims were Jews. But all the Jews
were victims.
Now, as then, we ask the question of all questions: what
was the meaning of what was so routinely going on in this
kingdom of eternal night. What kind of demented mind could
have invented this system?
And it worked. The killers killed, the victims died and
the world was the world and everything else was going on,
life as usual. In the towns nearby, what happened? In the
lands nearby, what happened? Life was going on where God’s
creation was condemned to blasphemy4 by their killers and
their accomplices.
Yitgadal veyitkadash, Shmay Rabba.
40
Turning point or watershed, 5 Birkenau6 produced a
mutation7 on a cosmic scale, affecting man’s dreams and
endeavours. After Auschwitz, the human condition is no
longer the same. After Auschwitz, nothing will ever be
the same.
Yitgadal veyitkadash, Shmay Rabba.
50
As we remember the solitude and the pain of its
victims, let us declare this day marks our commitment to
commemorate their death, not to celebrate our own victory
over death.
3
4
5
6
7
Yitgadal veyitkadash, Shmay Rabba: the words that begin a Jewish prayer for
the dead.
blasphemy (bl√s´ f∂-m∏): a disrepect for religion.
watershed: a place that marks a change of course or direction.
Birkenau: the sub-camp at Auschwitz where prisoners were killed.
mutation (my◊-ta´ sh∂n): change.
After Auschwitz
381
60
As we reflect upon the past, we must address ourselves to
the present and the future. In the name of all that is sacred
in memory, let us stop the bloodshed in Bosnia, Rwanda and
Chechnia; the vicious and ruthless terror attacks against Jews
in the Holy Land.8 Let us reject and oppose more effectively
religious fanaticism and racial hate.
Where else can we say to the world “Remember the
morality of the human condition,” if not here?
For the sake of our children, we must remember Birkenau,
so that it does not become their future.
Yitgadal veyitkadash, Shmay Rabba: Weep for Thy
children whose death was not mourned then: weep for them,
our Father in heaven, for they were deprived of their right to
be buried, for heaven itself became their cemetery.
COLLABORATIVE DISCUSSION Elie Wiesel delivered the speech
you just read at a ceremony marking the 50th anniversary of the
liberation of Auschwitz. With a partner, discuss whether you think
his message was the right one for the occasion. Cite evidence from
the text to support your thoughts.
8
Holy Land: the ancient kingdom of Israel.
382 Collection 5
EL A RI.8.4
ELD PI.8.7, PI.8.8
Analyze Word Choices
In “After Auschwitz,” Elie Wiesel’s goal is to persuade, or convince, his audience
to adopt a particular viewpoint. To do so, he uses persuasive techniques,
methods or devices designed to appeal to audiences’ feelings and values
and thus influence their opinions.
t An emotional appeal is a message that creates strong feelings in order
to make a point. These appeals can tap into people’s feelings such as
fear, pity, or vanity. In this passage from his speech, Elie Wiesel appeals
to feelings of sympathy and compassion for others.
“Close your eyes and listen. Listen to the silent screams of
terrified mothers, the prayers of anguished old men and
women. Listen to the tears of children, Jewish children . . .”
t In an ethical appeal, a speaker or writer links a claim to a widely
accepted value in order to gain moral support for the claim. In his
speech, Wiesel appeals to the established belief that human beings
should neither murder one another nor be indifferent to suffering.
“And it worked. The killers killed, the victims died and
the world was the world and everything else was going on,
life as usual.”
Speakers can also attempt to persuade listeners by using different
rhetorical devices. Rhetorical devices are techniques writers use to enhance
their arguments and communicate more effectively.
t Repetition is a rhetorical device in which a sound, word, phrase,
clause, or line is repeated for emphasis or to give a text or speech
a sense of unity. Repetition also helps reinforce meaning and can
create an appealing rhythm, as in this example.
“After Auschwitz, the human condition is no longer the same.
After Auschwitz, nothing will ever be the same.”
t Parallelism is the use of words, phrases, clauses, or lines that have a
similar structure or grammatical form. Like repetition, parallelism can
emphasize meaning and also produce a pleasing rhythm.
“In this place of darkness and malediction we can but stand in
awe and remember its stateless, faceless and nameless victims.”
Study the persuasive techniques Elie Wiesel uses as you analyze his
speech.
After Auschwitz
383
eBook
Analyzing the Text
Cite Text Evidence
EL A RI.8.1, RI.8.2, RI.8.4, RI.8.5, RI.8.6,
W.8.7, W.8.8, W.8.9b, SL.8.1a, SL.8.1b
ELD PI.8.1, PI.8.6, PI.8.7, PI.8.8, PI.8.9
Support your responses with evidence from the text.
1.
Analyze Wiesel’s speech begins: “After Auschwitz, the human condition is
not the same, nothing will be the same.” Identify where similar language is
repeated later in his speech. What is the effect of this repetition?
2.
Analyze Reread lines 4–9. Identify two examples of parallelism in these
lines and describe the effect of each.
3.
Interpret Imagery Imagery consists of descriptive words and phrases
that create sensory experiences for the reader. Wiesel writes: “Here heaven
and earth are on fire.” What image is he communicating? What effect does
it have on the reader?
4.
Identify Examine lines 51–60. What kind of appeal is Wiesel making in
this part of his speech? What human values is he calling on his audience to
consider?
5.
Identify Reread lines 61–64. What kind of appeal is Wiesel making in this
part of his speech? What human feelings is he tapping into to make his
point?
6.
Evaluate The sentence Yitgadal veyitkadash, Shmay Rabba is repeated
three times in the speech. Is the use of this rhetorical device effective?
Why or why not?
7.
Evaluate Considering the author’s purpose and audience, which
persuasive techniques make the speech effective? Explain.
PERFORMANCE TASK
Speaking Activity: Discussion
Imagine that you have been put in
charge of a museum exhibit about
the Holocaust. Create a remembrance
poster for the exhibit based on Elie
Wiesel’s speech.
t Choose two key quotes or ideas
from the speech to highlight on
your poster.
t Research the Holocaust, collecting
information from print and digital
sources.
384 Collection 5
t Select important facts, dates,
quotes, and photographs to
support the main points in
Wiesel’s speech.
t On the poster, include visuals such
as a timeline or your own artwork
or symbols.
t Describe your completed work to
the class in an oral presentation.
Discuss with classmates Wiesel’s
purpose and message and how
your poster relates to them.
Background On September 1, 1939, Germany invaded
Poland, triggering the start of World War II. The defeat of
Poland was swift, and the occupation of the country that
followed became one of the cruelest chapters of the war.
After their downfall, many Polish soldiers and citizens were
slaughtered by the German army. Surviving Polish political
leaders, Jews, and others were later collected and sent to
concentration camps to be killed or to work as slaves
for the Nazis. By the end of the war, more than five
million Poles had died.
(cr) ©Mushakesa/Shutterstock; (bg) ©LiluDallas/Shutterstock; (tl) ©Czarek Sokolowski/AP/Corbis;
Poem by Wisława Szymborska
Wisława Szymborska (1923–2012) was born in a small
town in western Poland. She was in high school when Germany
invaded Poland. Despite the ban on high school education
put in place by the Germans, Szymborska continued taking
classes. Unlike many Poles, Szymborska was fortunate to avoid
imprisonment and death at the hands of the Nazis. Szymborska
has published more than a dozen collections of poetry. She has
won numerous awards for her poetry, including the Nobel Prize
for Literature in 1996.
SETTING A PURPOSE As you read, think about the
role that chance plays in a person’s life. Write down any
questions you have.
There But for the Grace
385
There But for the Grace
5
10
15
It could have happened.
It had to happen.
It happened sooner. Later.
Nearer. Farther.
It happened not to you.
You survived because you were the first.
You survived because you were the last.
Because you were alone. Because of people.
Because you turned left. Because you turned right.
Because rain fell. Because a shadow fell.
Because sunny weather prevailed.1
Luckily there was a wood.
Luckily there were no trees.
Luckily there was a rail, a hook, a beam, a brake,
a frame, a bend, a millimeter, a second.
Luckily a straw was floating on the surface.
20
Thanks to, because, and yet, in spite of.
What would have happened had not a hand, a foot,
by a step, a hairsbreadth2
by sheer coincidence.
25
So you’re here? Straight from a moment still ajar?
The net had one eyehole, and you got through it?
There’s no end to my wonder, my silence.
Listen
how fast your heart beats in me.
COLLABORATIVE DISCUSSION The speaker suggests that luck or
chance plays a big part in survival. Do you agree? With a partner,
discuss whether chance or determination is more likely to help
a person in a difficult situation. Cite specific evidence from the
text and your own knowledge or experiences to support your
thoughts.
1
2
prevailed: was common or frequent.
hairsbreadth: a tiny space.
386 Collection 5
EL A RL.8.4
ELD PI.8.8
Analyze Sound Devices
Like songs, poems are meant to be heard. Sound devices are the use of
certain words for their connection to the sense of hearing. Poets use various
sound devices to convey meaning and mood, to draw attention to certain
lines or images, to engage readers, and, sometimes, to unify a work.
Poets use a sound device called rhythm to bring out the musical quality
of language, to emphasize ideas, and to create moods. Rhythm is a pattern of
stressed and unstressed syllables in a line of poetry. Notice how the speaker
in “There But for the Grace” emphasizes ideas with the rhythm of onesyllable words:
“Luckily there was a rail, a hook, a beam, a brake, . . .”
Poets also employ a variety of other sound devices to emphasize certain
words or to unify a poem. The repetition of sounds, words, phrases, or lines
often helps to reinforce meaning and create an appealing rhythm.
Sound Device
Definition
Example from the Poem
alliteration
repetition of consonant
sounds at the beginnings of
words
What would have happened
had not a hand, a foot, . . .
assonance
repetition of vowel sounds
within non-rhyming words
Because rain fell. Because a
shadow fell.
Because sunny weather
prevailed.
consonance
repetition of consonant
sounds within and at the ends
of words
It happened sooner. Later.
Nearer. Farther.
repetition
a technique in which a
sound, word, phrase, or line
is repeated for emphasis or
unity
It could have happened.
It had to happen.
It happened sooner. Later.
parallelism
use of similar grammatical
constructions to express ideas
that are related or equal in
importance
Luckily there was a wood.
Luckily there were no trees.
Notice the impact of these sound devices as you continue to analyze
“There But for the Grace.” How does the poet’s use of sound devices affect you
as a reader?
There But for the Grace
387
eBook
Analyzing the Text
Cite Text Evidence
EL A RL.8.1, RL.8.2, RL.8.4, W.8.1a–e,
W.8.4, W.8.9a, W.8.10 ELD PI.8.1,
PI.8.6, PI.8.8, PI.8.10
Support your responses with evidence from the text.
1.
Interpret What is the theme, or overall message, of this poem? Explain
how the sound devices in the poem help to communicate that theme.
2.
Identify Patterns Reread lines 6–7. What sound device is used in these
lines, and what effect does it have?
3.
Analyze Reread lines 8–11. How does the speaker use parallelism to
emphasize chance?
4.
Cause/Effect Examine line 16. Identify the sound device used, and
explain how it affects the ending of the stanza.
5.
Infer What two sound devices are used in the lines “by a step, a
hairsbreadth / by sheer coincidence”? What impact does this combination
of sound devices have?
6.
Evaluate Reread stanzas 2 and 3. What does the poet do to establish
rhythm in this part of the poem? How does that rhythm enhance the
speaker’s message?
7.
Draw Conclusions The tone of a literary work expresses the writer’s
attitude toward his or her subject. Describe the overall tone of the poem,
as well as the tone in line 23, “There’s no end to my wonder, my silence.”
PERFORMANCE TASK
Writing Activity: Analysis Respond
to the poem by analyzing its
connection to the topic of this
collection.
t With a partner, discuss the poem’s
theme and how it relates to the
themes present in other selections
within the collection.
t Compare and contrast how similar
ideas are presented across the texts.
388 Collection 5
t Identify the relationships you see
between the poem’s language
and the events described in the
other texts.
t Write one draft of your response,
and then share it with your partner.
Use your partner’s feedback to
improve and finalize your analysis.
t Publish your responses in a
collection you can share with the
whole class.
Interactive Lessons
COLLEC TION 5
To help you complete this
task, use:
t Writing Informative Texts
t Writing as a Process
t Conducting Research.
PERFORMANCE TASK
EL A W.8.2a–f, W.8.4,
W.8.5, W.8.7, W.8.9,
W.8.9b, W.8.10
ELD PI.8.4, PI.8.10,
PII.8.1, PII.8.2, PII.8.7
Research and Write an
Informative Essay
In Collection 5 you read about the experiences that Anne Frank
and others had when hiding from the Nazis. What was life like for
other Jews and the people hiding them? In this activity, you will
research and write an informative essay comparing Anne Frank’s
experiences to those of others during the Holocaust.
A successful informative essay
t provides an engaging introduction that clearly states the topic
t clearly organizes ideas and concepts to make connections
t includes facts, definitions, and examples that support ideas
t uses transitions to clarify relationships among ideas
t provides a conclusion that supports the central ideas
Mentor Text See how this example from Anne Frank: The Book,
The Life, The Afterlife supports ideas with quotes.
hmhfyi.com
hm
om
Visit hmhfyi.com to
explore your topic and
enhance your research.
A small number of critics and historians have called
“attention
to Anne’s precocious literary talent…the British
author G. B. Stern wrote, ‘One thing is certain, that Anne was a
writer in embryo.’
”
PLAN
Formulate Ideas
Prepare for research by jotting down
questions that you will answer in your essay, such as how the
experiences of others Jews and the people hiding them were
similar to those of Anne Frank, and how they were different.
Gather Information
Review The Diary of Anne Frank and
other texts in the collection.
t What was it like to live in the Annex?
t How did the people in hiding obtain food and other supplies?
t What did people do to pass the time? How were their lives
different during the week and on the weekends?
Use the annotation
tools in your eBook
to find evidence that
supports your points
about the living
conditions in the
Annex. Save each piece
of evidence to your
notebook.
ACADEMIC
VOCABULARY
As you write your
informative essay,
be sure to use the
academic vocabulary
words.
communicate
draft
liberation
philosophy
publish
t What did helpers do, and what risks did they take?
Collection Performance Task
389
Conduct Research
Use both print and digital sources to
investigate the experiences of other Jews and those of the people
hiding them.
t Find facts, quotes, and examples that support or contradict the
information you learned in the collection.
Interactive Lessons
For help in drafting
your essay, use
tConducting
Research: Taking
Notes
tWriting Informative
Texts: Organizing
Ideas
t Find library books using keyword or subject searches. Use a
search engine or Internet directories to find Internet sources.
Organize Your Ideas
Group related ideas together and
create an outline of the central ideas and information for each
paragraph.
I. Use Roman numerals for main topics.
A. Indent and use capital letters for subtopics.
1. Indent and use numbers for supporting facts and details.
2. Indent and use numbers for supporting facts and details.
II. Use Roman numerals for main topics.
B. Indent and use capital letters for subtopics.
1. Indent and use numbers for supporting facts and details.
Consider Your Purpose and Audience Think about
who will read or listen to your report, and what you want them
to understand. What does the audience already know? What
background information will they need?
PRODUCE
Draft Your Essay
Review your notes and your outline as you
begin your draft.
t Present the thesis statement clearly, previewing what is to
follow. Include an unusual comment, fact, quote, or story to
grab the reader’s attention.
t Organize your information into paragraphs of similar
information. Include relevant details, facts, and examples.
t Establish and maintain a formal style by using complete
sentences with precise language. Avoid contractions and
pronouns such as I and you.
t Include transition words and phrases such as because, also,
in addition, nearby, and finally to clarify the relationships
between ideas.
t Write a conclusion that follows from and supports your
explanation.
390 Collection 5
Write your
rough draft in
myWriteSmart.
Focus on getting
your ideas down,
rather than on
perfecting your
choice of language.
Review Your Draft
Have your partner or group of peers
review your draft. Use the following chart to revise your draft.
Questions
Tips
Revision Techniques
Is the thesis
statement clear?
Underline the thesis
statement.
Add a thesis
statement.
Does each
paragraph have a
main point related
to the thesis?
Highlight the
main point of each
paragraph.
Delete unrelated
ideas, or rearrange
information into
separate paragraphs.
Are there relevant
supporting details
for each point?
Underline facts,
statistics, examples,
and quotations that
support your points.
Add more facts,
statistics, examples,
and quotations from
your notes.
Are ideas organized
logically? Do
transitions connect
ideas?
Highlight transitional
words and phrases.
Rearrange sentences
to organize ideas
logically. Add
transitions to connect
ideas.
Does the conclusion
summarize the
topic and support
the information
presented?
Underline the
summary. Highlight
sentences that
support information in
the essay.
Add a summary of the
topic. Insert sentences
that support the
information in the
essay.
Have a partner or
a group of peers
review your draft in
myWriteSmart. Ask
your reviewers to note
any ideas presented in
your draft that need
clarification or further
support.
Interactive Lessons
For help in revising
your essay, use
tWriting as a Process:
Revising and Editing
Language Conventions: Condensing Ideas
Look for places where you can condense ideas to create precise and detailed
sentences. Read the following passage from The Diary of a Young Girl.
Gnawing on a carrot to still their hunger pangs, they walk from their cold
“houses
through cold streets to an even colder classroom.
”
Note how Anne Frank combines ideas about children gnawing on a carrot and the
cold into one detailed, descriptive sentence.
PRESENT
Create a Finished Copy
Finalize your essay and choose a
way to share it with your audience. Consider these options:
t Give an oral report to classmates or community members.
t Record video or audio of you reading your essay aloud, and
post the recording on an approved website.
Collection Performance Task
391
P E R F O R M A N C E TA S K R U B R I C
I N F O R M A T I V E E S S AY
Ideas and Evidence
Organization
Language
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392 Collection 5