Novel
Companion
Things Fall Apart
Nectar in a Sieve
Picture Bride
Chinua Achebe
Kamala Markandaya
Yoshiko Uchida
Death Comes for
the Archbishop
Cyrano de Bergerac
All Quiet on the
Western Front
Willa Cather
Edmond Rostand
Erich Maria Remarque
Photo Credits
7 Margaret Courtney-Clarke/CORBIS; 11 Chris Hellier/CORBIS; 23 The Gallery
Collection/CORBIS; 51 55 Bettmann/CORBIS; 103 Lebrecht Music & Arts/CORBIS;
119 Bradley Smith/CORBIS; 123 Hulton-Deutsch Collection/CORBIS; 147 Bettmann/
CORBIS; 163 Hulton-Deutsch Collection/CORBIS; 167 191 CORBIS; 207 Hulton-Deutsch
Collection/CORBIS; 211 (t,b) Swim Ink 2, LLC/CORBIS; 223 Hulton-Deutsch Collection/
CORBIS; 251 Ansel Adams Publishing Rights Trust/CORBIS; 267 Edward S. Curtis/
CORBIS; 279 E.C. Martin/CORBIS.
Acknowledgments
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1 2 3 4 5 6 7 8 9 047 14 13 12 11 10 09
TABLE OF CONTENTS
To Students, Parents, Guardians. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Interactive Reading Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Note-Taking Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Note-Taking Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Things Fall Apart by Chinua Achebe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Introduction to the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Meet the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
CHAPTERS 1–7
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
CHAPTERS 8–13
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
CHAPTERS 14–25
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Work with Related Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Connect to Other Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Respond Through Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
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Cyrano de Bergerac by Edmond Rostand
. . . . . . . . . . . . . . . . . . . . . . . . . 51
Introduction to the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Meet the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
CHAPTERS ACT 1
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
CHAPTERS ACT 2
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
CHAPTERS ACT 3
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
CHAPTERS ACT 4
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
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TABLE OF CONTENTS
CHAPTERS ACT 5
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Work with Related Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Connect to Other Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Respond Through Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Nectar in a Sieve by Kamala Markandaya . . . . . . . . . . . . . . . . . . . . . . . 119
Introduction to the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Meet the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
CHAPTERS 1–13
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
CHAPTERS 14–23
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
CHAPTERS 24–30
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
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On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Work with Related Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Connect to Other Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Respond Through Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Picture Bride by Yoshiko Uchida . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Introduction to the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Meet the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
CHAPTERS 1–9
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
CHAPTERS 10–23
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
CHAPTERS 24–35
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
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Work with Related Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Connect to Other Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Respond Through Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
All Quiet on the Western Front by Erich Maria Remarque
. . . . 207
Introduction to the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Meet the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
CHAPTERS 1–5
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
CHAPTERS 6–8
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
CHAPTERS 9–12
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Work with Related Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Connect to Other Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Respond Through Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
vii
TABLE OF CONTENTS
Death Comes for the Archbishop by Willa Cather . . . . . . . . . . . . . . 251
Introduction to the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Meet the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
CHAPTERS PROLOGUE, BOOKS ONE AND TWO
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
CHAPTERS BOOKS THREE–SIX
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
CHAPTERS BOOKS SEVEN–NINE
Before You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Active Reading Graphic Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Interactive Reading: Literary Element. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Interactive Reading: Reading Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
On-Page Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Cornell Note-Taking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
After You Read . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Work with Related Readings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Connect to Other Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Respond Through Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
viii
TO STUDENTS, PARENTS, AND GUARDIANS
Welcome to the Novel Companion. This book is designed for you to write in.
It is interactive: The book prompts, and you respond. The Novel Companion
encourages, questions, provides space for notes, and invites you to jot down
your thoughts and ideas. You can use it to circle and underline words and
phrases you think are important, and to write questions that will guide
your reading.
The Novel Companion helps you develop skills for reading, analyzing, and
responding to novels, as well as to autobiographies and plays. These literary
works are drawn from Glencoe’s Literature Library. They include some of the
most notable works in literature. Many are award-winning modern works;
others are classics.
The Novel Companion is designed to follow the approach and themes in each
unit of your textbook, Glencoe Literature. The Novel Companion includes two
types of lessons:
• Note-Taking Lessons presents two methods of note-taking to help you
connect major themes in Glencoe Literature to the other novels and works
you will be reading. Using the book will help you learn these valuable notetaking methods, so you can make effective notes whenever you study.
• Interactive Reading Lessons are lessons based on the sequential chapter
groupings in each novel. In this part of the book you’ll practice identifying
important ideas and themes, analyzing literary elements, applying reading
strategies, completing graphic organizers, and mastering vocabulary—all
skills that expert readers use to help them comprehend novels and other
long works of literature.
Note to Parents and Guardians: Ask your students to show you their work
periodically, and explain how it helps them study. You might want to talk
to them about how the skills they are learning cross over to other subjects.
To Students, Parents, and Guardians
1
INTERACTIVE READING LESSONS
The notes and features in the interactive reading lessons will direct you
through the process of reading and making meaning from each set of chapters.
As you use these notes and features, you’ll be practicing and mastering the
strategies that good readers use whenever they read.
A D : C h a p t e r s 1 –7
BEFORE YOU RE
Get Set to Read
NOVEL NOTEBOOK
to record
Keep a special notebook
that you read
entries about the novels
this year.
ture
Conne ct to the Litera
After reading about the novel and the author, you
will begin to read the novel. You will study it in
groupings of chapters, or chapter sets, in the Novel
Companion. Each chapter set begins with an activity
to connect your personal experience to the literature.
You will also read background material to provide
context for the chapter set content.
a
than one way of being
successful? Is there more
What makes a person
success?
WRITE THE CAPTION
image below
Write a caption for the
Build Background.
using information in
Make a Web
write
web. In the outer circles,
in the center of a word
Write the word success
associate with success.
words and phrases you
Build Backg round
Important Terms
of
d Achebe’s description
terms will help you understan
Learning the following
Ibo village life:
in some parts of Africa.
shells were used as currency
Cowries: These glossy
brought dust and
harmattan
the
Sahara,
the
from
Harmattan: A dry wind
Iboland.
sometimes drought to
animals) and small animals.
feeds on carrion (dead
Kite: This type of hawk
particularly in warm
live throughout the world,
Members of the kite family
BEF ORE YOU
REA D: Cha
pter s 1–7
Set Pur pos
es for Rea ding
왘
BIG Idea Tradi
tion and
crops wherever they land.
important questions or
l religions, people with
Oracle: In many traditiona
oracle. A priest or priestess
holy site to consult an
problems would visit a
or solution. The word
would give them an answer
god’s
associated with a god
person who acts as the
holy site, the god, or the
oracle can refer to the
Literary Eleme
nt
Motivation
Motivation is
the stated or implie
d reason for a
out a character’s
character’s action
motivation, you
s. To figure
must use your
world and pay
own understand
careful attention
ing of the
to the author’s
try to discern what
clues. If a charac
forces have create
ter gets angry,
know the answe
d his or anger
. A good autho
r, usually withou
r will let you
t directly stating
it in the text.
Often you can
compare and
contrast major
how these factor
characters’ motiva
s can lead to confli
tions to find out
opposing forces
ct, which is the
. Conflict can be
struggle betwe
en two
either external—as
against an outsid
when a character
e force—or intern
al—as when a
struggles
or her own oppos
character is torn
ing feelings or
between his
goals.
interpreter.
yam is the staple of the
as Achebe calls it, the
Yam: “The king of crops,”
grow up to eight feet long.
white-fleshed tubers can
traditional Ibo diet. These
is not a true yam.
The American sweet potato
You’re invited to interact with the information in Build
Background by summarizing content or writing a
caption for an image related to the content.
Change
Over the course
of its history, the
continent of Africa
change—a place
where old ideas
has been a place
and ways of doing
of great
giving way to new
things are consta
ones. In Chinu
a Achebe’s Things
ntly
Okonkwo, a West
Fall Apart, you
African man whose
will meet
does not under
way of life begin
stand. As you
s to change in
read the first seven
ways he
Okonkwo’s positio
chapters, consid
n within his village
er
how
people and the
is threatened by
chang ing times
both the traditio
of his homeland.
ns of his
regions.
tree, kola contains caffeine
of a West African evergreen
Kola: The nutlike seed
offered to guests. It is an
In Ibo society, kola was
and is refreshing to chew.
cola carbonated drinks.
important ingredient of
lly move in swarms, devouring
grasshoppers periodica
Locusts: These flying
As you read the
first section of
Things Fall Apart,
drive the story’s
ask yourself what
central charac
ter, Okonkwo,
factors
actions he does.
to make the choice
You may want
s and take the
to use the graph
to help you under
ic organizer on
stand his motiva
the next page
tion.
Reading Strate
gy
Analyze Cultural
Context
When you analy
ze cultural conte
of a work, as well
xt, you think about
as the
the time and place
of the people
determine howChapter s values
1–7 11
in that time and
those factors affect
Things Fall Apart:
place, and
the work.
Analyzing cultura
l context can help
you
as you interpret
broaden your
01 30 AM
5/10/08 8:01:30
characters, events
scope as a reade
, and themes
r
your own culture
of works written
.
outside
As you read the
first seven chapt
ers of Things Fall
which details illustra
Apart, ask yourse
te the cultural
lf
context that shape
find it helpful to
use a graphic
s the story. You
organizer like
may
the one at the
right.
You are then introduced to the targeted skills for the
chapter set: the Big Idea, the literary element, and
the reading strategy. You will also get vocabulary for
the chapter set.
12
N OV E L C O
M PA N I O
Vocabulary
capricious [kə
prish´ əs]
adj. subject to
sudden chang
es of
mind; guided
by whim; chang
eable
Gerry’s classm
ates have a hard
time
taking him seriou
sly because his
actions often
seem capricious.
feign [fān]
v. to put on a
false appearance
of;
to pretend
Although Aunt
Kristen tried to
feign
shock, it was
clear she alread
y knew
about the surpris
e party.
harbinger [ha
r´ bin jər]
n. someone or
something that
goes
before, annou
ncing an arrival
The whistling
wind seemed
like a
harbinger of
misfortune.
incipient [in
sip´ e ənt]
adj. in an early
stage; just beginn
ing
to appear
When she was
fourteen, my
greatgrandmother
was diagnosed
with
incipient tuberc
ulosis.
poignant [poin
´ yənt]
adj. profoundly
moving; evokin
g
emotions such
as sadness or
pity
The end of the
play was so poigna
that most of
nt
the audience
was in
tears.
Detail
p. 7, “… the
town crier
piercing the
night…”
Cultural
Context
Word of mouth
is the only
communication
tool for the Ibo
villagers.
N: Unit 1
007-050_NC_8891
57.indd 12
Read, Respond, Interpret
Every lesson includes an active reading
graphic organizer to fill in as you read.
This graphic organizer is related to either
the literary element or the reading
strategy for the chapter set.
Interactive reading pages include text
excerpts from the novels that emphasize
a literary element or a reading strategy.
Questions in the margin help you interact
with highlighted portions of the text.
A C T I V E R E A D I N G: C h a p t e r s 1 – 7
Okonkwo and Unoka are a study in contrast. Each
man’s life is shaped by his underlying motivation.
Unoka’s motivation is to enjoy life as much as he can,
take life easy, and not work too hard. Okonkwo’s
motivation is to be as different from his father as he
possibly can. In the diagram below, illustrate these
contrasting motivations by identifying the two men’s
personal traits in the boxes connected by jagged lines.
First write the qualities; then support each with a brief
example from the novel.
Unoka
Okonkwo
hardworking:
borrows seed yams and works
his way to top
lazy:
lement
A D I N G: L i t e r a r y E
INTERACTIVE RE
INTERAC
ER 4
NOVEL EXCER PT: CHAPT
Literary Element
Okonkwo
Motivation What motivates
village?
to break the laws of his
season
a at the end of the carefree
his
Ikemefuna came to Umuofi
. In fact he recovered from
between harvest and planting
began. And that
before the Week of Peace
illness only a few days
and was punished,
peace,
the
broke
o
was also the year Okonkw
earth goddess.
Ezeani, the priest of the
as was the custom, by
his youngest
d to justifiable anger by
Okonkwo was provoke
house and did
her hair at her friend’s
wife, who went to plait
meal. Okonkwo
to cook the afternoon
not return early enough
After waiting in
she was not at home.
was doing.
did not know at first that
she
what
see
to her hut to
vain for her dish he went
e was cold.
the hut and the fireplac
There was nobody in
who came out
asked his second wife,
“Where is Ojiugo?” he
pot in the shade of a
gigantic
a
from
water
of her hut to draw
of the compound.
small tree in the middle
her hair.”
“She has gone to plait
him.
as anger welled up within
Okonkwo bit his lips
he asked with
? Did she take them?”
“Where are her children
restraint.
unusual coolness and
s mother.
d his first wife, Nwoye’
“They are here,” answere
Ojiugo’s children
hut.
her
into
looked
and
Okonkwo bent down
of his first wife.
were eating with the children
them before she went?”
feed
to
you
ask
she
s
“Did
trying to minimize Ojiugo’
“Yes,” lied Nwoye’s mother,
Reading Strat
egy
Analyze Cultu
ral Context
What does
this passage
tell you abou
t how the
people of tradit
ional Ibo cultu
decisions?
re made
Things
thoughtlessness.
He walked
not speaking the truth.
Okonkwo knew she was
she returned
Ojiugo’s return. And when
n that it
back to his obi to await
In his anger he had forgotte
he beat her very heavily.
ran out in great
wives
two
first
His
was the Week of Peace.
week. But
that it was the sacred
alarm pleading with him
dy half-way
man to stop beating somebo
the
not
was
o
Okonkw
fear of a goddess.
through, not even for
and sent their
heard his wife crying
Okonkwo’s neighbors
the matter.
nd walls to ask what was
voices over the compou
It was unheard
to see for themselves.
Some of them came over
week.
sacred
the
of to beat somebody during
of the earth
priest
the
was
who
Before it was dusk Ezeani,
o brought
Okonkwo in his obi. Okonkw
goddess, Ani, called on
it before the priest.
out kola nut and placed
house of a
nut. I shall not eat in the
“Take away your kola
s.”
for our gods and ancestor
done,
man who has no respect
had
wife
to him what his
Okonkwo tried to explain
a short staff in
pay no attention. He held
but Ezeani seemed to
emphasize his
down on the floor to
his hand which he brought
points.
2
14
: Unit 1
NOVEL COMPAN ION
16
N OV E L C
O M PA
N I 8:01:31
5/10/08
O01N31: AM
U n it 1
007-050_NC_88
9157.indd 16
T IV E R E A
D IN G
: R e a d ing
S tra te g y
NO VEL EXC
ERP T:
CHA
Umuofia was
PTE R 2
feared by all
war and in
its neighbo
mag
rs. It was pow
in all the surr ic, and its priests and
erful in
medicine men
ounding coun
was as old
were feared
try. Its mos
as the clan
itself. Nobody t potent war-medicin
point there
e
knew how
was
old.
medicine had general agreement—
the active prin But on one
been an old
ciple in that
medicine itsel
woman with
one leg. In
f was called
fact, the
shrine in the
agadi-nwayi,
or old wom
centre of Um
an. It
anybody was
uofia, in a clea
so foolhard
red spot. And had its
y as to pass
was sure to
if
by the shrine
see the old
woman hop
after dusk
And so the
ping about.
he
neighboring
things feared
clans who
naturally knew
Umuofia, and
without first
of
would not
go to war agai these
trying a peac
Umuofia it
eful settleme
nst it
should be reco
nt. And in
fairness to
its case was
rded that it
never went
clear and just
to war unle
Oracle—the
and was acce
ss
Oracle of the
pted as such
indeed occa
Hills and the
by its
sions when
Caves. And
the Oracle
there were
wage a war.
had forbidde
If the clan had
n Umuofia
sure
disobeyed
Fall Apart:
Chapters
13
ly have1–7
to
been
the Oracle
beaten, beca
they would
would neve
use
their
r fight wha
dreaded agad
t the Ibo call
But the war
a fight of blam i-nwayi
that now thre
e.
enemy clan
atened was
knew that.
a just war. Eve
And so
arrived at Mba
n the
ino as the prou when Okonkwo of Um
he was treat
uofia
d and imperiou
ed with grea
s emissary
t
honor and
he returned
of war,
respect, and
home with
two days later
a lad of fifte
lad’s name
en and a you
was
ng virgin. The
Umuofia unto Ikemefuna, whose sad
story is still
this day.
told in
The elders,
or ndichie, met
mission. At
to hear a repo
the end they
rt of Okonkw
decided, as
would, that
o’s
everybody
the
knew they
murdered wife girl should go to Ogb
uefi Udo to
. As for the
replace his
whole, and
boy, he belo
ther
nged to the
clan as a
was, therefor e was no hurry to deci
de his fate.
e, asked on
Okonkwo
behalf of the
the interim.
clan to look
And so for
three years
after him in
Okonkwo’s
Ikemefuna
household.
lived in
Okonkwo rule
d his househo
especially the
youngest, lived ld with a heavy han
d. His wives,
temper, and
in perpetua
so
l fear of his
Okonkwo was did his little children.
Perhaps dow fiery
not a cruel
n in
dominated
man. But his
by fear, the
whole life was his heart
fear of failu
deeper and
re and of wea
more intim
kness. It was
ate than the
gods and of
fear of evil
magic, the
and capriciou
fear of the
nature, mal
forest, and
s
evolent, red
of the force
in tooth and
greater than
s of
claw. Okonkw
these. It was
o’s fear was
not external
but lay deep
within
INTERACTIVE READING LESSONS
Show What You Know
D: C h a p t e r s 1 – 7
AFTER YOU REA
that
Ikemefuna? Do you think
Umuofia decide to kill
2. Why do the men of
why not? [Infer]
the boy himself? Why or
Okonkwo planned to kill
’s taking part in the
What do you think Okonkwo
5. Tradition and Change
to change? [Analyze]
about his ability to respond
killing of Ikemefuna says
IN
men
ical devicet does
t What argu
ofis the effect of this
Argumen rhetor no’s habi
mnists?
t Cyra
t
ts
excerpt? What
by the colu
making abouthis enemies? To wha
neglected
ugh the mis
t
making que?
At being
, grope thro
420
constantly technipare Le Bret’s habi
ks. Is it
fog of fear
no com
Live in a
ion? No, than a visit
does Cyra
ds?
e
ng calculat
new frien
Of schemi
of making
it best to mak the savour
k
thin
uld
Relish
Best I sho
ur,
e a poem?
favo
,
mak
sion
Rather than ns? Seek condescen
no,
salo
Of stuffy
ns? No, no,
425
introductio k you. But to go
Influence,
, no. No, than sing, to be
Thank you
ld to
lity,
filthy wor
Free of the a voice vibrating viri
looking at
h
Blessed wit an eye equipped for
my hat
h
Blessed wit
are, cocking
a yes or no,
430
they really
a deed, at
Things as
a word, at
at
life. So
se,
plea
true
is the
Where I
writing: this my moon,
or
ting
Figh
under
boon
any road
the
g
to
alon
ent
,
go
I
iffer
without fear
glory, ind
hout hope, hear
Careless of
435
I
fortune, wit
Or bane of the words down that desty,
mo
Writing only ing, with a sort of
see
say
t you
Here—and satisfied with wha
weeds,
garden—
be
‘My heart,
in your own
ceeds
and taste
If fate suc
And smell
flowers.’
well,
440
as fruit and triumph for me—
As much
ll
g some sma
sell
sar,
In wrestin
Cae
hing unto
ld.
I render not my merit to the wor
of
a, curled
No moiety
parasite lian self am a tree,
I loathe the
I my
—
445
oak trunk.
ul, but free
About the
not beautif uring bone
s,
hap
per
Not high
, but the end
e!
deciduous
ent, and alon
My flesh
gh, indiffer
tou
it
spir
ent—no.
Of
, but indiffer
, tough, yes
doesn’t go
Alone, yes
BRET.
God knows, s.
450 LE
ent man,
mie
An indiffer
seeking ene
do,
you
ce, is
Around as
all deferen
nds. With
make frie
grin
. And you
ine one? You
in
CYRANO
rather a can , your lips tucked
That gift not
k of friends
nds. I’m glad
your big pac . You love new frie
At
455
’s arse
Like a hen
enemies.
To make new
560
20
Reading Strat
egy Analyze
Cultural Cont
1. During the
ext
time and place
where the nove
many different
l is set,
independent
communitie
different belie
s with very
f systems
11:21:31 AM
5/14/08existe
d in Iboland.
an example
of how these
Identify
communities
with
7
–
Okon
1
rs
kwo’s
intera
te
p
ct
village in this
C h a [Analyze]
section of the
novel.
Unit 1
NOVEL COMPAN ION:
:
OU READ
AFTER Y
Write an Ency
tegy
Rea ding Stra
INT ERA CTIV
you—tonight.
clopedia Entr
O M PA N
N OV E L C
E REA DIN
G:
t 1
ION: Uni
ON -PAG
Rea ding Stra
tegy
MARK IT
UP
Are you
allowed
to write
If
in your nov
Reading Strateso, then mark up
el?
the pages
gy
read
, or rere
as you
ad, to help
Analyze Rheto taking.
with you
rical Devic
Deves
elop
r noteWhat
a sho
ironic about
is rthand
thisinclu
ding sym
emoti
system,
appea
bols,l that
Cyrano makes Here onal
works for
areian?
to Christ
some idea
you.
s:
Underlin
e = importa
nt idea
Bracket
= text to
quote
Asterisk
= just wha
t you wer
e looking
for
Checkm
ark = mig
ht be use
Circle =
ful
unfamili
ar word
or phrase
look up
to
왘 BIG Ide
a
The Her
oic Idea
l Why doe
not reac
s Cyrano
t with his
characte
violence
ristic wit
to Christian
and
’s insults?
Mark up
the exce
rpt, looking
evidence
for
of how it
expresses
Idea.
the Big
525
74
72
NOV EL
PM
5/9/08 4:04:37
067-078_NC_8891
57.indd 73
2. Through
no fault of his
own, Ikemefuna
displaced from
was
his home and
with Okonkwo
forced to go
to Umuofia.
Using conte
try to figure
xt clues,
out the mean
ing of the boldf
word in the
aced
sentence abov
e. Write your
below. Then
guess
check it in a
dictionary.
T h i n g s Fa
l l A p a rt :
C h a p te r s
1–7
21
AM
5/10/08 8:01:33
CYRANO.
Well, why not
And, in retur
borrow it?
n, I’ll borrow
your good looks
There’s prom
.
ising algebra
ss.]
580
here: you plus
Equal one hero
. [in deep distre
I
CHRISTIAN
of the story book
CHRISTIAN
s.
no.
.
I don’t think
Oh,
I quite—
CYRANO.
t?
.
Wha
.
write
NO
I
if
CYRA
I ruin everything
I shouldn’t give
So I don’t see
.
CHRISTIAN
why
you
word
CHRISTIAN
How?
. You—give— s to woo her with.
a damned fool.
CYRANO.
me—?
The way CYRANO.
Because I’m such
.
CHRISTIAN
Call it a lie,
If you like, but
sh.
CYRANO.
a lie is a sort
damned fooli
not
585
was
of
me
myth
And a myth is
Oh,
You tackled
a sort of truth
. No reason why
k—
Roxane should
.
nting an attac
CHRISTIAN
be disillusion
ed. Let’s start
words when mou
A fruitful colla
I can find the
know
boration.
wit. But I don’t
CHRISTIAN
.
Call it military
e things to say,
565
You frighten
CYRANO.
t, assault—th
me!
become
I
What
an.
How to moun
scare
wom
a
s you is the thoug
it comes to
And you are
ht of the time
, dumb.
I mean, when
alone
when she
590
etied, speechless
With breath unwa , and you cool down her heart
Paralytic, tongu
rmed by word
enough.
My words will
s. Well, have
That’s explicit
If only I
CYRANO.
no fear:
be with you,
glued
Lips.
to your
.
What do you
CHRISTIAN
say?
s—
CHRIS
lack
TIAN
word
I
.
s. All
Had the
570
I say what I said
I have the word
At first: I don’t
CYRANO.
quite—
CYRANO.
Is looks.
her.
Understand.
About my moti
. You know
Unsure
CHRISTIAN
ve? Simple: it’s
Know her.
so
595
pure art.
Know that she’sThe finest lines of the
CYRANO.
dram
atist are dead
.
word and I blow Without the actor ’s partn
CHRISTIAN
ership. One who
tive—one false
Is made from
le
Exquisite, sensi
our two halve
skyhigh.
have
may
s—yo
CHRIS
she
ur lips, my soul.
TIAN. I think
Any illusion
body like you
I see. To you
it’s not much
Than a refined
If only I had some put it so,
better
CYRANO.
amus
600
r, if I may
Oh God, we have ement. Still, I’m grateful.
As the interprete
to start at once
575
CYRANO.
music.
—
wit,
your
Of my dumb
had
If only I
You mean the
The letter.
.
CHRISTIAN
letter.
Your eloquence—
7 PM
5/9/08 4:04:3
1. The villag
e elders
Okonkwo broke had to intervene when
the law durin
Peace. In the
g the Week
of
preceding sente
means “to get
nce, intervene
involved.” Think
problematic
about a
situation in
which you once
intervened.
What steps
did you take
the problem?
to solve
as
Con ten t Are
Con nec t to
use of
Social Studies
n cultures make
of
Many Africa
opening
y Ibo life is full when
Assignment
dy seen in the
you have alrea
research to
kola nuts
as cracking
Do Internet
proverbs, as
to
rituals, such
s Fall Apart.
the Ibo.
of Thing
2.ters
What
customs and
res besides
you were asked
chap
do
cultu
that
n
re.
you
ose
Africa
Ibo cultu
. Supp
about the signifhrase their
rbs frominfer
prove
visitors arrive
dia of traditional or rituals
nut
and parap icance of the
locate kola
in Ibo prove
rbs
clope
ency
cultu
an
ms
re? [Interpret]
re of
these
of the custo
contribute to
proverb’s cultu
Make a list of
describing one
identify each
novel. To
Write an entry
section of the
of Africa.
meanings. Then
about in this
e it on a map
subject,
locat
your
and
of
that you read
idea
origin
ider
in your
get a clearer
research, cons
help readers
ritual practiced
begin your
a custom or
ing of the
Before you
compare it with
are the crack
Investigate
novel.
t something
You might comp
rbs from the
own culture.
offering a gues
these prove
paves the
to the great
example, with
pays respect
kola nuts, for
• “A man who
ness.”
great
mes
to drink or eat.
own
le beco
way for his
ng the cripp
moon is shini
• “When the
walk.”
nothing.”
hungry for a
daytime for
not run in the
007-050_NC_88
9157.indd Sec2:21•
“A toad does
a
as Google, find
h engine such
searc
Locate
et
print it out.
Using an Intern
of Africa and
Make sure
map
ble
res.
downloada
African cultu
five different
both the
ify
from
rbs
ident
and
prove
one
it
hrase each
Africa in which
you can parap
the area of
culture and
name of the
the map.
is located on
stars or
d map, place
your downloade re of origin for each
Create Using
cultu
to locate the
s for each. You
other markers
Create label
ted proverbs.
different
of your selec
to show the
visual
color the map
to make your
may wish to
your creativity
countries. Use
ng as possible.
as eye-catchi
n
ntatio
prese
t, list your
of your repor
on
porti
the text
this format:
Report For
ay them using
proverbs. Displ
most.”
whipped the
lead cow gets
ult task gets
Proverb: “The
the most diffic
Whoever has
Paraphrase:
goes wrong.
that
thing
every
iland
blamed for
Africa, Swaz
South
re,
cultu
Origin: Zulu
Wr itin g
a letter from
Roxane expects
CYRANO.
Unit 2
M PA N I O N:
N OV E L C O : Act 2 71
erac
de Berg
Cyra no
tice
Circle the conte
xt clues in the
that help you
following sente
dete
nces
boldfaced vocab rmine the meaning of
each
ulary word.
1. At first Ana
believed in
the candidate,
noticed that
but then she
he seemed
to feign since
rity.
2. Jim’s trip
to Hawaii may
seem capri
fact he has
cious, but
been plann
in
ing it for a
long time.
3. Both the
first crocus
and the first
considered
robin are
harbingers
of spring’s
arrival.
4. The babys
itter watched
the child close
signs of an
ly for tellta
incipient temp
le
er tantrum.
Academic
Vocabulary
ERP T: ACT 2
NOV EL EXC
gy
Reading Strate
What
ent
rical Devices
Literary Elem
in
Analyze Rheto
t is Le Bret
Rostand use
2. In what
way did a disas
trous growing
his early adult
season durin
hood motiv
g
ate Okonkwo
course of all
over the
the years that
followed? [Anal
yze]
1 –7
Vocabulary Prac
5. The mayo
r delivered
a poignant
the townspeo
speech that
ple remembe
made
r their deep
their town.
love for
22
E RE
TER AC TIV
Literary Elem
ent Mot
ivation
1. In your opini
on, which is
the more impo
motivation—Un
rtant
oka’s longing
for happiness
freedom from
and
care or Okon
kwo’s longing
his poverty-st
to escape
ricken upbri
nging and rise
position? [Synt
above his
hesize]
of
remind you of the killing
occur in societies today
4. What practices that
Ikemefuna? [Analyze]
After you read the entire novel, you will work with
related readings, connect the novel to an excerpt
from Glencoe Literature, and finally, write an essay
or story that draws upon what you learned by
reading.
:
E REA DIN G
AFTER Y
OU READ
: C h a p t e rs
successful? [Interpret]
3. In what ways is Okonkwo
In addition, you will complete a short writing
assignment and other activities related to what you
read in the chapter set content. These activities will
draw on what you studied in your interactive work
on the excerpts from the chapters.
INT ERA CTIV
on page 10.
Reread Meet the Author
help you
How did that information
what you
understand or appreciate
read in the novel?
Unoka? Why does
1. What sort of man was
feelings toward him? [Interpret]
You will then demonstrate what you learned from
your interactive reading of the excerpts. You will also
practice using the vocabulary words you were
introduced to and learn a new vocabulary word that
can be used in your academic writing.
Ele me nt
Lite rar y
AD IN G:
APPLY BACKGROUND
Critica lly
Respo nd and Think
Okonkwo have such hard
After you read the chapters in the chapter set, you
will answer questions about the content, including
how the background information helped you as you
read.
Cyrano de
B e rg e
COM PAN
rac:
067-078_N
78_NC
C_889
_8891
157.in
57.ind
dd
d Sec1:
74
ION : Uni
t 2
Ac t 2
73
505
E N OT
E-
TA KI NG
: BIG Ide
a
NO VE
L EXCE RP
. Ver
[In hexame y well. My version T: AC T 2
ters.]
.
There, the
n,
Marching was the enemy.
He
towards
them. Lik re, then, was I,
The moon
e a great
pulsed out
clock in
A cotton
at
me
the
. But sud
wool clou
510
denly I saw sky
d acr
And night
pass
fell equally oss it, like an ang
So black
el cleanin
black on
that a ma
g its glass,
myself and
CHRIST
n couldn
my lurking
IAN
’t see eve
[There is
foes—
n as far as
astonishmen
his—
t. CYRANO
CYRANO
qua
. Who
is that ma kes. He addresses
Nose.
CARBON
his captain
n there?
.
.]
This morni
ng.
The new
CYRANO
man wh
.
o came
This morni
CARBON
ng.
.
CYRANO
.
This morni
CARBON
ng.
.
Is Christ
This morni
ian de Ne
ng.
CYRANO
uvi
—
. [in control
His nam
515 CHR
.]
e
ISTIAN
Oh, I see
. God kno
. Where
CYRANO
ws.
was I?
. [raging
[The CAD
.]
ETS can
Mordious!
not
at
speaks nat
urally aga all understand his
in.]
sudden rest
raint. CYR
ANO
So black
a man cou
A cloud
ldn’t see
And I ma
over the
eve
rched alo
ng, reflecti n as far as his toe sky
Drunken
poetaster,
ng
s.
Of some
I might be that, to save tha
great ma
t
520
n, a prince spitting in the fac base
Right in
the—
, well abl
e
CHRIST
e to have
IAN.
at me
No
CYRANO
. [control se.
led but swe
ating.]
I marched.
Teeth. But
Why, tho
still, imp
CHRIST
ugh, sho
rudently,
IAN.
uld I stic
CYRANO
k my—
.
Was Gasco
Nose.
n impetu
Could I,
Fin
osity a ma
a Gascon,
tch for Par ger in that pie?
ever live
running
down the isian cunning?
ignominio
Of my—
us
CHRIST
IAN.
Nose?
CYRANO
. [dither
ingly.]
Son of Ga
Leg
s? But I said
sco
to myself
March, Cy ny, be brave, do
: ‘On, on,
what has
rano, ma
rch.’ The
Darkness
to be don
n out of
came the
the porrid e,
CHRIST
firs
IAN.
ge-thick
On the nos t thrust, and cau
ght me a
e.
flick—
CYRANO
Interacti ve Reading Lessons
3
NOTE-TAKING SYSTEMS
You may dislike taking notes. Perhaps you don’t believe that notes are useful or
maybe you just haven’t been shown how to do an effective job of taking notes.
The Novel Companion will teach you two different systems of taking notes.
These systems will help you develop note-taking skills to use in school and for
the rest of your life. Research shows that students who take good notes
perform better on tests, and note-taking skills are crucial if you plan to attend
college. When you take notes, you become more actively engaged in what you
read by constantly looking for main ideas, supporting details, and key
relationships.
Note-Taking Lessons and BIG Ideas
The note-taking lessons in the Novel Companion are focused on helping you find
a connection between the main ideas of featured novels (or autobiographies or
plays) and the Big Ideas, or major themes, of the units in your textbook, Glencoe
Literature. By learning the note-taking skills presented in the Novel Companion,
you will be able to make such connections more readily and easily.
On-Page Note-Taking
College students routinely write on the pages of the books they are reading,
using the margins to jot down ideas and questions. If you are allowed to mark
up your text, you can write notes directly on the page. The On-Page NoteTaking lessons prompt you to make connections to a Big Idea by marking up
an excerpt using a system of symbols.
4
NOTE-TAKING SYSTEMS
The Cornell Note-Taking System
The Novel Companion will also train you in the Cornell Note-Taking System,
which was developed at Cornell University to help students take more effective
notes. In this system, the page is divided into two columns, one wide and one
narrow. This format provides a way to organize your thinking. You’ll use in the
Cornell Note-Taking System to take notes on excerpts from the novels and how
the excerpts relate to the Big Ideas. The following summarizes the steps of the
system:
Record
First, you will record notes in the left (wide) column as you read.
Your notes may include summaries, bulleted lists, and graphic organizers.
Reduce
Next, you will reduce, or condense, your notes into key words, phrases,
questions, and comments in the right (narrow) column. This step will help you
clarify meaning, find information within your notes, and trigger your memory when
you study.
Recap
Finally, you will use the bottom portion of the page to recap, or
summarize, what you have learned from your notes. This step helps strengthen
your grasp of what you just read before you move on to the next section of text.
A Life-long Skill
Once you become accustomed to using the note-taking skills taught in the
Novel Companion, you’ll be able to use these skills when you read other
literature, when you listen to a lecture in class, when you attend a meeting, or
even as you watch a film.
Note-Taking Systems
5
NOTE-TAKING LESSONS
Through the note-taking lessons presented in the Novel Companion, you’ll be
learning to record important information in your own words, to reduce it to
key words that will help you remember your notes, and to apply your notes as
you answer questions and read and write about the novels and other longer
works in the program.
O N - PA G E N O T E - TA K I N G : B I G I d e a
MARK IT UP
Read, Question, and Mark-Up
Not only will you be interacting with excerpts from
the novels as you work with the literary elements and
reading skills or strategies assigned to a chapter set,
but you will also be working with excerpts that relate
to the Big Idea assigned to each chapter set.
You will take notes on the excerpt—right on the page.
With practice, you will devise a short-hand system
that works for you. In the meantime, you can use the
suggested on-page mark-up system.
Record, Reduce, and Recap
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Tradition and Change Based on this
excerpt, what statements can you
make about the traditional role of
women in Umuofia?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
18
NOVEL EXCERPT: CHAPTER 5
Nwoye’s younger brothers were about to tell their mother the
true story of the accident when Ikemefuna looked at them
sternly and they held their peace. The fact was that Obiageli had
been making inyanga with her pot. She had balanced it on her
head, folded her arms in front of her and began to sway her
waist like a grown-up young lady. When the pot fell down and
broke she burst out laughing. She only began to weep when
they got near the iroko tree outside their compound.
The drums were still beating, persistent and unchanging.
Their sound was no longer a separate thing from the living
village. It was like the pulsation of its heart. It throbbed in the
air, in the sunshine, and even in the trees, and filled the village
with excitement.
Ekwefi ladled her husband’s share of the pottage into a bowl
and covered it. Ezinma took it to him in his obi.
Okonkwo was sitting on a goatskin already eating his first
wife’s meal. Obiageli, who had brought it from her mother’s
hut, sat on the floor waiting for him to finish. Ezinma placed her
mother’s dish before him and sat with Obiageli.
“Sit like a woman!” Okonkwo shouted at her. Ezinma
brought her two legs together and stretched them in front of her.
“Father, will you go to see the wrestling?” Ezinma asked after
a suitable interval.
“Yes,” he answered. “Will you go?”
“Yes.” And after a pause she said: “Can I bring your chair for
you?”
“No, that is a boy’s job.” Okonkwo was specially fond of
Ezinma. She looked very much like her mother, who was once
the village beauty. But his fondness only showed on very rare
occasions.
“Obiageli broke her pot today,” Ezinma said.
“Yes, she has told me about it,” Okonkwo said between
mouthfuls.
“Father,” said Obiageli, “people should not talk when they
are eating or pepper may go down the wrong way.”
“That is very true. Do you hear that, Ezinma? You are older
than Obiageli but she has more sense.”
He uncovered his second wife’s dish and began to eat from it.
Obiageli took the first dish and returned to her mother’s hut.
And then Nkechi came in, bringing the third dish. Nkechi was
the daughter of Okonkwo’s third wife.
In the distance the drums continued to beat.
NOVEL COMPANION: Unit 1
You will also learn the Cornell Note-Taking System,
described on the previous page. Here you will
take notes on the excerpt you marked-up on the
On-Page Note-Taking page.
C O R N E L L N O T E - TA K I N G : B I G I d e a
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
ASK QUESTIONS
Write any questions you have about
the novel. Do you have to go to an
outside source to find the answers?
Recap
Things Fall Apart: Chapters 1–7
6
19
Things
Fall Apart
Chinua Achebe
Things Fall Apart
7
INTRODUCTION TO THE NOVEL
Things Fall Apart
Chinua Achebe
“
Things Fall Apart is a great book, and
everything Achebe writes bespeaks a great,
brave, kind, human spirit.
”
—John Updike
As a student at Nigeria’s University College
in Ibadan, Chinua Achebe realized that
British novelists did not know Africa well
enough to write honestly about it. One book
with a Nigerian setting particularly angered
him—Mister Johnson, a novel by Joyce Cary.
“I happened to read this, I think, in my
second year, and I said to myself, this is
absurd. If somebody without any inside
knowledge of the people he is trying to
describe can get away with it, perhaps I
ought to try my hand at it.”
Revealing Africa’s True History It soon
became clear to Achebe that very few honest
books had been written about his people.
Nigerian history was not a major area of
study, and Nigerian literature scarcely
existed. As a result, he realized that an
African writer would have to be as much a
teacher as an entertainer. Through his books
he would tell his people their true history
and help restore the dignity they had lost
when the British took control of their
homeland half a century earlier.
Achebe did not set about researching his
book the way most historical novelists do.
Instead of going to the library, he absorbed
his material from the people around him. “I
was very keen on listening to old people—
and what I learned from my father, so it was
sort of picked up here and there,” he
explained. What was clear to him was that
an honest book would not portray
traditional Nigerian life as some sort of ideal
8
N OVEL COMPANION: Unit 1
utopia. Achebe would describe the
imperfections of society as well as its virtues.
Luck … and Near Disaster Good luck aided
the publication of Things Fall Apart. In 1956,
while taking a broadcasting course in
London, Achebe showed his manuscript to
an English colleague who helped get it
published. Yet the novel was almost lost; a
typing agency mislaid the only manuscript
for months. Asked what he would have done
if it hadn’t been found, Achebe is reported to
have said that he “would have died.”
Since its publication in 1958, Things Fall Apart
has remained a perennial bestseller, casting
new light on a land that Europeans had for
so long dismissed as the Dark Continent.
Home of the Ibo Things Fall Apart is set at
the dawn of the twentieth century in what is
now southeastern Nigeria. In those days the
country of Nigeria did not exist. Africans of
many different beliefs and languages
occupied independent communities in this
vast land. However, change was on the way.
British merchants and missionaries had
already laid the groundwork for
colonization. Britain needed raw materials to
maintain its manufacturing dominance, and
missionaries saw an opportunity to “save”
thousands of African souls by converting
them to Christianity. By 1914 Britain had
claimed this huge, diverse region as a colony
and named it Nigeria.
An area east of the Niger River, home to the
Ibo (also spelled Igbo) people, was one of
the last parts of Nigeria to succumb to the
British conquest. The Ibo had lived in this
region for centuries, establishing a successful
and stable existence based on agriculture,
religion, and a time-honored tradition of law.
INTRODUCTION TO THE NOVEL
While not a democracy in the Western sense,
Iboland was a collection of self-governing
communities. Village elders came to
communal decisions, calling for assistance
on their many gods and on the spirits of
their ancestors. For the Ibo, the spirit world
was a real place, existing parallel to their
own. Few decisions were taken without
consulting the gods of forest and farm or the
fearsome egwugwu, masked men who
represented the ancestral spirits.
The British Occupation The British entered
Iboland largely ignorant of the people they
were attempting to govern. At first many of
the Ibo villages tolerated these strange white
visitors, allowing missionaries to establish
churches and schools, and trading their palm
oil for Western goods such as textiles and
alcohol. It soon became clear, however, that
the British wanted to introduce more than
trade and religion. They also brought their
own laws, appointing administrators to
apply a system of justice that was unfamiliar,
and often threatening, to their Ibo hosts.
Conflicts arose and blood was shed.
Although the Ibo resisted fiercely, they were
no match for military forces led and
equipped by the British. European law and
technology established an uneasy authority
over this once thriving culture.
In Things Fall Apart, Chinua Achebe wrote
about his native Iboland. He invented the
characters and place names but attempted to
give a truthful account of his people’s way
of life and their response to this period of
sudden, tragic change.
Iboland
This map shows West Africa as it
appeared after European nations
carved out vast areas and claimed
them as their own. Iboland, the
setting of Things Fall Apart, is the
shaded area east of the Niger River.
Today, Nigeria shares borders with
Benin, Chad, Cameroon, and Niger.
It is the most populous country in
Africa.
Niger River
Nigeria (1914)
Iboland
Things Fall Apart
9
MEET THE AUTHOR
Chinua Achebe (1930– )
According to Chinua Achebe, great literature
should not just tell a story; it should also
promote change. His own books have done
just that, altering the way the world views
Africa’s history, cultures, and peoples.
Achebe worked as a radio producer and
Director of External Broadcasting for the
Nigerian Broadcasting Corporation. He wrote
four successful novels during this period, but
if he had stopped at the first one, he would
still be famous. Things Fall Apart, published in
1958, is said to have done more for modern
African literature than any book written before
or since. Achebe drew on his deep knowledge
of the Ibo and the British, bringing to life the
period half a century earlier when their
cultures first met and clashed. In this, as in all
his writing, Achebe sought to persuade the
world “that Africans are people, that we are
not savages and cannibals.”
Born at the Crossroads Achebe was born in
1930. Although his home region, Iboland in
Nigeria, was under British rule, many of the
traditions that had governed life there for
centuries were still maintained. His father, a
teacher, was a devout Christian, as was his
mother. His father’s brother, however,
worshipped the gods of the Ibo religion. Young
Albert (as Achebe was then called) excelled at
school, where he spoke English from the age of
eight, but he also loved the Ibo stories he heard
from the old people of his village. “We lived at
the crossroads of cultures,” he wrote. At an
early age, he had learned to see life from more
than one perspective.
War and Peace Nigeria became an
independent nation in 1960, but peace and
prosperity were not to follow. From 1967 to
1970, a terrible civil war plunged the new
country into bloodshed, and Achebe was in
the thick of it. His own Ibo people,
persecuted by Nigeria’s central government,
had broken away to form the independent
state of Biafra. Throughout these years of
sacrifice, slaughter, and starvation, Achebe
toured the world on behalf of his homeland.
“Biafra stands for true independence in
Africa,” he said, “for an end to the 400 years
of shame and humiliation which we have
suffered in our association with Europe.”
Early Success Achebe had no intention of
becoming a writer when he entered University
College in Ibadan, but he abandoned the study
of medicine after only one year, turning instead
to history, religion, and English literature. His
literary studies included reading “some
appalling novels about Africa” by European
authors. Convinced that Africans could tell
their people’s story with greater truth and
sympathy, Achebe began to write fiction.
The defeat of Biafra did not silence Achebe.
As a university professor in the United
States and Africa, he has continued to write
and speak out for the causes he loves: the
power of literature and the dignity of the
African people. Honored for his writing and
for his passionate belief in the worth of all
humanity, Achebe has earned a special place
in the world of letters. “I think what we did
was literally to create modern African
literature,” he says, speaking for his
generation. “I think that’s what history
expected us to do.”
“
I think “that mankind’s greatest
blessing is language. And this is why
the storyteller is a high priest and why
he is so concerned about language and
about using it with respect.
”
—Chinua Achebe, in an interview
with Jonathan Cott, 1981
Few writers have achieved so much in such a
short time. During the 1950s and early 1960s,
10
NOVEL COMPANION: Unit 1
BEFORE YOU READ: Chapters 1–7
Connect to the Literature
What makes a person successful? Is there more than one way of being a
success?
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
Make a Web
Write the word success in the center of a word web. In the outer circles, write
words and phrases you associate with success.
WRITE THE CAPTION
Write a caption for the image below
using information in Build Background.
Build Background
Important Terms
Learning the following terms will help you understand Achebe’s description of
Ibo village life:
Cowries: These glossy shells were used as currency in some parts of Africa.
Harmattan: A dry wind from the Sahara, the harmattan brought dust and
sometimes drought to Iboland.
Kite: This type of hawk feeds on carrion (dead animals) and small animals.
Members of the kite family live throughout the world, particularly in warm
regions.
Kola: The nutlike seed of a West African evergreen tree, kola contains caffeine
and is refreshing to chew. In Ibo society, kola was offered to guests. It is an
important ingredient of cola carbonated drinks.
Locusts: These flying grasshoppers periodically move in swarms, devouring
crops wherever they land.
Oracle: In many traditional religions, people with important questions or
problems would visit a holy site to consult an oracle. A priest or priestess
associated with a god would give them an answer or solution. The word
oracle can refer to the holy site, the god, or the person who acts as the god’s
interpreter.
Yam: “The king of crops,” as Achebe calls it, the yam is the staple of the
traditional Ibo diet. These white-fleshed tubers can grow up to eight feet long.
The American sweet potato is not a true yam.
Things Fall Apart: C h a p te r s 1 – 7
11
BEFORE YOU READ: Chapters 1–7
Set Purposes for Reading
왘 BIG Idea Tradition and Change
Over the course of its history, the continent of Africa has been a place of great
change—a place where old ideas and ways of doing things are constantly
giving way to new ones. In Chinua Achebe’s Things Fall Apart, you will meet
Okonkwo, a West African man whose way of life begins to change in ways he
does not understand. As you read the first seven chapters, consider how
Okonkwo’s position within his village is threatened by both the traditions of his
people and the changing times of his homeland.
Literary Element
Motivation
Motivation is the stated or implied reason for a character’s actions. To figure
out a character’s motivation, you must use your own understanding of the
world and pay careful attention to the author’s clues. If a character gets angry,
try to discern what forces have created his or anger. A good author will let you
know the answer, usually without directly stating it in the text.
Often you can compare and contrast major characters’ motivations to find out
how these factors can lead to conflict, which is the struggle between two
opposing forces. Conflict can be either external—as when a character struggles
against an outside force—or internal—as when a character is torn between his
or her own opposing feelings or goals.
As you read the first section of Things Fall Apart, ask yourself what factors
drive the story’s central character, Okonkwo, to make the choices and take the
actions he does. You may want to use the graphic organizer on the next page
to help you understand his motivation.
Reading Strategy
capricious [kə prish´ əs]
adj. subject to sudden changes of
mind; guided by whim; changeable
Gerry’s classmates have a hard time
taking him seriously because his
actions often seem capricious.
feign [fān]
v. to put on a false appearance of;
to pretend
Although Aunt Kristen tried to feign
shock, it was clear she already knew
about the surprise party.
harbinger [ha r´ bin jər]
n. someone or something that goes
before, announcing an arrival
The whistling wind seemed like a
harbinger of misfortune.
incipient [in sip´ e ənt]
adj. in an early stage; just beginning
to appear
When she was fourteen, my greatgrandmother was diagnosed with
incipient tuberculosis.
poignant [poin´ yənt]
adj. profoundly moving; evoking
emotions such as sadness or pity
The end of the play was so poignant
that most of the audience was in
tears.
Analyze Cultural Context
When you analyze cultural context, you think about the time and place
of a work, as well as the values of the people in that time and place, and
determine how those factors affect the work.
Analyzing cultural context can help you broaden your scope as a reader
as you interpret characters, events, and themes of works written outside
your own culture.
As you read the first seven chapters of Things Fall Apart, ask yourself
which details illustrate the cultural context that shapes the story. You may
find it helpful to use a graphic organizer like the one at the right.
12
Vocabulary
N OVEL COMPANION: Unit 1
Detail
Cultural
Context
p. 7, “… the
town crier
piercing the
night…”
Word of mouth
is the only
communication
tool for the Ibo
villagers.
ACTIVE READING: Chapters 1–7
Okonkwo and Unoka are a study in contrast. Each
man’s life is shaped by his underlying motivation.
Unoka’s motivation is to enjoy life as much as he can,
take life easy, and not work too hard. Okonkwo’s
motivation is to be as different from his father as he
possibly can. In the diagram below, illustrate these
contrasting motivations by identifying the two men’s
personal traits in the boxes connected by jagged lines.
First write the qualities; then support each with a brief
example from the novel.
Unoka
Okonkwo
hardworking:
borrows seed yams and works
his way to top
lazy:
Things Fall Apart: Chapters 1–7
13
INTERACTIVE READING: Literar y Element
Literary Element
Motivation What motivates Okonkwo
to break the laws of his village?
14
NOVEL COMPANION: Unit 1
NOVEL EXCERPT: CHAPTER 4
Ikemefuna came to Umuofia at the end of the carefree season
between harvest and planting. In fact he recovered from his
illness only a few days before the Week of Peace began. And that
was also the year Okonkwo broke the peace, and was punished,
as was the custom, by Ezeani, the priest of the earth goddess.
Okonkwo was provoked to justifiable anger by his youngest
wife, who went to plait her hair at her friend’s house and did
not return early enough to cook the afternoon meal. Okonkwo
did not know at first that she was not at home. After waiting in
vain for her dish he went to her hut to see what she was doing.
There was nobody in the hut and the fireplace was cold.
“Where is Ojiugo?” he asked his second wife, who came out
of her hut to draw water from a gigantic pot in the shade of a
small tree in the middle of the compound.
“She has gone to plait her hair.”
Okonkwo bit his lips as anger welled up within him.
“Where are her children? Did she take them?” he asked with
unusual coolness and restraint.
“They are here,” answered his first wife, Nwoye’s mother.
Okonkwo bent down and looked into her hut. Ojiugo’s children
were eating with the children of his first wife.
“Did she ask you to feed them before she went?”
“Yes,” lied Nwoye’s mother, trying to minimize Ojiugo’s
thoughtlessness.
Okonkwo knew she was not speaking the truth. He walked
back to his obi to await Ojiugo’s return. And when she returned
he beat her very heavily. In his anger he had forgotten that it
was the Week of Peace. His first two wives ran out in great
alarm pleading with him that it was the sacred week. But
Okonkwo was not the man to stop beating somebody half-way
through, not even for fear of a goddess.
Okonkwo’s neighbors heard his wife crying and sent their
voices over the compound walls to ask what was the matter.
Some of them came over to see for themselves. It was unheard
of to beat somebody during the sacred week.
Before it was dusk Ezeani, who was the priest of the earth
goddess, Ani, called on Okonkwo in his obi. Okonkwo brought
out kola nut and placed it before the priest.
“Take away your kola nut. I shall not eat in the house of a
man who has no respect for our gods and ancestors.”
Okonkwo tried to explain to him what his wife had done,
but Ezeani seemed to pay no attention. He held a short staff in
his hand which he brought down on the floor to emphasize his
points.
INTERACTIVE READING: Literar y Element
“Listen to me,” he said when Okonkwo had spoken. “You
are not a stranger in Umuofia. You know as well as I do that our
forefathers ordained that before we plant any crops in the earth
we should observe a week in which a man does not say a harsh
word to his neighbor. We live in peace with our fellows to honor
our great goddess of the earth without whose blessing our crops
will not grow. You have committed a great evil.” He brought
down his staff heavily on the floor. “Your wife was at fault, but
even if you came into your obi and found her lover on top of
her, you would still have committed a great evil to beat her.”
His staff came down again. “The evil you have done can ruin
the whole clan. The earth goddess whom you have insulted
may refuse to give us her increase, and we shall all perish.” His
tone now changed from anger to command. “You will bring to
the shrine of Ani tomorrow one she-goat, one hen, a length of
cloth and a hundred cowries.” He rose and left the hut.
Okonkwo did as the priest said. He also took with him a pot
of palm-wine. Inwardly, he was repentant. But he was not the
man to go about telling his neighbors that he was in error. And
so people said he had no respect for the gods of the clan. His
enemies said his good fortune had gone to his head. They called
him the little bird nza who so far forgot himself after a heavy
meal that he challenged his chi.
No work was done during the Week of Peace. People called
on their neighbors and drank palm-wine. This year they talked
of nothing else but the nso-ani which Okonkwo had committed.
It was the first time for many years that a man had broken the
sacred peace. Even the oldest men could only remember one or
two other occasions somewhere in the dim past.
Ogbuefi Ezeudu, who was the oldest man in the village, was
telling two other men who came to visit him that the punishment
for breaking the Peace of Ani had become very mild in their clan.
“It has not always been so,” he said. “My father told me that
he had been told that in the past a man who broke the peace
was dragged on the ground through the village until he died.
But after a while this custom was stopped because it spoiled the
peace which it was meant to preserve.”
“Somebody told me yesterday,” said one of the younger men,
“that in some clans it is an abomination for a man to die during
the Week of Peace.”
“It is indeed true,” said Ogbuefi Ezeudu. “They have that
custom in Obodoani. If a man dies at this time he is not buried
but cast into the Evil Forest. It is a bad custom which these
people observe because they lack understanding. They throw
away large numbers of men and women without burial. And
what is the result? Their clan is full of the evil spirits of these
unburied dead, hungry to do harm to the living.”
Literary Element
Motivation Why can’t Okonkwo show
remorse even though he regrets his
actions? What drives him to withdraw
from others in this way?
Things Fall Apart: Chapters 1–7
15
INTERACTIVE READING: Reading Strategy
Reading Strategy
Analyze Cultural Context What does
this passage tell you about how the
people of traditional Ibo culture made
decisions?
NOVEL EXCERPT: CHAPTER 2
Umuofia was feared by all its neighbors. It was powerful in
war and in magic, and its priests and medicine men were feared
in all the surrounding country. Its most potent war-medicine
was as old as the clan itself. Nobody knew how old. But on one
point there was general agreement—the active principle in that
medicine had been an old woman with one leg. In fact, the
medicine itself was called agadi-nwayi, or old woman. It had its
shrine in the centre of Umuofia, in a cleared spot. And if
anybody was so foolhardy as to pass by the shrine after dusk he
was sure to see the old woman hopping about.
And so the neighboring clans who naturally knew of these
things feared Umuofia, and would not go to war against it
without first trying a peaceful settlement. And in fairness to
Umuofia it should be recorded that it never went to war unless
its case was clear and just and was accepted as such by its
Oracle—the Oracle of the Hills and the Caves. And there were
indeed occasions when the Oracle had forbidden Umuofia to
wage a war. If the clan had disobeyed the Oracle they would
surely have been beaten, because their dreaded agadi-nwayi
would never fight what the Ibo call a fight of blame.
But the war that now threatened was a just war. Even the
enemy clan knew that. And so when Okonkwo of Umuofia
arrived at Mbaino as the proud and imperious emissary of war,
he was treated with great honor and respect, and two days later
he returned home with a lad of fifteen and a young virgin. The
lad’s name was Ikemefuna, whose sad story is still told in
Umuofia unto this day.
The elders, or ndichie, met to hear a report of Okonkwo’s
mission. At the end they decided, as everybody knew they
would, that the girl should go to Ogbuefi Udo to replace his
murdered wife. As for the boy, he belonged to the clan as a
whole, and there was no hurry to decide his fate. Okonkwo
was, therefore, asked on behalf of the clan to look after him in
the interim. And so for three years Ikemefuna lived in
Okonkwo’s household.
Okonkwo ruled his household with a heavy hand. His wives,
especially the youngest, lived in perpetual fear of his fiery
temper, and so did his little children. Perhaps down in his heart
Okonkwo was not a cruel man. But his whole life was
dominated by fear, the fear of failure and of weakness. It was
deeper and more intimate than the fear of evil and capricious
gods and of magic, the fear of the forest, and of the forces of
nature, malevolent, red in tooth and claw. Okonkwo’s fear was
greater than these. It was not external but lay deep within
16
NOVEL COMPANION: Unit 1
INTERACTIVE READING: Reading Strategy
himself. It was the fear of himself, lest he should be found to
resemble his father. Even as a little boy he had resented his
father’s failure and weakness, and even now he still
remembered how he had suffered when a playmate had told
him that his father was agbala. That was how Okonkwo first
came to know that agbala was not only another name for a
woman, it could also mean a man who had taken no title. And
so Okonkwo was ruled by one passion—to hate everything that
his father Unoka had loved. One of those things was gentleness
and another was idleness.
During the planting season Okonkwo worked daily on his
farms from cock-crow until the chickens went to roost. He was a
very strong man and rarely felt fatigue. But his wives and
young children were not as strong, and so they suffered. But
they dared not complain openly. Okonkwo’s first son, Nwoye,
was then twelve years old but was already causing his father
great anxiety for his incipient laziness. At any rate, that was
how it looked to his father, and he sought to correct him by
constant nagging and beating. And so Nwoye was developing
into a sad-faced youth.
Okonkwo’s prosperity was visible in his household. He had
a large compound enclosed by a thick wall of red earth. His
own hut, or obi, stood immediately behind the only gate in the
red walls. Each of his three wives had her own hut, which
together formed a half moon behind the obi. The barn was built
against one end of the red walls, and long stacks of yam stood
out prosperously in it. At the opposite end of the compound
was a shed for the goats, and each wife built a small attachment
to her hut for the hens. Near the barn was a small house, the
“medicine house” or shrine where Okonkwo kept the wooden
symbols of his personal god and of his ancestral spirits. He
worshipped them with sacrifices of kola nut, food and palmwine, and offered prayers to them on behalf of himself, his three
wives and eight children.
Reading Strategy
Analyze Cultural Context What
does this passage reveal about why
Okonkwo is chosen by his village
to care for Ikemefuna?
So when the daughter of Umuofia was killed in Mbaino,
Ikemefuna came into Okonkwo’s household. When Okonkwo
brought him home that day he called his most senior wife and
handed him over to her.
“He belongs to the clan,” he told her. “So look after him.”
“Is he staying long with us?” she asked.
“Do what you are told, woman,” Okonkwo thundered, and
stammered. “When did you become one of the ndichie of
Umuofia?”
And so Nwoye’s mother took Ikemefuna to her hut and
asked no more questions.
Things Fall Apart: Chapters 1–7
17
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Tradition and Change Based on this
excerpt, what statements can you
make about the traditional role of
women in Umuofia?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
18
NOVEL COMPANION: Unit 1
NOVEL EXCERPT: CHAPTER 5
Nwoye’s younger brothers were about to tell their mother the
true story of the accident when Ikemefuna looked at them
sternly and they held their peace. The fact was that Obiageli had
been making inyanga with her pot. She had balanced it on her
head, folded her arms in front of her and began to sway her
waist like a grown-up young lady. When the pot fell down and
broke she burst out laughing. She only began to weep when
they got near the iroko tree outside their compound.
The drums were still beating, persistent and unchanging.
Their sound was no longer a separate thing from the living
village. It was like the pulsation of its heart. It throbbed in the
air, in the sunshine, and even in the trees, and filled the village
with excitement.
Ekwefi ladled her husband’s share of the pottage into a bowl
and covered it. Ezinma took it to him in his obi.
Okonkwo was sitting on a goatskin already eating his first
wife’s meal. Obiageli, who had brought it from her mother’s
hut, sat on the floor waiting for him to finish. Ezinma placed her
mother’s dish before him and sat with Obiageli.
“Sit like a woman!” Okonkwo shouted at her. Ezinma
brought her two legs together and stretched them in front of her.
“Father, will you go to see the wrestling?” Ezinma asked after
a suitable interval.
“Yes,” he answered. “Will you go?”
“Yes.” And after a pause she said: “Can I bring your chair for
you?”
“No, that is a boy’s job.” Okonkwo was specially fond of
Ezinma. She looked very much like her mother, who was once
the village beauty. But his fondness only showed on very rare
occasions.
“Obiageli broke her pot today,” Ezinma said.
“Yes, she has told me about it,” Okonkwo said between
mouthfuls.
“Father,” said Obiageli, “people should not talk when they
are eating or pepper may go down the wrong way.”
“That is very true. Do you hear that, Ezinma? You are older
than Obiageli but she has more sense.”
He uncovered his second wife’s dish and began to eat from it.
Obiageli took the first dish and returned to her mother’s hut.
And then Nkechi came in, bringing the third dish. Nkechi was
the daughter of Okonkwo’s third wife.
In the distance the drums continued to beat.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
ASK QUESTIONS
Write any questions you have about
the novel. Do you have to go to an
outside source to find the answers?
Recap
Things Fall Apart: Chapters 1–7
19
AFTER YOU READ: Chapters 1–7
Respond and Think Critically
1. What sort of man was Unoka? Why does Okonkwo have such hard
feelings toward him? [Interpret]
2. Why do the men of Umuofia decide to kill Ikemefuna? Do you think that
Okonkwo planned to kill the boy himself? Why or why not? [Infer]
3. In what ways is Okonkwo successful? [Interpret]
4. What practices that occur in societies today remind you of the killing of
Ikemefuna? [Analyze]
5. Tradition and Change What do you think Okonkwo’s taking part in the
killing of Ikemefuna says about his ability to respond to change? [Analyze]
20
NOVEL COMPANION: Unit 1
APPLY BACKGROUND
Reread Meet the Author on page 10.
How did that information help you
understand or appreciate what you
read in the novel?
AFTER YOU READ: Chapters 1–7
Literary Element
Motivation
1. In your opinion, which is the more important
motivation—Unoka’s longing for happiness and
freedom from care or Okonkwo’s longing to escape
his poverty-stricken upbringing and rise above his
position? [Synthesize]
Vocabulary Practice
Circle the context clues in the following sentences
that help you determine the meaning of each
boldfaced vocabulary word.
1. At first Ana believed in the candidate, but then she
noticed that he seemed to feign sincerity.
2. Jim’s trip to Hawaii may seem capricious, but in
fact he has been planning it for a long time.
3. Both the first crocus and the first robin are
considered harbingers of spring’s arrival.
2. In what way did a disastrous growing season during
his early adulthood motivate Okonkwo over the
course of all the years that followed? [Analyze]
4. The babysitter watched the child closely for telltale
signs of an incipient temper tantrum.
5. The mayor delivered a poignant speech that made
the townspeople remember their deep love for
their town.
Academic Vocabulary
Reading Strategy
Analyze Cultural Context
1. During the time and place where the novel is set,
many different independent communities with very
different belief systems existed in Iboland. Identify
an example of how these communities interact
with Okonkwo’s village in this section of the novel.
[Analyze]
2. What do you infer about the significance of the
kola nut in Ibo culture? [Interpret]
1. The village elders had to intervene when
Okonkwo broke the law during the Week of
Peace. In the preceding sentence, intervene
means “to get involved.” Think about a
problematic situation in which you once
intervened. What steps did you take to solve
the problem?
2. Through no fault of his own, Ikemefuna was
displaced from his home and forced to go
with Okonkwo to Umuofia. Using context clues,
try to figure out the meaning of the boldfaced
word in the sentence above. Write your guess
below. Then check it in a dictionary.
Things Fall Apart: C h a p te r s 1 – 7
21
AFTER YOU READ: Chapters 1–7
Writing
Connect to Content Areas
Write an Encyclopedia Entry Ibo life is full of
customs and rituals, such as cracking kola nuts when
visitors arrive. Suppose that you were asked to
contribute to an encyclopedia of traditional Ibo culture.
Write an entry describing one of the customs or rituals
that you read about in this section of the novel. To
help readers get a clearer idea of your subject,
compare it with a custom or ritual practiced in your
own culture. You might compare the cracking of the
kola nuts, for example, with offering a guest something
to drink or eat.
Social Studies
Assignment Many African cultures make use of
proverbs, as you have already seen in the opening
chapters of Things Fall Apart. Do Internet research to
locate proverbs from African cultures besides the Ibo.
Make a list of these proverbs and paraphrase their
meanings. Then identify each proverb’s culture of
origin and locate it on a map of Africa.
Investigate Before you begin your research, consider
these proverbs from the novel.
•
•
•
“A man who pays respect to the great paves the
way for his own greatness.”
“When the moon is shining the cripple becomes
hungry for a walk.”
“A toad does not run in the daytime for nothing.”
Using an Internet search engine such as Google, find a
downloadable map of Africa and print it out. Locate
proverbs from five different African cultures. Make sure
you can paraphrase each one and identify both the
name of the culture and the area of Africa in which it
is located on the map.
Create Using your downloaded map, place stars or
other markers to locate the culture of origin for each
of your selected proverbs. Create labels for each. You
may wish to color the map to show the different
countries. Use your creativity to make your visual
presentation as eye-catching as possible.
Report For the text portion of your report, list your
proverbs. Display them using this format:
Proverb: “The lead cow gets whipped the most.”
Paraphrase: Whoever has the most difficult task gets
blamed for everything that goes wrong.
Origin: Zulu culture, South Africa, Swaziland
22
NOVEL COMPANION: Unit 1
BEFORE YOU READ: Chapters 8–13
Connect to the Literature
Why is marriage such an important institution?
Share Ideas
With a group of students, discuss the importance of marriage for a husband
and a wife, their relatives, and society as a whole. Present a summary of your
conclusions to the class.
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
SUMMARIZE
Summarize in one sentence the most
important idea(s) in Build Background.
Build Background
Spirits of the Ancestors
According to traditional belief, the Ibo’s ancestors live in a world very similar to
the world of everyday experience. As one Ibo man explained, “We picture life
there to be exactly as it is in this world. . . . People in spiritland have their
ordinary occupations, the farmer his farm.” Inhabitants of the spirit world,
however, do not live in isolation. They are in constant communication with the
human world. Every child conceived on earth begins with part of an ancestor’s
spirit. Masked spirits of ancestors are said to emerge through ant holes to
participate in legal proceedings and other ceremonies in the human world.
Note the role of ancestral spirits as you read this section of the novel.
Ibo Masks
The Ibo are gifted at carving, and they have particular skill in the area of mask
making. Masks fashioned from wood and fabric are an important part of many
different kinds of Ibo celebrations, the most sacred of which are for the
purpose of honoring ancestors and evoking gods. Masks are also commonly
used in contemporary African ritual comic performances and public festivals.
Things Fall Apart: Chapters 8–13
23
BEFORE YOU READ: Chapters 8–13
Set Purposes for Reading
왘 BIG Idea Tradition and Change
Africa is an enormous continent that has for thousands of years sustained a
wealth of different cultures. Many independent clans have lived side by side,
sometimes in harmony, sometimes not. For the people of Umuofia,
Okonkwo’s homeland, war is always a threat to the clan’s survival. But in this
section of Chinua Achebe’s Things Fall Apart, Okonkwo finds his way of life
threatened by his own actions and the response they create within his clan. As
you read these next chapters, consider how Okonkwo’s position within his
village is threatened by both the traditions of his people and the changing
times of his homeland.
Literary Element
Anthropomorphism
Anthropomorphism is the assignment of human characteristics to gods,
animals, or inanimate objects. Cultures throughout the world have used
anthropomorphism as an integral part of their storytelling traditions for
thousands of years. Storytellers may use anthropomorphism to dramatize
human experiences and to point out human flaws such as greed, violence,
and selfishness.
Anthropomorphism is a key element in folktales, which are stories passed
down from one generation to another by word of mouth. A folktale may be
told purely for entertainment, although it often contains a moral, which is a
practical lesson about right and wrong conduct. Folktales generally reflect the
values of the society that preserves them.
As you read the next section of Things Fall Apart, examine the folktales that
are told and note how they illuminate aspects of the characters’ personalities
or of Ibo life in the village and beyond.
Reading Strategy
Make Inferences About Characters
When you make inferences about characters, you watch for subtle
character details and use your core understanding of people and the world to
give yourself the tools to interpret the story on a deep, meaningful level.
Many authors develop their characters by employing direct characterization,
or simply telling the reader what a character is like. Others use indirect
characterization by describing a character’s behavior and physical
appearance, telling what the character says and thinks, revealing what other
characters say and think about the character, and showing the character’s
effect on other people. As a reader, you can use these types of clues to make
inferences about characters.
As you read the next section of Things Fall Apart, look for details that give
clues about the characters’ experiences and emotional responses. You may
find it helpful to use a graphic organizer like the one at the right or the one on
the next page.
24
NOVEL COMPANION: Unit 1
Vocabulary
approbation [ap rə ba´ shən]
n. approval or commendation
Angela’s sister won approbation
from the military after her tour of
duty.
audacity [ô das´ ə te]
n. extreme boldness or daring,
verging on insolence
The burglar’s audacity was
unbelievable—he entered the
building during broad daylight!
elude [i l¯
ood´]
v. to avoid or escape by dexterity or
trickery
Though Melanie chased her younger
brother for ten minutes, he was able
to elude her.
tremulous [trem´ yə ləs]
adj. characterized by trembling;
shaking
“Who’s there?” Sheila called into the
darkness in a tremulous voice.
voluble [vol´ yə bəl]
adj. talkative; characterized by an
easy flow of words
Though he may seem shy, Assad is
quite voluble when he gets excited
about something.
Character
Detail
Inference
p. 7, “… as
he hands her
a piece of
fish,
Okonkwo
thinks
Ezinma
should have
been a
boy …”
Okonkwo
loves Ezinma
as he would
a son.
ACTIVE READING: Chapters 8–13
In this section Okonkwo reveals another side to his
personality. While still reckless and violent, he shows
that he is also capable of compassion. In the
rectangles below, write examples of Okonkwo’s
violent side; in the ovals, write examples of his
gentler nature.
defends the killing of
Ikemefuna in an
argument with Obierika
reckless
and
violent
caring
and
compassionate
Things Fall Apart: Chapters 8–13
25
INTERACTIVE READING: Literar y Element
Literary Element
Anthropomorphism What larger life
lesson does the folktale in this excerpt
convey? What does it tell you about
Ibo culture?
26
NOVEL COMPANION: Unit 1
NOVEL EXCERPT: CHAPTER 11
It was Ekwefi’s turn to tell a story.
“Once upon a time,” she began, “all the birds were invited to
a feast in the sky. They were very happy and began to prepare
themselves for the great day. They painted their bodies with red
cam wood and drew beautiful patterns on them with uli.
“Tortoise saw all these preparations and soon discovered
what it all meant. Nothing that happened in the world of the
animals ever escaped his notice; he was full of cunning. As soon
as he heard of the great feast in the sky his throat began to itch
at the very thought. There was a famine in those days and
Tortoise had not eaten a good meal for two moons. His body
rattled like a piece of dry stick in his empty shell. So he began to
plan how he would go to the sky.”
“But he had no wings,” said Ezinma.
“Be patient,” replied her mother. “That is the story. Tortoise
had no wings, but he went to the birds and asked to be allowed
to go with them.
“ ‘We know you too well,’ said the birds when they had
heard him. ‘You are full of cunning and you are ungrateful. If
we allow you to come with us you will soon begin your
mischief.’
“ ‘You do not know me,’ said Tortoise. ‘I am a changed man.
I have learned that a man who makes trouble for others is also
making it for himself.’
“Tortoise had a sweet tongue, and within a short time all the
birds agreed that he was a changed man, and they each gave
him a feather, with which he made two wings.
“At last the great day came and Tortoise was the first to
arrive at the meeting place. When all the birds had gathered
together, they set off in a body. Tortoise was very happy and
voluble as he flew among the birds, and he was soon chosen as
the man to speak for the party because he was a great orator.
“ ‘There is one important thing which we must not forget,’ he
said as they flew on their way. ‘When people are invited to a
great feast like this, they take new names for the occasion. Our
hosts in the sky will expect us to honor this age-old custom.’
“None of the birds had heard of this custom but they knew
that Tortoise, in spite of his failings in other directions, was a
widely-traveled man who knew the customs of different
peoples. And so they each took a new name. When they had all
taken, Tortoise also took one. He was to be called All of you.
“At last the party arrived in the sky and their hosts were
very happy to see them. Tortoise stood up in his many-colored
plumage and thanked them for their invitation. His speech was
so eloquent that all the birds were glad they had brought him,
INTERACTIVE READING: Literar y Element
and nodded their heads in approval of all he said. Their hosts
took him as the king of the birds, especially as he looked
somewhat different from the others.…
Tortoise began to sniff aloud. There was pounded yam and
also yam pottage cooked with palm-oil and fresh fish. There
were also pots of palm-wine. When everything had been set
before the guests, one of the people of the sky came forward
and tasted a little from each pot. He then invited the birds to
eat. But Tortoise jumped to his feet and asked: ‘For whom have
you prepared this feast?’
“ ‘For all of you,’ replied the man.
“Tortoise turned to the birds and said: ‘You remember that
my name is All of you. The custom here is to serve the
spokesman first and the others later. They will serve you when I
have eaten.’
“He began to eat and the birds grumbled angrily. The people
of the sky thought it must be their custom to leave all the food
for their king. And so Tortoise ate the best part of the food and
then drank two pots of palm-wine, so that he was full of food
and drink and his body filled out in his shell.
“The birds gathered round to eat what was left and to peck
at the bones he had thrown all about the floor. Some of them
were too angry to eat. They chose to fly home on an empty
stomach. But before they left each took back the feather he had
lent to Tortoise. And there he stood in his hard shell full of food
and wine but without any wings to fly home. He asked the
birds to take a message for his wife, but they all refused. In the
end Parrot, who had felt more angry than the others, suddenly
changed his mind and agreed to take the message.
“ ‘Tell my wife,’ said Tortoise, ‘to bring out all the soft things
in my house and cover the compound with them so that I can
jump down from the sky without very great danger.’
“Parrot promised to deliver the message, and then flew
away. But when he reached Tortoise’s house he told his wife to
bring out all the hard things in the house. And so she brought
out her husband’s hoes, machetes, spears, guns and even his
cannon. Tortoise looked down from the sky and saw his wife
bringing things out, but it was too far to see what they were.
When all seemed ready he let himself go. He fell and fell and
fell until he began to fear that he would never stop falling. And
then like the sound of his cannon he crashed on the compound.”
“Did he die?” asked Ezinma.
“No,” replied Ekwefi. “His shell broke into pieces. But there
was a great medicine man in the neighborhood. Tortoise’s wife
sent for him and he gathered all the bits of shell and stuck them
together. That is why Tortoise’s shell is not smooth.”
Literary Element
Anthropomorphism What natural
phenomenon is explained in the
folktale told in this excerpt?
Things Fall Apart: Chapters 8–13
27
INTERACTIVE READING: Reading Strategy
Reading Strategy
Make Inferences About
Characters What inference can you
make about Ekwefi based on her
behavior here?
28
NOVEL COMPANION: Unit 1
NOVEL EXCERPT: CHAPTER 11
It was a long and weary journey and Ekwefi felt like a
sleepwalker most of the way. The moon was definitely rising, and
although it had not yet appeared on the sky its light had already
melted down the darkness. Ekwefi could now discern the figure
of the priestess and her burden. She slowed down her pace so as
to increase the distance between them. She was afraid of what
might happen if Chielo suddenly turned round and saw her.
She had prayed for the moon to rise. But now she found the
half-light of the incipient moon more terrifying than darkness.
The world was now peopled with vague, fantastic figures that
dissolved under her steady gaze and then formed again in new
shapes. At one stage Ekwefi was so afraid that she nearly called
out to Chielo for companionship and human sympathy. What
she had seen was the shape of a man climbing a palm tree, his
head pointing to the earth and his legs skywards. But at that
very moment Chielo’s voice rose again in her possessed
chanting, and Ekwefi recoiled, because there was no humanity
there. It was not the same Chielo who sat with her in the market
and sometimes bought beancakes for Ezinma, whom she called
her daughter. It was a different woman—the priestess of Agbala,
the Oracle of the Hills and Caves. Ekwefi trudged along
between two fears. The sound of her benumbed steps seemed to
come from some other person walking behind her. Her arms
were folded across her bare breasts. Dew fell heavily and the air
was cold. She could no longer think, not even about the terrors
of night. She just jogged along in a half-sleep, only waking to
full life when Chielo sang.
At last they took a turning and began to head for the caves.
From then on, Chielo never ceased in her chanting. She greeted
her god in a multitude of names—the owner of the future, the
messenger of earth, the god who cut a man down when his life
was sweetest to him. Ekwefi was also awakened and her
benumbed fears revived.
The moon was now up and she could see Chielo and Ezinma
clearly. How a woman could carry a child of that size so easily
and for so long was a miracle. But Ekwefi was not thinking
about that. Chielo was not a woman that night.
“Agbala do-o-o-o! Agbala ekeneo-o-o-o! Chi negbu madu ubosi ndu
ya nato ya uto daluo-o-o! . . .”
Ekwefi could already see the hills looming in the moonlight.
They formed a circular ring with a break at one point through
which the foot-track led to the center of the circle.
As soon as the priestess stepped into this ring of hills her
voice was not only doubled in strength but was thrown back on
INTERACTIVE READING: Reading Strategy
all sides. It was indeed the shrine of a great god. Ekwefi picked
her way carefully and quietly. She was already beginning to
doubt the wisdom of her coming. Nothing would happen to
Ezinma, she thought. And if anything happened to her could
she stop it? She would not dare to enter the underground caves.
Her coming was quite useless, she thought.
As these things went through her mind she did not realize
how close they were to the cave mouth. And so when the
priestess with Ezinma on her back disappeared through a hole
hardly big enough to pass a hen, Ekwefi broke into a run as
though to stop them. As she stood gazing at the circular
darkness which had swallowed them, tears gushed from her
eyes, and she swore within her that if she heard Ezinma cry she
would rush into the cave to defend her against all the gods in
the world. She would die with her.
Having sworn that oath, she sat down on a stony ledge and
waited. Her fear had vanished. She could hear the priestess’
voice, all its metal taken out of it by the vast emptiness of the
cave. She buried her face in her lap and waited.
She did not know how long she waited. It must have been a
very long time. Her back was turned on the footpath that led
out of the hills. She must have heard a noise behind her and
turned round sharply. A man stood there with a machete in his
hand. Ekwefi uttered a scream and sprang to her feet.
“Don’t be foolish,” said Okonkwo’s voice. “I thought you
were going into the shrine with Chielo,” he mocked.
Ekwefi did not answer. Tears of gratitude filled her eyes. She
knew her daughter was safe.
“Go home and sleep,” said Okonkwo. “I shall wait here.”
“I shall wait too. It is almost dawn. The first cock has
crowed.”
As they stood there together, Ekwefi’s mind went back to the
days when they were young. She had married Anene because
Okonkwo was too poor then to marry. Two years after her
marriage to Anene she could bear it no longer and she ran away
to Okonkwo. It had been early in the morning. The moon was
shining. She was going to the stream to fetch water. Okonkwo’s
house was on the way to the stream. She went in and knocked
at his door and he came out. Even in those days he was not a
man of many words. He just carried her into his bed and in
the darkness began to feel around her waist for the loose end
of her cloth.
Reading Strategy
Make Inferences About
Characters What inference can you
make about Okonkwo based on this
comment?
Things Fall Apart: Chapters 8–13
29
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Tradition and Change At this point in
the story, who or what do you think
governs the people of the Umuofia
clan?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
30
NOVEL COMPANION: Unit 1
NOVEL EXCERPT: CHAPTER 10
The crowd roared with laughter. Evil Forest rose to his feet
and order was immediately restored. A steady cloud of smoke
rose from his head. He sat down again and called two witnesses.
They were both Uzowulu’s neighbors, and they agreed about
the beating. Evil Forest then stood up, pulled out his staff and
thrust it into the earth again. He ran a few steps in the direction
of the women; they all fled in terror, only to return to their
places almost immediately. The nine egwugwu then went away
to consult together in their house. They were silent for a long
time. Then the metal gong sounded and the flute was blown.
The egwugwu had emerged once again from their underground
home. They saluted one another and then reappeared on the ilo.
“Umuofia kwenu!” roared Evil Forest, facing the elders and
grandees of the clan.
“Yaa!” replied the thunderous crowd; then silence descended
from the sky and swallowed the noise.
Evil Forest began to speak and all the while he spoke everyone
was silent. The eight other egwugwu were as still as statues.
“We have heard both sides of the case,” said Evil Forest. “Our
duty is not to blame this man or to praise that, but to settle the
dispute.” He turned to Uzowulu’s group and allowed a short
pause.
“Uzowulu’s body, I salute you,” he said.
“Our father, my hand has touched the ground,” replied
Uzowulu, touching the earth.
“Uzowulu’s body, do you know me?”
“How can I know you, father? You are beyond our
knowledge,” Uzowulu replied.
“I am Evil Forest. I kill a man on the day that his life is
sweetest to him.”
“That is true,” replied Uzowulu.
“Go to your in-laws with a pot of wine and beg your wife to
return to you. It is not bravery when a man fights with a
woman.” He turned to Odukwe, and allowed a brief pause.
“Odukwe’s body, I greet you,” he said.
“My hand is on the ground,” replied Odukwe.
“Do you know me?”
“No man can know you,” replied Odukwe.
“I am Evil Forest, I am Dry-meat-that-fills-the-mouth, I am
Fire-that-burns-without-faggots. If your in-law brings wine to
you, let your sister go with him. I salute you.” He pulled his
staff from the hard earth and thrust it-back.
“Umuofia kwenu!” he roared, and the crowd answered.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
TO THE POINT
Write a few key ideas.
Recap
Things Fall Apart: Chapters 8–13
31
AFTER YOU READ: Chapters 8–13
Respond and Think Critically
1. How does Okonkwo feel about Ezinma? Why does he feel this way
toward her? [Interpret]
2. What prompts Ekwefi and Okonkwo to spend the night outside the
oracle’s cave? What does this incident reveal about Okonkwo? [Infer]
3. What punishment does Okonkwo receive for accidentally killing a boy at
the funeral? What factors does the clan consider when determining this
punishment? [Analyze]
4. How might Okonkwo be punished if he committed his accidental killing in
the present-day United States? Do you think such a punishment would be
fairer than the one he receives in the novel? Explain. [Analyze]
5. Tradition and Change Compare the importance of marriage in
traditional Ibo society and in Western society. Which of the Ibo customs or
practices would seem most out of place to Westerners? [Synthesize]
32
NOVEL COMPANION: Unit 1
APPLY BACKGROUND
Reread Build Background on page 23.
How did that information help you
understand or appreciate what you
read in the novel?
AFTER YOU READ: Chapters 8–13
Literary Element
Anthropomorphism
1. How did Okonkwo’s mother use
anthropomorphism when he was a child to explain
the irritating buzzing of mosquitoes? [Identify]
Vocabulary Practice
Underline the sentence that uses the vocabulary word
correctly.
1. A. It was a tremulous day in February.
B. The frigid weather made Carlos’s whole body
feel tremulous.
2. A. The waitress shook her first with the great
approbation at the boy who stole the pie.
B. The waitress’s suggestion of chocolate mousse
cake met with general approbation.
2. What anthropomorphism do the people of Umuofia
use to describe a late moonrise? [Analyze]
3. A. Tobias wishes his mother wouldn’t elude to his
football team’s losses so often.
B. Tobias can’t seem to elude the subject of his
football team’s recent losses.
4. A. When Aunt Charlotte has too much coffee, she
becomes very voluble.
B. Aunt Charlotte is silently voluble when she is
thinking deeply.
5. A. The ambassador’s simple solution to the
problem was astonishing in its audacity.
Reading Strategy
Make Inferences About
Characters
1. After he kills Ikemefuna, Okonkwo is depressed
and can’t sleep or eat, but he seems to get over it
when he is visited by his friend Obierika and a
group of other important men of the village. What
inference can you make about Okonkwo based on
this recovery? [Infer]
2. At the mouth of the oracle’s cave, Ekwefi has a
sudden memory of the first night she and
Okonkwo ever spent together. What can you infer
about Ekwefi from this? [Infer]
B. The ambassador went through great audacity
as she watched the two dignitaries wrestling.
Academic Vocabulary
1. Belief in ancestral spirits is a vital part of the Ibo
ideology. In the previous sentence, ideology
means “belief system.” Identify an important part
of your own personal ideology.
2. Ekwefi does not contradict Okonkwo, but she
does not always follow his commands either. To
become more familiar with the word contradict, fill
out the graphic organizer below.
definition
synonyms
contradict
antonyms
sentence
Things Fall Apart: Chapters 8–13
33
AFTER YOU READ: Chapters 8–13
Writing
Speaking and Listening
Personal Response What are some positive aspects
of Ibo village life? Are there any aspects of Ibo culture
that you consider unjust? Explain.
Interview
Assignment Imagine that after the shooting of
Ezuedo’s son, the tribal elders of Umuofia employ a
professional psychologist to write a profile of
Okonkwo, their most celebrated—and difficult—citizen.
Ask three classmates to serve as these elders. Then
interview the elders and use their input, earlier
incidents from the novel, and your own understanding
of Okonkwo’s personality to write your report.
Prepare Write a list of relevant questions. Remember
that you are talking to important clansmen, so keep
your questions formal, respectful, and to the point.
Leave sufficient space after the questions so that you
can write the answers there.
Interview Speak to each of your interviewees
individually, taking notes on their responses to your
questions. Follow these tips:
•
Allow your subject to respond completely; don’t
interrupt.
•
If any answer is confusing, ask further questions to
clarify.
•
Review your subjects’ statements as a final check.
Report Summarize the information you receive from
your interviewees in a written report. Use as many
direct quotes as you can, and try to present as
complete an assessment of Okonkwo as possible.
Evaluate Exchange reports with a classmate and
compare the questions you asked and the
information you received. Was your report accurate
and thorough?
34
NOVEL COMPANION: Unit 1
BEFORE YOU READ: Chapters 14–25
Connect to the Literature
Can social conflicts always be resolved peacefully? When, if ever, is it
appropriate to take up arms for a cause?
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
Share with a Partner
Discuss these questions with a partner. Come up with a list of situations in
which violence might be justified. Share your conclusions with the class.
SUMMARIZE
Summarize in one sentence the most
important idea(s) in each section of
Build Background.
Build Background
Strangers in a Strange Land
The people of Iboland did not invite British soldiers, missionaries, and traders
into their country. For the most part, they were unaware that white-skinned
people from across the sea were already doing business on the coast and
along their rivers. But eventual face-to-face confrontation was inevitable. After
all, missionaries, explorers, and scientists from all over the world had been
traveling in various parts of Africa for hundreds of years. Some of the
missionaries who tried to convert Africans to Christianity and other faiths met
with willing converts, but many others met with violent resistance.
A Missionary and Activist
One missionary who managed to achieve great fame and to bond with the
Africans he encountered was Scotsman David Livingstone. In late 1840, he
arrived in Africa hoping to create a Christian settlement. But his search for a
healthful location for this endeavor soon made something of an explorer of
him, and he journeyed into remote areas of the jungle. He documented his
travels in detail, which eventually led to new and more accurate maps of the
African continent. Throughout his expeditions, Livingstone maintained a
reputation for getting along easily with local populations. But over the course
of time, he also witnessed the African slave trade firsthand, and it sickened
him. In his later years, he devoted himself to the fight against what he
perceived as this great evil.
Things Fall Apart: Chapters 14–25
35
BEFORE YOU READ: Chapters 14–25
Set Purposes for Reading
Vocabulary
왘 BIG Idea The Price of Freedom
Imperialism and the efforts of black Africans to gain independence and equal
rights have dominated contemporary African history. As you read the final
chapters of Things Fall Apart, note how author Chinua Achebe explores this
situation, as Okonkwo’s clan finds itself more and more at odds with an
invasive group of Christian missionaries and soldiers.
Literary Element
Archetype
An archetype is a symbol, character, theme, or pattern that is common to
human experience across cultures and throughout the world and evokes
strong emotional responses, often based on unconscious memory.
abomination [ə bom´´ ə nā´´ shən]
n. something that is disgusting or
loathsome; a detestable action
Jim’s peanut butter and baloney
sandwich was an abomination.
adherent [ad hēr´ ənt]
n. a firm supporter of a cause or
person
Ella is an adherent of stamping out
racism in city government.
derisive [di r¯´ siv]
adj. expressing contempt; mocking;
ridiculing
Archetypes can be divided into four basic categories:
• Character archetype, including familiar stock types such as the wise
leader, the damsel in distress, or the tragic hero.
When Jane misspoke the joke’s
punch line, she was greeted with
gales of derisive laughter.
•
Image archetype, in which objects or places have universal symbolism—
for example, a flower as a symbol of beauty.
imminent [im´ ə nənt]
adj. about to happen; impending
•
Plot pattern archetype, meaning stories that occur in many different
cultures, such as “the long journey home” or “outwitting the sly enemy.”
The race was imminent, and the
horses whinnied in anticipation.
•
Theme archetype, including ideas that occur whenever and wherever
people tell stories—for example, the idea that good can triumph over evil.
persevere [pur´´ sə vēr´]
v. to continue steadfastly in a course
of action in spite of obstacles
In the graphic organizer on the next page, examine the ways in which
Okonkwo is the archetype of a tragic hero.
Reading Strategy
Analyze Style
When you analyze style, you consider the
various expressive qualities that distinguish the
author’s work. An author’s style includes the
work’s tone, which is the attitude he or she
has toward the audience or the subject matter.
In Things Fall Apart, Chinua Achebe uses the
somewhat detached tone common to oral
storytelling, which is a large part of traditional
African culture. Other stylistic elements include
figurative language, used for descriptive
effect to convey ideas or emotions; the
balance of narration and dialogue; word
choice; and the length and arrangement of
sentences. Achebe also employs a great many
Ibo words and phrases, including proverbs,
which add cultural flavor to the story.
Stylistic Element
Tone
Dialogue: “I beg you to accept
this little kola,” he said. “It is
not to pay you back for all you
did for me in these last seven
years. A child cannot repay its
mother’s milk. I have only
called you together because it
is good for kinsmen to meet.”
courtesy and respect
for tradition
Ibo words and phrases
Figurative language
Proverbs
You may find it helpful to use a graphic organizer like the one at the right to
identify key stylistic elements that the author employs in this final section.
36
NOVEL COMPANION: Unit 1
The pioneers faced many dangers
but had to persevere in their quest
for a better life.
ACTIVE READING: Chapters 14–25
Okonkwo can be viewed as the archetype of a tragic
hero, a rich, powerful, and strong person who
eventually suffers a downfall. The downfall may result
from outside forces or from a weakness within the
character, which is known as a tragic flaw. In the chart
below, examine the character and actions of Okonkwo.
Attributes of the Tragic Hero
Ways in Which Okonkwo Shows These Attributes
Things Fall Apart: Chapters 14–25
37
INTERACTIVE READING: Literar y Element
Literary Element
Archetype What theme archetype is
revealed in the passage at the top of
this page?
NOVEL EXCERPT: CHAPTER 14
They sat in a big circle on the ground and the bride sat in the
center with a hen in her right hand. Uchendu sat by her, holding
the ancestral staff of the family. All the other men stood outside
the circle, watching. Their wives watched also. It was evening
and the sun was setting.
Uchendu’s eldest daughter, Njide, asked the questions.
“Remember that if you do not answer truthfully you will
suffer or even die at childbirth,” she began.
“How many men have lain with you since my brother first
expressed the desire to marry you?”
“None,” she answered simply.
“Answer truthfully,” urged the other women.
“None?” asked Njide.
“None,” she answered.
“Swear on this staff of my fathers,” said Uchendu.
“I swear,” said the bride.
Uchendu took the hen from her, slit its throat with a sharp
knife and allowed some of the blood to fall on his ancestral staff.
From that day Amikwu took the young bride to his hut and
she became his wife. The daughters of the family did not return
to their homes immediately but spent two or three days with
their kinsmen.
On the second day Uchendu called together his sons and
daughters and his nephew, Okonkwo. The men brought their
goatskin mats, with which they sat on the floor, and the women sat
on a sisal mat spread on a raised bank of earth. Uchendu pulled
gently at his gray beard and gnashed his teeth. Then he began to
speak, quietly and deliberately, picking his words with great care:
“It is Okonkwo that I primarily wish to speak to,” he began.
“But I want all of you to note what I am going to say. I am an
old man and you are all children. I know more about the world
than any of you. If there is any one among you who thinks he
knows more let him speak up.” He paused, but no one spoke.
“Why is Okonkwo with us today? This is not his clan. We are
only his mother’s kinsmen. He does not belong here. He is an
exile, condemned for seven years to live in a strange land. And
so he is bowed with grief. But there is just one question I would
like to ask him. Can you tell me, Okonkwo, why it is that one of
the commonest names we give our children is Nneka, or
“Mother is Supreme?” We all know that a man is the head of
the family and his wives do his bidding. A child belongs to its
father and his family and not to its mother and her family. A
man belongs to his fatherland and not to his motherland. And
yet we say Nneka—‘Mother is Supreme.’ Why is that?”
38
NOVEL COMPANION: Unit 3
INTERACTIVE READING: Literar y Element
There was silence. “I want Okonkwo to answer me,” said
Uchendu.
“I do not know the answer,” Okonkwo replied.
“You do not know the answer? So you see that you are a child.
You have many wives and many children—more children than I
have. You are a great man in your clan. But you are still a child,
my child. Listen to me and I shall tell you. But there is one more
question I shall ask you. Why is it that when a woman dies she is
taken home to be buried with her own kinsmen? She is not buried
with her husband’s kinsmen. Why is that? Your mother was
brought home to me and buried with my people. Why was that?”
Okonkwo shook his head.
“He does not know that either,” said Uchendu, “and yet he is
full of sorrow because he has come to live in his motherland for a
few years.” He laughed a mirthless laughter, and turned to his sons
and daughters. “What about you? Can you answer my question?”
They all shook their heads.
“Then listen to me,” he said and cleared his throat. “It’s true
that a child belongs to its father. But when a father beats his
child, it seeks sympathy in its mother’s hut. A man belongs to
his fatherland when things are good and life is sweet. But when
there is sorrow and bitterness he finds refuge in his motherland.
Your mother is there to protect you. She is buried there. And
that is why we say that mother is supreme. Is it right that you,
Okonkwo, should bring to your mother a heavy face and refuse
to be comforted? Be careful or you may displease the dead. Your
duty is to comfort your wives and children and take them back
to your fatherland after seven years. But if you allow sorrow to
weigh you down and kill you, they will all die in exile.” He
paused for a long while. “These are now your kinsmen.” He
waved at his sons and daughters. “You think you are the
greatest sufferer in the world? Do you know that men are
sometimes banished for life? Do you know that men sometimes
lose all their yams and even their children? I had six wives once.
I have none now except that young girl who knows not her
right from her left. Do you know how many children I have
buried—children I begot in my youth and strength? Twentytwo. I did not hang myself, and I am still alive. If you think you
are the greatest sufferer in the world ask my daughter, Akueni,
how many twins she has borne and thrown away. Have you not
heard the song they sing when a woman dies?
Literary Element
Archetype What character archetype
does Uchendu refer to here? How
would you paraphrase the statement
he makes to Okonkwo?
“ ‘For whom is it well, for whom is it well?
There is no one for whom it is well.’
“I have no more to say to you.”
Things Fall Apart: Chapters 14–25
39
INTERACTIVE READING: Reading Strategy
Reading Strategy
Analyze Style What aspects of the
author’s style do you notice in
Obierika’s telling of this story? Why do
you think the author chose to reveal
the events in this way?
40
NOVEL COMPANION: Unit 1
NOVEL EXCERPT: CHAPTER 15
“What did the white man say before they killed him?” asked
Uchendu.
“He said nothing,” answered one of Obierika’s companions.
“He said something, only they did not understand him,” said
Obierika. “He seemed to speak through his nose.”
“One of the men told me,” said Obierika’s other companion,
“that he repeated over and over again a word that resembled
Mbaino. Perhaps he had been going to Mbaino and had lost his
way.”
“Anyway,” resumed Obierika, “they killed him and tied up
his iron horse. This was before the planting season began. For a
long time nothing happened. The rains had come and yams had
been sown. The iron horse was still tied to the sacred silk-cotton
tree. And then one morning three white men led by a band of
ordinary men like us came to the clan. They saw the iron horse
and went away again. Most of the men and women of Abame
had gone to their farms. Only a few of them saw these white
men and their followers. For many market weeks nothing else
happened. They have a big market in Abame on every other Afo
day and, as you know, the whole clan gathers there. That was
the day it happened. The three white men and a very large
number of other men surrounded the market. They must have
used a powerful medicine to make themselves invisible until the
market was full. And they began to shoot. Everybody was
killed, except the old and the sick who were at home and a
handful of men and women whose chi were wide awake and
brought them out of that market.” He paused.
“Their clan is now completely empty. Even the sacred fish in
their mysterious lake have fled and the lake has turned the color
of blood. A great evil has come upon their land as the Oracle
had warned.”
There was a long silence. Uchendu ground his teeth together
audibly. Then he burst out:
“Never kill a man who says nothing. Those men of Abame
were fools. What did they know about the man?” He ground his
teeth again and told a story to illustrate his point. “Mother Kite
once sent her daughter to bring food. She went, and brought
back a duckling. ‘You have done very well,’ said Mother Kite to
her daughter, ‘but tell me, what did the mother of this duckling
say when you swooped and carried its child away?’ ‘It said
nothing,’ replied the young kite. ‘It just walked away.’ ‘You
must return the duckling,’ said Mother Kite. ‘There is something
ominous behind the silence.’ And so Daughter Kite returned the
duckling and took a chick instead. ‘What did the mother of this
chick do?” asked the old kite. ‘It cried and raved and cursed at
INTERACTIVE READING: Reading Strategy
me,’ said the young kite. ‘Then we can eat the chick,’ said her
mother. ‘There is nothing to fear from someone who shouts.’
Those men of Abame were fools.”
“They were fools,” said Okonkwo after a pause. “They had
been warned that danger was ahead. They should have armed
themselves with their guns and their machetes even when they
went to market.”
“They have paid for their foolishness,” said Obierika. “But I
am greatly afraid. We have heard stories about white men who
made the powerful guns and the strong drinks and took slaves
away across the seas, but no one thought the stories were true.”
“There is no story that is not true,” said Uchendu. “The world
has no end, and what is good among one people is an
abomination with others. We have albinos among us. Do you not
think that they came to our clan by mistake, that they have
strayed from their way to a land where everybody is like
them?”…
Ezinma brought them a bowl of water with which to wash
their hands. After that they began to eat and to drink the wine.
“When did you set out from home?” asked Okonkwo.
“We had meant to set out from my house before cock-crow,”
said Obierika. “But Nweke did not appear until it was quite
light. Never make an early morning appointment with a man
who has just married a new wife.” They all laughed.
“Has Nweke married a wife?” asked Okonkwo.
“He has married Okadigbo’s second daughter,” said
Obierika.
“That is very good,” said Okonkwo. “I do not blame you for
not hearing the cock crow.”
When they had eaten, Obierika pointed at the two heavy bags.
“That is the money from your yams,” he said. “I sold the big
ones as soon as you left. Later on I sold some of the seed-yams
and gave out others to sharecroppers. I shall do that every year
until you return. But I thought you would need the money now
and so I brought it. Who knows what may happen tomorrow?
Perhaps green men will come to our clan and shoot us.”
“God will not permit it,” said Okonkwo. “I do not know how
to thank you.”
“I can tell you,” said Obierika. “Kill one of your sons
for me.”
“That will not be enough,” said Okonkwo.
“Then kill yourself,” said Obierika.
“Forgive me,” said Okonkwo, smiling. “I shall not talk about
thanking you any more.”
Reading Strategy
Analyze Style What is your
interpretation of the author’s purpose
in closing the chapter with this bit of
dialogue? What is the tone of the
passage?
Things Fall Apart: Chapters 14–25
41
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your
note-taking. Develop a shorthand
system, including symbols, that works
for you. Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
The Price of Freedom “Divide and
conquer” is an old saying. How does
this adage apply to the white
missionaries and their insistence that
the Ibo people give up their old way
of life?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
42
NOVEL COMPANION: Unit 1
NOVEL EXCERPT: CHAPTER 21
There were many men and women in Umuofia who did not
feel as strongly as Okonkwo about the new dispensation. The
white man had indeed brought a lunatic religion, but he had
also built a trading store and for the first time palm-oil and
kernel became things of great price, and much money flowed
into Umuofia.
And even in the matter of religion there was a growing
feeling that there might be something in it after all, something
vaguely akin to method in the overwhelming madness.
This growing feeling was due to Mr. Brown, the white
missionary, who was very firm in restraining his flock from
provoking the wrath of the clan. One member in particular was
very difficult to restrain. His name was Enoch and his father
was the priest of the snake cult. The story went around that
Enoch had killed and eaten the sacred python, and that his
father had cursed him.
Mr. Brown preached against such excess of zeal. Everything
was possible, he told his energetic flock, but everything was not
expedient. And so Mr. Brown came to be respected even by the
clan, because he trod softly on its faith. He made friends with
some of the great men of the clan and on one of his frequent
visits to the neighboring villages he had been presented with a
carved elephant tusk, which was a sign of dignity and rank. One
of the great men in that village was called Akunna and he had
given one of his sons to be taught the white man’s knowledge in
Mr. Brown’s school.
Whenever Mr. Brown went to that village he spent long
hours with Akunna in his obi talking through an interpreter
about religion. Neither of them succeeded in converting the
other but they learned more about their different beliefs.
“You say that there is one supreme God who made heaven
and earth,” said Akunna on one of Mr. Brown’s visits. “We also
believe in Him and call Him Chukwu. He made all the world
and the other gods.”
“There are no other gods,” said Mr. Brown. “Chukwu is the only
God and all others are false. You carve a piece of wood—like that
one” (he pointed at the rafters from which Akunna’s carved Ikenga
hung), “and you call it a god. But it is still a piece of wood.”
“Yes,” said Akunna. “It is indeed a piece of wood. The tree
from which it came was made by Chukwu, as indeed all minor
gods were. But He made them for His messengers so that we
could approach Him through them. It is like yourself. You are
the head of your church.”
“No,” protested Mr. Brown. “The head of my church is God
Himself.”
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
MY VIEW
Write down your thoughts on the
excerpt.
Recap
Things Fall Apart: Chapters 14–25
43
AFTER YOU READ: Chapters 14–25
Respond and Think Critically
1. What attracts Nwoye to Christianity? Why does Okonkwo disinherit him?
[Infer]
2. How does Mr. Smith differ from his predecessor, Mr. Brown? How do these
differences influence the course of events in Umuofia? [Synthesize]
3. In your opinion, was Okonkwo showing bravery by killing the messenger?
Can such actions ever be justified? [Interpret]]
4. How do you think Nwoye would respond to his father’s downfall? Explain
your reasoning. [Infer]
5. The Price of Freedom Why do the people of Umuofia hold a mass
meeting, and how does it end? Why do you think Umuofia does not go to
war against the white men? [Analyze]
44
NOVEL COMPANION: Unit 1
APPLY BACKGROUND
Reread Build Background on page 35.
How did that information help you
understand or appreciate what you
read in the novel?
AFTER YOU READ: Chapters 14–25
Literary Element
Archetype
1. How might Okonkwo’s archetypal male self-image
be said to contribute to his own destruction?
[Interpret]
Vocabulary Practice
Identify whether the words in each pair have the
same or the opposite meaning.
1. abomination and atrocity
2. adherent and skeptic
3. derisive and sardonic
4. imminent and distant
5. persevere and give up
2. Reread the first paragraph of Chapter 22. What
archetype is the key to Mr. Smith’s worldview about
the conversion of the Ibo people? [Analyze]
Reading Strategy
Academic Vocabulary
1. As the white missionaries made connections in
Umuofia, more and more villagers began to
migrate to the new religion. Using context clues,
try to figure out the meaning of the boldfaced word
in the sentence above. Write your guess below.
Then check it in a dictionary.
Analyze Style
The story of the ill-fated people of Abame is told
several times in the last half of the novel. What is
the stylistic effect of repeating this story? [Infer]
2. Villagers who had been ill-treated by their
clansmen found it to their advantage to abandon
the old faith. In the preceding sentence, abandon
means “discard.” Think about a pursuit that you
once deemed important but later gave up. What
factors made you abandon this activity?
Things Fall Apart: Chapters 14–25
45
AFTER YOU READ: Chapters 14–25
Write with Style
Connect to Content Areas
Apply Tone
Speech
Assignment An author’s tone conveys the attitude he
or she brings to the subject matter. Achebe’s
storytelling style, which includes African oral traditions
such as proverbs, clan histories, and repetition, brings
an almost mythical tone to the events he describes.
Use a similar tone to create a paragraph about an
event from your own life.
Assignment After the tribal leaders were released
from prison, only one man got the opportunity to
speak to the crowd. How might the outcome have
been different if other orators had been granted the
opportunity? What course of action might the village
have taken? Compose a speech of your own, laying
out your ideas for the best course of action for
Umuofia to take. Keep in mind that your audience is in
a very emotional state. They will be expecting powerful
language and highly persuasive arguments.
Get Ideas Create a list of ideas based on events from
your childhood or your recent past. Your list should
include events and situations that you felt strongly
about.
Choose three items from your list and write a
paragraph about each of them. When you have
finished, read through each paragraph and circle the
emotionally charged words. These include words such
as furious, heartbroken, radiant, and joyful. Choose
the paragraph that contains the largest number of
emotionally charged words. You will rewrite this
paragraph in the style of oral storytelling.
Prepare Reread Okika’s impassioned speech to
Umuofia in Chapter 24. Notice his use of the rhetorical
question “Are all the sons of Umuofia with us here?” A
rhetorical question is one for which the speaker
already knows the answer or does not expect an
answer. Okika answers his own question with “They
are not.” A rhetorical question can be an effective
persuasive technique. As you craft your speech, use at
least one rhetorical question to fortify your point of
view.
Give It Structure Begin your paragraph with a topic
sentence stating your main idea, which in this case is
your thesis. Follow with sentences that support that
thesis. End with a sentence that restates it.
Deliver As you deliver your speech, make eye contact
with your audience. Use commanding body language
and make sure you have enough vocal projection to
be heard throughout Umuofia’s village green.
Look at Language Now take out each highly
charged word and replace it with simpler vocabulary,
dialogue, proverbs, repetition, or other storytelling
techniques you noticed while you were reading Things
Fall Apart.
Evaluate Write a brief paragraph evaluating your
speech. When your classmates present their speeches,
offer oral feedback on their performances.
Example:
The joyful crowd erupted into cheers as the runner
sped gleefully over home plate.
“All the way! All the way! All the way!” the crowd
chanted, as the runner took the last few steps over
home plate.
46
NOVEL COMPANION: Unit 1
WORK WITH RELATED READINGS
Things Fall Apart
The following questions refer to the Related Readings in Glencoe’s
Literature Library edition of this novel. Support your answers with details
from the texts. Write your answers on a separate sheet of paper, but jot
down some notes first on the lines provided.
The Second Coming
The Gentlemen of the Jungle
William Butler Yeats
Chinua Achebe took the title for his novel from line 3
of this poem. What connection do you see between
“The Second Coming” and the events in Umuofia?
Jomo Kenyatta
He Who Has Lost All
David Diop
Who reminds you more of Okonkwo, the man in “The
Gentlemen of the Jungle” or the speaker of “He Who
Has Lost All”? Explain your choice.
Chinua Achebe: A Storyteller Far from Home
Somini Sengupta
What comparisons can you make between Achebe’s
stay in the United States and Okonkwo’s exile in his
mother’s village?
from West With the Night
Beryl Markham
Beryl Markham claims that “true aristocracy” is
measured by “kinship with the elemental forces and
purposes of life.” By this definition, are the inhabitants
of Umuofia “true aristocrats”?
My Children! My Africa!
Athol Fugard
What similarities and differences do you see between
the deaths of Okonkwo and Mr. M?
Things Fall Apart
47
CONNECT TO OTHER LITERATURE
LITERATURE EXCERPT: The Panther
In the Jardin des Plantes, Paris
His vision, from the constantly passing bars
has grown so weary that it cannot hold
anything else. It seems to him there are
a thousand bars; and behind the bars, no world.
5
10
As he paces in cramped circles, over and over,
the movement of his powerful soft strides
is like a ritual dance around a center
in which a mighty will stands paralyzed.
Only at times, the curtain of the pupils
lifts, quietly—. An images enters in,
rushes down through the tensed, arrested muscles,
plunges into the heart and is gone.
48
NOVEL COMPANION: Unit 1
CONNECT TO OTHER LITERATURE
Compare the novel you have just read with the literature selection at the left,
“The Panther” by Rainer Maria Rilke, in Glencoe Literature. Then answer the
questions below. Support your answers with details from the texts.
Compare & Contrast
Character How would you compare the caged panther’s fate in Rilke’s poem
with Okonkwo’s final fate in Things Fall Apart?
WRITE ABOUT IT
Okonkwo and the panther in Rilke’s
poem share a sense of disturbed
equilibrium as their freedom is either
diminished or curtailed. What
emotions do you associate with the
loss of freedom?
Archetype Compare and contrast Okonkwo, the tragic hero, with the oncefierce panther, in many cultures a symbol of ferocity and valor, living out its
days in captivity.
Tone How would you compare Achebe’s tone with Rilke’s tone? What attitude
does each seem to take toward his subject?
Things Fall Apart
49
RESPOND THROUGH WRITING
UNDERSTAND THE TASK
Persuasive Essay
Argue a Position Chinua Achebe presents an even-handed portrait of the
novel’s central character, Okonkwo, a troubled man whose circumstances are
altered irrevocably by his own actions and the arrival of white missionaries in
his native land. The clash of the missionaries with the villagers of Umuofia
ultimately leads to Okonkwo’s ruin. Write a persuasive essay on the pros and
cons of sending missionaries to developing nations or regions with their own
tribal religions. Support your thesis with details from the text.
Prewrite Make a chart and fill it in with evidence that supports your
arguments. Make another chart with opposing arguments and evidence to
refute those arguments.
Argument (negative impact) Evidence
The imposition of a new religion Traditional Ibo customs were
can greatly alter or even
outlawed.
destroy a culture’s traditions.
Opposing Argument
Counter-Evidence
Exposure to new traditions can
bring welcome changes to a
culture.
Some Ibo members found a
new sense of belonging within
the Christian church.
Draft When you write your essay, begin with your thesis. This will clarify your
position on the positives and negatives of missionaries in developing nations.
The topic sentences of each of your body paragraphs should relate to your
thesis. Use evidence from the chart to support your statements. Reserve one
paragraph for opposing arguments. To complete your essay, restate your thesis.
Revise Exchange papers with a partner. Evaluate each other’s essay to make
sure your argument is logical and well supported and that it includes
persuasive techniques and refutes counterarguments. Revise your essay
based on the feedback you receive.
Edit and Proofread Edit your writing so that it expresses your thoughts
effectively and is well organized. Carefully proofread for grammar, punctuation,
and spelling errors.
50
NOVEL COMPANION: Unit 1
• When you argue in a persuasive
essay, you use logic or reason to try
to influence a reader’s point of view.
For this assignment you will look at
the evidence and decide whether
missionaries in developing nations
bring more advantages or
disadvantages to local populations.
• The thesis of an essay is its main
idea.
Grammar Tip
Joint and Separate Possessives
If two or more nouns share
possession of something, the last
noun takes the possessive ending:
Frank and Helen’s letters reflect
their affection for one another.
If the nouns possess something
separately, each noun takes its own
possessive ending:
Frank’s and Helen’s letters have
been donated to their college
libraries.
Cyrano de
Bergerac
Edmond Rostand
Cy ra n o d e B e r g e r a c
51
INTRODUCTION TO THE PLAY
Cyrano de Bergerac
Edmond Rostand
“
I honestly believe, gentlemen, that under
That blessed moon of his there never walked,
Stalked rather, strutted, so extravagant, bizarre,
Far-fetched, excessive, hyperbolic, droll,
Mad a gentleman-ruffian as this Bergerac.
”
—Cyrano de Bergerac, Act 1
As the cast and producers of Edmond
Rostand’s new play were rehearsing in the
fall of 1897, the mood was grim. While
Rostand was a popular dramatist with
Parisian audiences, the rumors the public had
heard about his new play disturbed many
theater fans. It had been scripted in a highly
artificial form that was popular with French
playwrights one hundred years earlier. No
one expected it to hold the attention of
sophisticated, modern Parisians.
An Unfashionable Premiere In the last
years of the nineteenth century,
industrialization was taking place in most of
Europe, including France, and with it came a
more scientific way of looking at things, and
realism was becoming popular. Realism in
literature, including drama, emphasizes
objective documentation of everyday life,
usually working-class life, and rejects
idealization or glamor. This movement,
particularly in France, developed into
naturalism—which shares the same goals
as realism but also stresses the natural
laws that govern human life. Naturalists
argued that the theater should explain the
scientific laws of human behavior. Amidst
this social and psychological objectivity,
Rostand’s new play about romantic heroes,
beautiful maidens, sword fights, and the
power of poetry and art seemed hopelessly
out of date.
52
NOVEL COMPANION: Unit 2
The directors of the theater that had accepted
the new play regretted their decision. They
decided to slash the budget for sets and
costumes, so Rostand had to pay for the
actors’ lavish costumes himself. During the
dress rehearsal, Rostand was so disappointed
with the sets that he had to be restrained from
attacking the set designer. The star of the play
was Constant Coquelin, one of France’s
leading actors. Even he, when asked for his
prediction about the new play’s success,
could only answer, shaking his head, “Dark.”
Rostand himself apologized to Coquelin. “I
beg your forgiveness, my friend,” he pleaded.
“Pardon me for having involved you in a
disastrous adventure.”
A Surprise Success Therefore, when the
curtain rose on Cyrano de Bergerac for the
first time on December 28, 1897, expectations
were low. The audience, however, was about
to be pleasantly surprised. From the hero’s
first majestic entrance to his last farewell, he
transfixed his viewers. Theatergoers cheered
Cyrano’s triumphs, sighed at his suffering,
laughed at his witty wordplay, and cried as
his fate became known. A full hour after the
curtain fell, the audience was still
applauding thunderously.
It is not easy to explain why Rostand’s play
confounded everyone by becoming one of the
century’s greatest smash hits. Perhaps the
answer lies in Cyrano de Bergerac’s stark
contrast to the grimly realistic plays of its day,
which often focused on modern society’s
darkest problems. The figure of the
swashbuckling Cyrano dueling his way
across the stage and stunning his compatriots
with his verbal cleverness took Paris by
storm. In fact, many critics, both of Rostand’s
time and later, attributed the play’s
INTRODUCTION TO THE PLAY
tremendous success to its romanticism, or
emphasis on idealism and heroism.
Although Cyrano de Bergerac may have
allowed its audience to retreat temporarily
from the grim realities of life, it is not just an
escapist work. Readers and viewers of this
play are able to recognize aspects of the
universal human condition in the larger-thanlife figure who dominates the play.
Sometimes all bluster, sometimes sad and
vulnerable, Cyrano bears the markings of a
real human being. Although he possesses
great gifts, he also carries a heavy burden that
is as plain as the prominent nose on his face.
His seeming self-confidence is blighted by his
belief that his large nose makes him
unlovable. This sense of inferiority fills his life
and shapes his personality.
Another reason for the play’s enduring
popularity may lie in the cleverness of its
writing. Through Cyrano, Rostand displays
an incredible ability to compose witty
poems, write ravishing love letters, and
speak off the cuff on any subject imaginable.
Cyrano’s virtues, though rather cliché, are
still admirable. He is honorable, selfsacrificing, just, brave, idealistic, and loyal.
He keeps his promises, even when they
cause him great pain.
Finally, Cyrano is known and loved most of
all for his panache, that is, his flair, individual
sense of style, verve, or pizzazz. In the end,
this quality is all he has left. Throughout the
years since the play’s opening, it is Cyrano’s
panache that has kept audiences and readers
coming back.
Translating the Essence
Translating a work into another
language is always a challenging
task. Cyrano de Bergerac presents
a special challenge because it is
written in verse, in rhyming
couplets with twelve syllables to a
line. This translation of Cyrano
de Bergerac is by the famous
English novelist Anthony Burgess
(1917–1993). He is best known
for his futuristic fantasy novel A
Clockwork Orange, which was
turned into a controversial film by
director Stanley Kubrick in 1971. In
the novel, some of the characters
use a language created by Burgess
and based largely on Russian.
Burgess led an extraordinary life.
Self-taught in music, he wrote
numerous orchestral works. He
also taught and worked in
Southeast Asia in the late 1950s.
When he was diagnosed with an
incurable brain tumor, he returned
to England and began writing
furiously in order to ensure that his
wife would be financially
comfortable after his death.
Although the diagnosis was later
proved incorrect, Burgess
continued to write novels, stories,
music and literary criticism, articles,
film and television scripts,
biographies, symphonies,
translations, and even a Broadway
musical based on Cyrano de
Bergerac. In all, he wrote a book a
year for fifty years.
As you read this translation of a
hundred-year-old work, originally
written in a highly artificial form of
poetry, notice how easily the
language flows.
Cy ra n o d e B e r g e r a c
53
MEET THE AUTHOR
Edmond Rostand (1868–1918)
“
Call it a sort of lie,
If you like, but a lie is a sort of myth,
And a myth is a sort of truth.
”
—Cyrano de Bergerac, Act 1
When Edmond Rostand was born in 1868,
France was undergoing major changes. The
country was establishing a republican
government after centuries of monarchy.
Along with industrial and commercial
development came social tensions, which
were reflected in the literature of the time.
Realistic novelists such as Gustave Flaubert
and Émile Zola replaced romantic writers
such as Victor Hugo and Alexandre Dumas
as public favorites.
France’s self-confidence would be shaken
by its loss in the Franco-Prussian War of
1870–1871. Although many people of the
time did not realize it, they would soon be
ready for a legendary hero who embodies
noble virtues. Edmond Rostand would be
the man to give such a hero to them.
An Artistic Background Rostand spent his
childhood in the southern port city of
Marseilles. He was born to an artistic family:
his father was a poet and professor and his
uncle was a composer. Rostand was a brilliant
student and, under pressure from his father,
studied law in Paris. His real love was
literature, however, and he began to write
plays and poems.
The production of one of his plays, The
Princess Far Away, starred the most famous
actress of the day, Sarah Bernhardt, who was
a good friend of Rostand’s. In general,
Rostand’s early works feature poetic
sentiments, noble ideas, and good parts for
the lead performers. Few of his plays besides
Cyrano are read or performed much today.
54
NOVEL COMPANION: Unit 2
A Masterpiece at Last In April 1896,
Rostand began working on the play that is
now regarded as his masterpiece—Cyrano de
Bergerac. When it came out in 1897, Cyrano de
Bergerac was very different from the popular
mainstream plays of the time, which were
very realistic and often addressed social
problems such as poverty, illness, and crime.
In spite of Cyrano’s success, however, it did
not create imitators. Realistic drama
continued to dominate the stage.
Life and Art In 1900, following the success
of Cyrano, Rostand produced his second-best
work. The Eaglet is the story of the young
son of Napoleon, who never ruled France
but spent his short life as a prisoner in
Austria. The role of the young prince was
played by actress Sarah Bernhardt. Critics
have pointed out that Rostand may have felt
a bond with the young prince. Both were
prisoners of their past, shadowed by a great
figure to whom they could never be
favorably compared. For the young prince, it
was the memory of his great father,
Napoleon. For Rostand, the gigantic figure
always looking over his shoulder was his
masterpiece, Cyrano de Bergerac.
After The Eaglet, Rostand wrote several more
plays, along with patriotic poems. His health
deteriorated, and he moved to southern
France seeking a more healthful climate. He
received the Legion of Honor, an award for
cultural achievement, and was elected to the
French Academy, but he lived a quiet life,
seeing only a few friends and family. His
final plays were not popular. He threw
himself into supporting the French effort in
World War I, and his visit to the trenches to
see for himself the hideous slaughter of
modern warfare shocked him greatly. He
died six weeks after the war ended, at the
age of fifty.
BEFORE YOU READ: Act 1
Connect to the Literature
Judging by images shown on TV and in movies and advertisements, there are
few attributes humans prize more highly than physical beauty. In your opinion,
why do we value physical beauty so highly? What relationship does it have to
inner beauty?
Share Ideas
Discuss this question with a partner. List reasons why you believe physical
beauty is so highly valued by our society.
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
WRITE THE CAPTION
Write a caption for the image below
using information in Build Background.
Build Background
Channeling Moliere
Taking up the style of a long out-of-fashion dramatic form might not sound
terribly daring by today’s entertainment standards. But in 1897, when
playwright Edmond Rostand broke out of the popular naturalist theater mode
of the day by going backward in time—all the way back to the seventeenthcentury verse plays of Moliere, in fact—his producers, the actors, and his friends
were terrified that the result would be failure—a flop on a grand scale. Instead
Rostand’s play, Cyrano de Bergerac, became one of the biggest popular hits of
that or any other theatrical season, and the title character—he of the
prodigiously proportioned nose—was assured a place in theater history. Loosely
based on the life of an actual poet-soldier who lived during the midseventeenth century, Cyrano de Bergerac might be classified as either a
romantic tragedy or a heroic comedy, depending on one’s point of view. In
fact, Rostand’s play is most easily classified under a term much despised by
his predecessor Moliere: tragicomedy. Cyrano’s contrasting character traits of
poetic verbal dexterity, astonishing physical courage, and abject devotion create
a tone that shuttles back and forth between hilarity and melancholy. Rostand
continually surprises the audience by jumping from raucous, bawdy comedy to
quiet speeches that combine lyricism with deeply felt emotion. More than a
hundred years later, the colorful world and complicated characters he created
remain popular with audiences around the world.
Cy ra n o d e B e rge r a c : Ac t 1
55
BEFORE YOU READ: Act 1
Set Purposes for Reading
왘 BIG Idea The Heroic Ideal
Who is your hero? In your opinion, what makes him or her a hero? Heroic
ideals vary from person to person and from culture to culture. Some cultures
value a simple ideal such as the powerful warrior or the sinless saint. Others
favor a more complex notion of the heroic ideal—a person dedicated to
excellence in a wide number of pursuits. As you read Act 1 of Cyrano de
Bergerac, identify ways in which the title character embodies a heroic ideal.
Literary Element
Hero
Vocabulary
affable [af´ ə bəl]
n. warm and friendly
The counselor laughed easily and
seemed like a very affable person.
bellicose [bel´ ə kōs]
adj. hostile; aggressive
Joey is usually well behaved, but
occasionally he gets downright
bellicose.
A hero is the chief character in a literary work, typically one whose deeds
arouse admiration. As you may recall, a tragic hero experiences ruin or great
sorrow due to a character flaw, an error in judgment, or a twist of fate. A
comic hero’s journey is more lighthearted, typically a series of adventures or
misadventures, often featuring mistaken identity and other classic comic
elements.
cynosure [s¯´ nə shoor´]
n. something that attracts attention
As you read Act 1 of Cyrano de Bergerac, analyze whether the play’s hero is a
tragic figure or a comic one. You might want to use a chart like the one on the
next page to help you decide how well Cyrano fits the heroic ideal.
The boxers fought hard, but there
was no actual enmity between them.
Reading Strategy
Identify Genre
A genre is a category or type of literature. Examples of major genres include
poetry, drama, fiction, and nonfiction. But categorized within each major genre
are many other genres. When you identify genre, you classify a work in
terms of certain elements.
Identifying genre is sometimes a bit difficult because many works are made
up of elements of several different genres. A work such as Cyrano de
Bergerac, for example, falls into various subcategories within its overall genre,
drama. At some points you might call it a comedy, a type of drama that is
humorous and often features a happy ending. At other times, you could more
accurately call it a tragedy. In addition, Cyrano is a verse play written mostly
in the form of alexandrines, twelve-syllable lines of meter.
As you read the first act of the play, identify examples of comic and tragic
elements. You may find it helpful to use a graphic organizer like the one at
the right.
56
NOVEL COMPANION: Unit 2
Aunt Mary’s jewelry collection is her
cynosure.
enmity [en´ mə tē]
n. hatred
lambast [lam bāst´]
v. to criticize harshly
The actor was devastated when the
critic took the opportunity to lambast
his performance.
Tragic
Elements
Comic
Elements
ACTIVE READING: Act 1
In Act 1, Rostand presents a number of actions that
help define Cyrano’s character. As you read the first
act of the play, use the chart on this page to make
Cyrano’s Actions
He stands on his chair and forces
Montfleury from the stage.
inferences regarding what these actions tell us about
Cyrano as a heroic figure.
Attributes of Heroic Ideal
He is brave, aggressive, and follows
through on his threat to remove
the actor.
He challenges members of the
audience to fight him.
He criticizes Montfleury’s acting
style.
He throws the bag of money on
stage.
He bullies the citizen who stares at
his nose.
He “teaches” the viscount how to
insult his nose properly.
He composes a ballad while
defeating the viscount.
He takes very little food from the
foodseller.
He becomes moody and subdued
when the crowd has left.
He refuses to take Le Bret’s advice
about Roxane.
He instantly decides to defend
Lignière from the 100 attackers.
Cy ra n o d e B e rge r a c : Ac t 1
57
INTERACTIVE READING: Literar y Element
Literary Element
Hero In what sense might Cyrano’s
defense of the theater be said to
illustrate the heroic ideal?
58
NOVEL COMPANION: Unit 2
NOVEL EXCERPT: ACT 1
[to CYRANO.]
But what are your reasons, sir? Why do you show
Such enmity towards Montfleury?
CYRANO. [courteously.]
Young ninny,
300
I have two reasons, but let one suffice.
This Montfleury of yours is a deplorable
Mouther, grunter, grimacer, posturer,
Who tears his lines to shivers with a tinny
Voice like a randy cageful of white mice.
305
The second reason? That’s my secret.
CITIZEN.
Intolerable
To deprive us without scruple of a play
As great as Clorise—
CYRANO. [respectfully.]
The work to which you refer,
You ass, is worth rather less than an ass’s bray.
I silenced it without compunction. Sir.
310 A PRÉCIEUSE. Did you hear that?
ANOTHER.
Really, what can one say?
ANOTHER. Dear Lord in heaven!
CYRANO. [gallantly.]
Ladies of rank and beauty,
Shiners, enchanters, take it as your duty
To inspire a poem or epigrammatic witticism,
But keep your pretty paws off dramatic criticism.
315 BELLEROSE. How about all the cash we have to give back?
CYRANO. Bellerose puts us all right. Yes, money matters.
Let it never be said that Bergerac
Wished to see Thespis’s robe grow full of tatters.
[He detaches a moneybag from his waist and throws it onto the stage.]
Take that. Take off.
JODELET. [picking up the bag.]
If you’ll guarantee a sack
320
Of loot like this, I’m ready to guarantee
To let you shut the theatre every night.
SPECTATORS. Boo. Boo. Boo.
JODELET.
Even if we
Get hissed and booed for it.
BELLEROSE.
All right, all right,
Let’s clear the hall.
[But nobody wants to leave.]
CITIZEN’S SON.
INTERACTIVE READING: Literar y Element
It’s mad.
CITIZEN.
Yes, mad.
That very famous actor
[TO CYRANO.]
Has His Grace the Duke of Candale as protector.
Do you have a patron?
CYRANO.
No.
CITIZEN.
No patron?
CYRANO.
No.
CITIZEN. No patron to protect you with his name?
CYRANO. No for the third time. I’m protected just
the same.
[He taps his sword.]
330
This is my patroness.
CITIZEN’S SON.
You’ll have to go.
You can’t stay here in Paris.
CYRANO.
No?
CITIZEN.
Great God,
His Grace—don’t you know how long an arm
The duke possesses?
CYRANO.
Less long than mine
When I’ve screwed on this steel extension rod.
335 CITIZEN. You honestly think you’re able to do him harm?
CYRANO. It’s possible. As for you, please turn you toes
The other way.
CITIZEN.
I beg your—
CYRANO.
Left incline,
Or right. And, thus reoriented, walk.
Or tell me why you’re looking at my nose.
[There is now a terrible expectant silence.]
340 CITIZEN. Really, I—
CYRANO.
Unusual, is it? Come on, talk,
Talker, tell me all about it.
CITIZEN.
Really, I
Try not to look at your nose, sir, really—
CYRANO.
Why?
Does it disgust you?
325
LE BRET.
Literary Element
Hero Would you say that Cyrano’s vast
confidence in his abilities, as portrayed
in this excerpt, is a heroic trait or a
foolish one?
Cy ra n o d e B e rge r a c : Ac t 1
59
INTERACTIVE READING: Reading Strategy
NOVEL EXCERPT: ACT 1
Reading Strategy
Identify Genre What elements of
comedy do you find within this
excerpt?
60
NOVEL COMPANION: Unit 2
[throbbing with rage.]
Cad, villain, clod, flatfooted bloody fool!
[CYRANO, unmoved, doffs his hat and bows low.]
CYRANO. And I’m Cyrano Savinien-Hercule
De Bergerac.
[VALVERT gives him the mandatory glove-blow—on his nose. CYRANO
remains unmoved.]
VALVERT.
There.
CYRANO.
Would you be terribly bored
If I composed a poem?
VALVERT. [sneering.]
Poet, eh?
CYRANO.
My lord,
455
I’m thoroughly versed in churning verses out
Even while rattling ironware about.
I’ll improvise a ballade.
VALVERT. [sneering still.] A ballade.
CYRANO. Sorry, my lord, to baffle you with hard
Technical expressions. I’ll explain.
460
Three eight-lined stanzas and then one quatrain,
The envoy. Sir, thus my proposal goes:
To fight and at the same time to compose
A ballade of strict classical design,
And then to kill you on the final line.
VALVERT. [sure of himself.]
465
Oh no.
CYRANO. No? ‘Ballade of a Fencing Bout
Between de Bergerac and a Foppish Lout.’
VALVERT. [drawing his sword.]
Well, when you’ve finished your doggerel recital—
CYRANO. [kindly.]
That was no doggerel. That was the title.
Wait. Let me choose my rhymes—
VALVERT.
Ape.
CYRANO.
That’s one.
RAGUENEAU.
Eel.
470 CYRANO. Thank you. Ape rape grape shape feel meal
deal seal.
I’m ready.
VALVERT.
INTERACTIVE READING: Reading Strategy
[The fighting ballade begins, with CYRANO suiting action to words all
through it.]
I bare my head from crown to nape
And slowly, leisurely reveal
The fighting trim beneath my cape,
475
Then finally I strip my steel.
A thoroughbred from head to heel,
Disdainful of the rein or bit,
Tonight I draw a lyric wheel,
But, when the poem ends, I hit.
480
485
Reading Strategy
Identify Genre What serious event lets
you know that this comic scene is not
all in jest?
Come and be burst, you purple grape,
Spurt out the juice beneath your peel.
Gibber, and show, you ribboned ape,
The fat your folderols conceal.
Let’s ring your bells—a pretty peal!
Is that a fly? I’ll see to it.
Ah, soon you’ll feel you blood congeal,
For, when the poem ends, I hit.
I need a rhyme to hold the shape—
Gape, fish. I’m going to wind the reel.
490
My rod is lusting for its rape,
This sharp tooth slavers for its meal.
There, let it strike. Ah, did you feel
The bite? Not yet. The vultures sit
Until the closing of the deal.
495
The poem ends, and then I hit.
[He stands solemnly to attention.]
Envoy.
Prince, drop your weapon. Humbly kneel,
Seek grace from God in requisite
Repentance. Now—I stamp the seal.
500
The poem ended—and I hit!
[He dispatches the viscount neatly. VALVERT falls, and his friends
gather round him.]
Cy ra n o d e B e rge r a c : Ac t 1
61
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
NOVEL EXCERPT: ACT 1
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
LE BRET.
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
120
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
125
130
왘 BIG Idea
The Heroic Ideal According to the
opinions expressed by the men in this
excerpt, what qualities of the heroic
ideal does Cyrano possess?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
62
NOVEL COMPANION: Unit 2
What an extraordinary man he is.
Exquisite—one of the world’s prodigies.
RAGUENEAU. Poet.
CUIGY.
Fighter.
BRISSAILLE.
Physician.
LE BRET.
Musician.
LIGNIÈRE.
Ah—
His appearance, though—isn’t that truly bizarre?
RAGUENEAU. Bizarre, excessive, hyperbolic, droll,
With his triple-waving plume, his visible soul,
Six slashes in his doublet, and his cloak,
Which the flashing scabbard hoists up at the back
To make it like the tail of a barnyard cock—
That is Cyrano de Bergerac.
Cocky, insolent, Gascony-proud he goes,
Flaunting that Punchinello strawberry nose
Of his—a nose, gentlemen, that makes one feel
Like squealing: ‘Oh God, no, it can’t be real.
It must be detachable—is, I’m prepared to bet.’
But Cyrano’s never been known to detach it yet.
LE BRET. He wears it, or it him, and, should anyone laugh,
His sword swoops down and lops him clean in half.
RAGUENEAU. The blade is one of the blades of destiny’s
scissors.
FIRST MARQUIS. But he doesn’t seem to be coming.
LE BRET.
Oh, yes he is, as
Sure as my name’s—
RAGUENEAU.
He’ll be here in a minute or so.
I’m prepared to bet a poulet Ragueneau.
RAGUENEAU.
135
CORNELL NOTE-TAKING SYSTEM: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
REDUCE your notes.
ASK QUESTIONS
Write any questions you have about
the novel. Do you have to go to an
outside source to find the answers?
Recap
Cy ra n o d e B e rge r a c : Ac t 1
63
AFTER YOU READ: Act 1
Respond and Think Critically
1. What does Captain Le Bret say happens to anyone who makes fun of
Cyrano’s nose? What do you learn about Cyrano from this information?
[Infer]
2. How does Valvert insult Cyrano just before their duel begins? How does
Cyrano gain revenge for this insult? [Interpret]
3. What is Le Bret’s advice to Cyrano regarding his love for his cousin? Why
do you think Cyrano reacts to this advice the way he does? [Analyze]
4. How would you describe Christian’s reaction when he first glimpses
Roxane? What can you infer about him based on this? [Infer]
5. The Heroic Ideal In response to the question about where his life will
lead, Cyrano tells Le Bret, “I’ve decided to excel in everything.” Do you
think such an attitude is realistic in everyday life? Explain. [Evaluate]
64
NOVEL COMPANION: Unit 2
APPLY BACKGROUND
Reread Introduction to the Novel
on pages 52–53. How did that
information help you understand
or appreciate what you read in
the novel?
AFTER YOU READ: Act 1
Literary Element
Vocabulary Practice
Hero
1. Despite his many talents and gifts, Cyrano feels he
has no chance of winning Roxane’s love. How
would you define Cyrano’s tragic flaw? [Analyze]
On a separate sheet of paper, write the vocabulary
word that correctly completes each sentence.
affable
bellicose
cynosure
enmity
lambast
1. The man walked through the subway car pointing at
people and talking in a loud,
manner.
anyone, but
2. Jessie didn’t want to
she felt certain problems ought to be addressed.
2. How does Cyrano handle his lack of confidence
about his nose in public situations? [Analyze]
3. The thousand-acre family farm was a showplace,
a real
of the area.
4. The meeting was very
, and
everyone agreed on the proposal.
5. The
between my two uncles had
built up over years of jealousy and backbiting.
Academic Vocabulary
Reading Strategy
Identify Genre
1. What is revealed about Cyrano as he duels with
Valvert? What genre elements do you identify in
this section? [Analyze]
1. Cyrano displays an extreme bias against
Montfleury’s pompous acting style. In the
preceding sentence, bias means “prejudice.” How
do personal biases cause—and solve—problems in
the contemporary world? Use examples from your
town or area to illustrate your response.
2. Although Cyrano is a proud and gifted man,
severe doubts and insecurities underlie his
bravado. To become more familiar with the word
underlie, fill out the graphic organizer below.
definition
synonyms
2. At the end of Act I, Cyrano makes a knowing
reference to the theatrical genre. How does this
affect your perception of the events? [Interpret]
underlie
antonyms
sentence
Cy ra n o d e B e rge r a c : Ac t 1
65
AFTER YOU READ: Act 1
Write with Style
Speaking and Listening
Apply Form
Oral Interpretation
Assignment Cyrano’s Act 1 speech about his nose is
one of the most famous and amusing monologues in
the play. Cyrano uses his verbal wizardry to defeat his
enemy as surely as he later uses his sword. Choose six
categories that Cyrano mentions (“frank aggressive,”
“friendly,” “pure descriptive,” etc.) and write your own
version, in verse, of a comparison of Cyrano’s nose.
Assignment Plan and present an oral interpretation
of one of the speeches in Act 1 of Cyrano de
Bergerac.
Get Ideas Reread the speech (lines 368 to 424).
Notice that it is written in rhyming couplets. For each
category of insult, create a list of rhyming words:
Insolent: sneeze, wheeze, please, fleas, knees, trees,
appease, tease, unease, cheese, frees
Now see if you can put some of these together into
rhyming couplets:
“Insolent: Where did you get that nose—oh, tell me
please / The horror hangs way down below your
knees.”
Give It Structure Create an introduction to your
monologue. Use the first four lines of Cyrano’s
monologue as your guideline. Decide on an order for
the individual categories.
Look at Language Poetic form can be very strict, so
try to mimic Rostand’s alexandrine verse form. Recall
that Rostand uses lines of ten to twelve syllables
throughout the monologue. Try to keep each of your
lines between ten and twelve syllables as well. Say
them aloud before you write them into your
monologue. If the rhythm is off, switch some of the
words with others that fit better.
Prepare Choose a monologue of at least fifteen lines
from the first act of the play. Think about where the
monologue fits into the play and consider how well it
might come across as a stand-alone performance
piece. Once you have selected your piece, analyze it
thoroughly. What has happened immediately before
this moment? How is the character feeling? What is
going on around the character? What happens
immediately afterward? Be sure you can answer each
of these questions.
Now you can begin to mark up your script. Oral
interpretation is, in some ways, like performing a piece
of music. You will need to think about the tempo of
your presentation, or the pace at which you will read
each line. Also consider the rhythm, which will depend
on which words and lines you stress. As you go
through the monologue use a single slash ( /) to
indicate a breath, a double slash for a brief pause, a
triple slash for a lengthier pause, and underscoring for
words or phrases you want to emphasize:
Silence! ///
I hereby herewith issue one
Collective challenge. / How about you? Or // you?
Mark up the entire monologue in this way and
rehearse it aloud several times.
Perform Present your interpretation to your class. Be
sure that your body language and tone of voice match
your character and contribute to the comic or dramatic
effect of the words.
Evaluate After the presentation, solicit feedback from
your classmates to find out how successful your
performance was and how it might have been better.
66
NOVEL COMPANION: Unit 2
BEFORE YOU READ: Act 2
Connect to the Literature
A famous baseball player once said, “It’s not bragging—if you can do it!” Do
you agree? Why or why not?
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
Discuss
With a few other students, discuss whether someone who talks a lot about his
or her accomplishments or future plans is being boastful or merely confident.
Does your perspective change if the person really has accomplished what he
or she has claimed?
SUMMARIZE
Summarize in one sentence the most
important idea(s) in Build Background.
Build Background
From Pirates to Musketeers
“Swashbuckler” is a term used to describe a story with colorful swordfighting characters. It was originally coined in 1560 to describe a
swordsman who struck an opponent’s shield, or buckler, with his sword. In
film, as well as in literature, there is a whole genre of swashbucklers,
including the movie versions of classics such as Cyrano de Bergerac,
Hamlet, and The Man in the Iron Mask. More contemporary swashbucklers
include the Pirates of the Caribbean film series, in which Johnny Depp
stars as a reluctant pirate hero with some very nasty habits, such as doublecrossing friends and enemies alike.
Cyrano de Bergerac is a drama in keeping with an earlier tradition of gallant
swashbucklers. Scottish novelist and poet Sir Walter Scott invented the
swashbuckling historical novel when he wrote Ivanhoe, but the figure of the
caped swordsman did not become a full-fledged literary hero until Alexandre
Dumas’s The Three Musketeers and The Count of Monte Cristo.
Born in 1802, Dumas created the elegant, dashing duelist D’Artagnan, who
becomes the fourth musketeer late in The Three Musketeers. Embodying all
the virtues of courage, chivalry, and reckless delight, Dumas’s character, like
Rostand’s Cyrano, is based on a historical figure, in this case a man from
Gascony who was also known as D’Artagnan but whose real name was
Charles de Batz de Castelmore (1611–1673). D’Artagnan, swashbuckler
extraordinaire, shows up in three of Dumas’s novels.
Cy ra n o d e B e rge r a c : Ac t 2
67
BEFORE YOU READ: Act 2
Set Purposes for Reading
왘 BIG Idea The Heroic Ideal
Can people act out of truly selfless motives? How would you define a selfless
act? According to the Greeks’ heroic ideal, a hero strove to achieve personal
excellence at any cost. In addition to being brave and strong, and a gifted
public speaker, a hero was supposed to endure whatever fate had to offer
without too much complaining. As you read Act 2, consider the ways in which
Cyrano embodies this ideal.
Literary Element
Argument
Argument is a type of persuasive writing in which logic and reason are used
to try to influence a reader’s ideas or actions.
To understand argument in a literary work, it’s important to ask what the
character’s position on a certain philosophical question or plot point tells you
about his or her deeper motivations. In an argument between two characters,
which of them do you side with—and why?
As you read Act 2 of Cyrano de Bergerac, consider the underlying meaning of
each argument put forth. You might want to record some of your observations
on the graphic organizer on the next page.
Reading Strategy
Analyze Rhetorical Devices
When you analyze rhetorical devices, you look closely at the techniques
speakers and authors use, especially those that are intended to persuade.
Rhetorical devices with which playwright Edmond Rostand fuels his title
character’s persuasive arguments include the following:
repetition—the recurrence of sounds, words, phrases, or stanzas
connotation—the unspoken meanings associated with a word, beyond its
literal meaning
parallelism—the use of a series of words, phrases, or lines that have a similar
grammatical form and structure
emotional appeal—language that sparks an emotional response
Analyzing rhetorical devices can help you understand subtle or hidden
meanings in literature.
As you read Act 2, pay close attention to the rhetorical devices the characters,
especially Cyrano himself, use in their speeches. You may find it helpful to use
a graphic organizer like the one at the right.
68
NOVEL COMPANION: Unit 2
Vocabulary
doggerel [dô´ ər əl]
n. trivial or inferior poetry
I thought the poem was very
moving, but my sister insisted it was
doggerel.
doublet [dub´ lit]
n. short jacket, with or without
sleeves
The actor playing Hamlet was
costumed in a doublet that was at
least a size too small for him.
moiety [moi´ ə tē]
n. portion; piece
The pirate claimed seven thousand
pieces of gold as his moiety.
retinue [ret´ ən ¯
oo´]
n. group of followers
The film star’s retinue included fans,
managers, agents, family members,
and a few friends.
whelp [hwelp]
n. the young of certain animal
species
Our dog had a litter of whelps
before she was two years old.
Quote
Rhetorical
Device
lines 392–394,
“Cling like a
leeching vine/
To a tree?
Crawl my way
up? Fawn,
whine/For all
that sticky
candy called
success?”
Parallelism
ACTIVE READING: Act 2
There are several speeches containing argument in
Act 2. For each incident noted below, indicate the
Subject
DeGuiche and Cyrano,
on the value of
Gascons as soldiers,
lines 296–379
subject under discussion, which character’s reasoning
you found more persuasive, and why.
Who Wins?
Cyrano
Why?
He argues eloquently
that they are proud,
fierce fighters, not simply
“hairy, high-head
heroes”; he himself is a
good example.
LeBret and Cyrano, on
the folly of making
enemies for the fun of
it, lines 379–480
Christian and Cyrano,
on why Cyrano should
supply Christian with
the words to woo
Roxane, lines 569–615
Cy ra n o d e B e rge r a c : Ac t 2
69
INTERACTIVE READING: Literar y Element
NOVEL EXCERPT: ACT 2
Literary Element
Argument What is Cyrano’s central
argument about his principles? Do you
find this argument logical and
convincing given the circumstances?
No, to be quite accurate, when
A man has achieved an unprecedented ecstasy
Of excess, you can’t say he’s done it again.
LE BRET.
I did it on principle. Excess, you see,
Is not excessive when it’s been conceived
On principle. My success is achieved
Only by excess.
CYRANO.
385
Oh, if only you’d stop
Trying to be the three musketeers and Don
Christ Quixote rolled up into one,
You’d make your way, you’d wing up to the top.
LE BRET.
390
395
400
405
410
415
70
NOVEL COMPANION: Unit 2
Up to the top. What would you have me do?
Seek out a powerful protector, pursue
A potent patron? Cling like a leeching vine
To a tree? Crawl my way up? Fawn, whine
For all that sticky candy called success?
No, thank you. Be a sycophant and dress
In sickly rhymes a prayer to a moneylender?
Play the buffoon, desperate to engender
A smirk on a refrigerated jowl?
No, thank you. Slake my morning mouth with foul
Lees and leavings, breakfast off a toad?
Wriggle and grovel on the dirty road
To advancement and wear the skin of my belly through?
Get grimy calluses on my kneecaps? Do
A daily dozen to soften up my spine?
No, thank you. Stroke the bristles of some swine
With one hand, feel his silk purse with the other?
Burn up the previous incense of my motherWit to perfume some bad bastard’s beard?
No, thank you. When all pride has disappeared,
Sail stagnant waters, with madrigals for oars,
The canvas filled with the breath of ancient whores
Or unfructified duennas? Be the pope
Of some small literary circle and softsoap
Editors and reviewers? Shall I look
For a lifetime’s reputation from one book
And then give up the agonizing art
As far too wearing? No, thanks. Shall I start
Finding true genius only in imbeciles
And acneous hairy oafs? Let out shrill squeals
CYRANO.
INTERACTIVE READING: Literar y Element
420
425
430
435
440
445
450
At being neglected by the columnists?
Live in a fog of fear, grope through the mists
Of scheming calculation? No, thanks. Is it
Best I should think it best to make a visit
Rather than make a poem? Relish the savour
Of stuffy salons? Seek condescension, favour,
Influence, introductions? No, no, no,
Thank you, no. No, thank you. But to go
Free of the filthy world to sing, to be
Blessed with a voice vibrating virility,
Blessed with an eye equipped for looking at
Things as they really are, cocking my hat
Where I please, at a word, at a deed, at a yes or no,
Fighting or writing: this is the true life. So
I go along any road under my moon,
Careless of glory, indifferent to the boon
Or bane of fortune, without hope, without fear,
Writing only the words down that I hear
Here—and saying, with a sort of modesty,
‘My heart, be satisfied with what you see
And smell and taste in your own garden—weeds,
As much as fruit and flowers.’ If fate succeeds
In wresting some small triumph for me—well,
I render nothing unto Caesar, sell
No moiety of my merit to the world.
I loathe the parasite liana, curled
About the oak trunk. I myself am a tree,
Not high perhaps, not beautiful, but free—
My flesh deciduous, but the enduring bone
Of spirit tough, indifferent, and alone!
Literary Element
Argument What argument is Le Bret
making about Cyrano’s habit of
constantly making enemies? To what
does Cyrano compare Le Bret’s habit
of making new friends?
Alone, yes, tough, yes, but indifferent—no.
An indifferent man, God knows, doesn’t go
Around as you do, seeking enemies.
LE BRET.
And you make friends. With all deference, is
That gift not rather a canine one? You grin
At your big pack of friends, your lips tucked in
Like a hen’s arse. You love new friends. I’m glad
To make new enemies.
CYRANO.
455
Cy ra n o d e B e rge r a c : Ac t 2
71
INTERACTIVE READING: Reading Strategy
NOVEL EXCERPT: ACT 2
Reading Strategy
Analyze Rhetorical Devices What
rhetorical device does Rostand use in
this excerpt? What is the effect of this
technique?
560
CYRANO.
CHRISTIAN.
565
570
575
NOVEL COMPANION: Unit 2
[in deep distress.]
Oh, no.
What?
CHRISTIAN.
I ruin everything if I write.
CYRANO. How?
CHRISTIAN.
Because I’m such a damned fool.
CYRANO.
The way
You tackled me was not damned foolish.
CHRISTIAN.
Oh,
I can find the words when mounting an attack—
Call it military wit. But I don’t know
How to mount, assault—the things to say,
I mean, when it comes to a woman. I become
Paralytic, tonguetied, speechless, dumb.
CYRANO. That’s explicit enough.
CHRISTIAN.
If only I
Had the words—
CYRANO.
I have the words. All I lack
Is looks.
CHRISTIAN. You know her.
CYRANO.
Know her.
CHRISTIAN.
Know that she’s so
Exquisite, sensitive—one false word and I blow
Any illusion she may have skyhigh.
CYRANO. If only I had somebody like you
As the interpreter, if I may put it so,
Of my dumb music.
CHRISTIAN.
If only I had your wit,
Your eloquence—
CYRANO.
72
Roxane expects a letter from you—tonight.
INTERACTIVE READING: Reading Strategy
Well, why not borrow it?
And, in return, I’ll borrow your good looks.
There’s promising algebra here: you plus I
Equal one hero of the story books.
CHRISTIAN. I don’t think I quite—
CYRANO.
So I don’t see why
I shouldn’t give you words to woo her with.
CHRISTIAN. You—give—me—?
CYRANO.
Call it a lie,
If you like, but a lie is a sort of myth
And a myth is a sort of truth. No reason why
Roxane should be disillusioned. Let’s start
A fruitful collaboration.
CHRISTIAN.
You frighten me!
CYRANO. What scares you is the thought of the time when she
And you are alone, and you cool down her heart
With breath unwarmed by words. Well, have no fear:
My words will be with you, glued to your
Lips. What do you say?
CHRISTIAN.
I say what I said
At first: I don’t quite—
CYRANO.
Understand. Unsure
About my motive? Simple: it’s pure art.
The finest lines of the dramatist are dead
Without the actor’s partnership. One whole
Is made from our two halves—your lips, my soul.
CHRISTIAN. I think I see. To you it’s not much better
Than a refined amusement. Still, I’m grateful.
Oh God, we have to start at once—
CYRANO.
The letter.
You mean the letter.
CYRANO.
580
585
590
595
600
Reading Strategy
Analyze Rhetorical Devices What is
ironic about this emotional appeal
Cyrano makes to Christian?
Cy ra n o d e B e rge r a c : Ac t 2
73
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
The Heroic Ideal Why does Cyrano
not react with his characteristic wit and
violence to Christian’s insults?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
74
NOVEL COMPANION: Unit 2
NOVEL EXCERPT: ACT 2
Very well. My version.
[In hexameters.]
There, then, was the enemy. Here, then, was I,
Marching towards them. Like a great clock in the sky
The moon pulsed out at me. But suddenly I saw pass
A cottonwool cloud across it, like an angel cleaning its glass,
510
And night fell equally black on myself and my lurking foes—
So black that a man couldn’t see even as far as his—
CHRISTIAN
Nose.
[There is astonishment. CYRANO quakes. He addresses his captain.]
CYRANO. Who is that man there?
CARBON.
The new man who came
This morning.
CYRANO.
This morning.
CARBON.
This morning.
CYRANO.
This morning.
CARBON.
His name
Is Christian de Neuvi—
CYRANO. [in control.]
Oh, I see. Where was I?
515 CHRISTIAN. God knows.
CYRANO. [raging.]
Mordious!
[The CADETS cannot at all understand his sudden restraint. CYRANO
speaks naturally again.]
A cloud over the sky
So black a man couldn’t see even as far as his toes.
And I marched along, reflecting that, to save that base
Drunken poetaster, I might be spitting in the face
Of some great man, a prince, well able to have at me
520
Right in the—
CHRISTIAN.
Nose.
CYRANO. [controlled but sweating.]
Teeth. But still, imprudently,
I marched. Why, though, should I stick my—
CHRISTIAN.
Nose.
CYRANO.
Finger in that pie?
Was Gascon impetuosity a match for Parisian cunning?
Could I, a Gascon, ever live down the ignominious
running
Of my—
CHRISTIAN. Nose?
CYRANO. [ditheringly.]
Legs? But I said to myself: ‘On, on,
525
Son of Gascony, be brave, do what has to be done,
March, Cyrano, march.’ Then out of the porridge-thick
Darkness came the first thrust, and caught me a flick—
CHRISTIAN. On the nose.
505
CYRANO.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
REDUCE your notes.
TO THE POINT
Write a few key ideas.
Recap
Cy ra n o d e B e rge r a c : Ac t 2
75
AFTER YOU READ: Act 2
Respond and Think Critically
1. At what exact moment in the pastry shop does Cyrano learn that Roxane is
talking about being in love with someone else? What does this tell you
about Cyrano? [Interpret]
2. In your opinion, why does Christian insult Cyrano’s nose? What is Cyrano’s
reaction when he finds out that Christian is the one making the rude
comments about his nose? What do you infer about Cyrano from this?
[Infer]
3. What arrangement does Cyrano make with Christian regarding Roxane?
Why do you suppose Cyrano suggests this arrangement? [Interpret]
4. Do you think Cyrano is boastful or simply self-confident? Give evidence
from the text to support your answer. [Analyze]
5. The Heroic Ideal Cyrano agrees to help another man who is in love with
the woman Cyrano loves. Are Cyrano’s actions believable? Does he behave
as you feel most people would given the circumstances? How does this
embody the heroic ideal? [Evaluate]
76
NOVEL COMPANION: Unit 2
APPLY BACKGROUND
Reread Build Background on
page 67. How did that information
help you understand or appreciate
what you read in the novel?
AFTER YOU READ: Act 2
Literary Element
Vocabulary Practice
Argument
1. In the bakery, Roxane and Cyrano discuss a series
of experiences they had as children. What opposing
goals become apparent through this dialogue?
[Analyze]
A synonym is a word that has the same or nearly the
same meaning as another word. Match each
boldfaced vocabulary word below with its synonym.
Use a thesaurus or dictionary to check your answers.
1.
2.
3.
4.
5.
2. Which of them has the more persuasive argument
in the scene? [Evaluate]
doggerel
doublet
moiety
retinue
whelp
a.
b.
c.
d.
e.
f.
g.
inferior poem
puppy
city-state
entourage
magic
share
jacket
Academic Vocabulary
1. Christian feels he is inadequately equipped either
to declare his love to Roxane in person or to do so
in letters. In the preceding sentence, equipped
means “prepared.” Equipped also has other
meanings. For instance: The truck was equipped
with machinery for fixing electrical wiring. What do
you think equipped means in the preceding
sentence? What is the difference between the two
meanings?
Reading Strategy
Analyze Rhetorical Devices
1. What rhetorical devices does Rostand use to
illustrate Roxane’s and Cyrano’s opposing goals in
their dialogue in lines 189–215? [Analyze]
2. Look again at the dialogue between Cyrano and
the cadets in lines 258–265. What rhetorical
device does Rostand employ here and what is its
purpose? [Infer]
2. Cyrano’s willingness to help Christian woo Roxane
only reinforces the idea of Cyrano’s own love for
her. Using context clues, try to figure out the
meaning of the boldfaced word in the sentence
above. Check your guess in a dictionary.
Cy ra n o d e B e rge r a c : Ac t 2
77
AFTER YOU READ: Act 2
Write with Style
Speaking and Listening
Apply Parallel Sentence Structure
Literature Groups
Assignment Review examples of parallel structure in
Act 2. Using a humorous tone, write a paragraph in
which you use parallel sentence structure to illustrate
the traits of a person you know or a character you
have read about.
Assignment At the end of Act 2, Christian admits that he
does not speak well, especially to women. The underlying
theme of his discussion with Cyrano is that language is a
powerful tool and can be used to accomplish goals, such
as, in this case, winning the love of Roxane. In a small
group, discuss specific ways in which spoken and written
language can be used. Give examples from history, current
events, or your own life. Then discuss how language may
be analyzed to determine whether it is being used for
positive or negative purposes.
Get Ideas Begin by making a list of the traits of the
person or character you will write about. Write quickly
and don’t judge your word choices at this stage. When
you have a list of twenty or so traits, select the ten
most evocative words or phrases. You will structure
your parallel sentences around these.
Give It Structure You need not write in verse; a
simple prose paragraph will suffice. To familiarize
yourself with the author’s use of parallel structure, note
lines 318–321:
They’re lithe as cats or marmosets,
But never cherish the belief
They can be stroked like household pets
Or fed on what a lapdog gets.
Think of this sentence as if it were prose. Notice that
the first two lines are independent clauses. The next
two are dependent clauses. Follow this or a similar
pattern for at least two consecutive sentences in your
paragraph.
Look at Language Parallelism often creates a strong,
forceful rhythm. As you compose your paragraph, think
about the descriptive words you have selected. Are
they as strong as they might be now that you are
putting them together into a parallel structure? Do they
create clear images of the person you wish to
describe? As you revise, replace weak adjectives with
more vibrant ones:
passionate
George is witty, interesting, and brilliant, but he
doesn’t suffer fools gladly.
Prepare Before your group meets, look back at Acts 1
and 2 and make a list of the ways the characters (and
the author) use language. Note what you find in a chart
like the one below.
Personal
Public
Media
Conversations,
personal
correspondence,
e-mail, jokes,
social group
meetings
Speeches,
debates,
business
correspondence,
government and
legal sessions
News stories,
plays and films,
radio reports,
poetry and
songs, videos
Discuss When you meet with your group, respect the
views of others by listening attentively. Deliver your
opinions in a normal tone of voice, providing clear,
specific examples from your chart. As you listen to
your group, add new elements to your chart. Then
work together to come up with several strong, specific
examples of each type of language category. Discuss
potential positive and negative outcomes. For example,
a speech might have the positive effect of inspiring the
public to take action about a particular social issue,
such as global warming. But a speech on the same
issue could have the negative effect of making the
public feel hopeless about its ability to effect change.
Report Have each group member present one of the
examples you all decided upon. When your turn
comes, be sure to address the class clearly and loudly
enough for all to hear.
Evaluate Write a paragraph in which you assess the
effectiveness of your discussion.
78
NOVEL COMPANION: Unit 2
BEFORE YOU READ: Act 3
Connect to the Literature
What personal traits are important to you in a friend or companion?
Make a List
Work with a partner to make a list of five characteristics you find most
important in another person.
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
SUMMARIZE
Summarize in one sentence the most
important idea(s) in Build Background.
BUILD BACKGROUND
The Real Cyrano
Edmond Rostand’s hero is based on a real-life person. The real Cyrano, born
in 1619, was not from Gascony but from Paris. A castle owned by his father
was called Bergerac, and this name, ending in -ac like many names in
Gascony, led Rostand to make his character a native of that region. The
historical Cyrano did, in fact, come under the influence of his beautiful and
intelligent cousin, Madeleine Robineau, who was married to the Count de
Neuvillette. It is not known whether Cyrano was in love with his cousin, but
she did help him become a member of Parisian high society.
Like his fictional counterpart, Cyrano was well known for his skill in dueling
and his inordinately long nose. He also fought at the siege of Arras in 1640.
There, he coached his comrades on how to speak and write effectively,
especially on matters of love. On his return to Paris, he began a career as a
largely satirical author and well-known freethinker. He wrote a tale about an
imaginary trip to the moon and dabbled in science. An accident took his life
when he was only thirty-six.
Cy ra n o d e B e rge r a c : Ac t 3
79
BEFORE YOU READ: Act 3
Set Purposes for Reading
왘 BIG Idea The Heroic Ideal
Have you ever tried to be happy for someone who achieved the very thing
you wanted most? What kind of emotions does this type of situation bring
out? In Act 3, Cyrano swallows his envy of Christian and even fans the flames
of Roxane and Christian’s romance. The heroic ideal demands a rigorous
adherence to excellence, and in this act Cyrano succeeds all too well in
bringing about his cousin’s happiness with another man. As you read Act 3,
look for places where Cyrano’s noble purpose wavers a bit—and note how he
overcomes these moments of weakness.
Literary Element
Imagery
Imagery is descriptive language that appeals to one or more of the five
senses: sight, hearing, touch, taste, and smell. The use of sensory details helps
create emotional responses in the reader. As you read this act of Cyrano de
Bergerac, take note of the sensory details that allow you to see, hear, touch,
taste, and smell the play’s colorful world.
Use the graphic organizer on the next page to record some of the vivid
imagery found in Act 3.
Reading Strategy
Make and Verify Predictions About Plot
When you make predictions about plot, you make educated guesses
about what will happen in a story. Then, as you read on, you can use the new
information to verify, or confirm, your predictions.
Making and verifying predictions about plot is an important component of
skilled reading. Authors often plant clues that readers can use to discover
information about a work’s characters, plot, and theme. These clues often take
the form of foreshadowing, a technique in which the author prepares
readers for events that will happen later in the story. Foreshadowing builds
suspense and draws readers more deeply into the story.
As you read Act 3, pay close attention to details that encourage you to make
predictions about what is to come. You may find it helpful to use a graphic
organizer like the one at the right.
Vocabulary
augment [ô ment´]
v. to add to; to increase
My grandfather was able to
augment the family fortune by
investing wisely.
desolate [des´ ə lit]
adj. deserted; abandoned
The cabin was desolate except for
the family of squirrels living in the
chimney.
dissonantly [dis´ ə nənt lē]
adv. inharmoniously; screechingly
The tires squealed dissonantly as
the car raced away from the
stoplight.
eloquence [el´ ə kwəns]
n. expressive, effective language
The president’s speech was
straightforward, but it lacked a
certain eloquence.
heresy [her´ ə sē]
n. opinion contrary to generally
accepted beliefs
The head coach considers any
criticism of the team to be heresy.
Prediction
Verifying Evidence
Actual Outcome
80
NOVEL COMPANION: Unit 2
ACTIVE READING: Act 3
In Act 3, lines 337–411, Cyrano, speaking for
Christian, makes several speeches that are so full of
emotion that they make Roxane tremble and weep.
Much of their power comes from the imagery he
Imagery
employs. In the chart below, jot down examples of
imagery from these speeches, the sense that the
imagery appeals to, and the emotional response that
the imagery created in you.
Sense
Your name, Roxane, swings
like a brazen bell . . . and I
tremble . . . with each
bronze, gold, silver
reverberation
hearing
that solar flood of your hair
blinded me
sight
Emotional Response
excitement
touch
smell
taste
Cy ra n o d e B e rge r a c : Ac t 3
81
INTERACTIVE READING: Literar y Element
NOVEL EXCERPT: ACT 3
Literary Element
Imagery What words and details in
this excerpt appeal to your sense of
sight? Your sense of touch? Your sense
of smell?
290
295
300
305
310
82
NOVEL COMPANION: Unit 2
Very well. Taste this:
My heart is open wide—your words can’t miss
So large a target. Or, heavy with the honey of
Desire, it zigzags to the orifice
Of your tiny ear, and buzzes bluderingly,
Seeking its way in, its wings a haze of love.
Or, should these not suffice, then, finally,
Since your words fall, they yield to gravity:
Mine have to rise and fight it.
ROXANE.
It seems to me
They fight less hard now than they had to do
A moment ago.
CYRANO.
Ah, but a moment or two
Of loosening up in the gymnasium
Works wonders.
ROXANE.
Am I so far above you still?
CYRANO. So far, I fear, that one hard word could kill,
Crushing my heart like a stone.
ROXANE.
Oh, then I’ll come
Down to you.
CYRANO.
No!
ROXANE.
But I want to see you. Stand
On that bench there—
CYRANO.
No!
ROXANE.
Such a vehement no.
What is the matter?
CYRANO.
To hold in my hand
Such exquisite joy—I dare not let go
This precious chance to speak to you—unseen.
ROXANE. Unseen?
CYRANO.
A disembodied spirit, clean
Of the clogs of accident and decay. You see
A cloak of trailing blackness; you to me
Are a white gown of summer. I am a shadow
And you the quintessence of light. How can you know
What it means to roam this transitory meadow
Sunlit through the darkness? If ever—oh,
If ever I was eloquent—
CYRANO.
285
INTERACTIVE READING: Literar y Element
ROXANE.
315
320
325
330
335
You were—
Very eloquent.
CYRANO.
But you have never heard till now
My true heart speaking.
ROXANE.
Why not?
CYRANO.
There
Was a certain obliquity, a sort of haze
Caused by this vertigo, this drunkenness
That afflicts all those who tremble in your presence.
But this one night it seems that I address
Your heart for the first time.
ROXANE.
The first time, yes.
Your very voice is changed.
CYRANO.
My heart’s true essence
Is emboldened by this darkness to speak out.
It is myself that speaks. Where was I? Oh, forgive
This confusion, which is to me a heap
Of rose petals, a fantasy of sleep
So new, and so delicious.
ROXANE.
New?
CYRANO.
To live
A moment breathing your sustaining air,
Freed from the choking asthma of the fear
That you might laugh at me—
ROXANE.
Laugh at you? Why?
CYRANO. Because of the unworthiness of a fool,
An insufficiency that seeks to clothe
Itself in a sunset of words. How often I
Come to pluck Hesperus out of the sky
And end by plucking flowers because I loathe
A presumption that might spark your ridicule.
ROXANE. There’s good in flowers, there’s sweetness.
CYRANO.
Yes, yes,
But not enough sweetness in all of the flowers of the earth
For us, tonight.
Literary Element
Imagery What can you tell about
Roxane based on her response in this
excerpt to Christian’s (Cyrano’s)
imagery-laden profession of love?
Cy ra n o d e B e rge r a c : Ac t 3
83
INTERACTIVE READING: Reading Strategy
NOVEL EXCERPT: ACT 3
Reading Strategy
Make and Verify Predictions About
Plot What do you predict de Guiche
will do when he finds out that Roxane
has married someone else? What
clues, in this excerpt and elsewhere in
the play, make you think so?
84
NOVEL COMPANION: Unit 2
It’s nearly time, sir, for high tide.
The moon is calling.
[And, indeed, the moon, long occluded, has at last emerged from
behind the clouds.]
I must stand beside
630
The ocean, having wallowed in it first.
My hair is dripping wet. The lunar thirst
Pulls at it, then the rest of me. I soar
Free as an angel, as I did before,
Tumbling to earth a quarter of an hour ago.
635
The time, my lord, is up. And so—
DE GUICHE.
And so?
[CYRANO resumes his normal voice, adjusts his cloak and hat. His nose
shines in the moonlight.]
CYRANO. A marriage has been celebrated.
DE GUICHE.
What?
Am I drunk or something? That voice. It’s not—
That nose—It is.
CYRANO. [with a courtly reverence.]
At your service. Cyrano.
[The wedding procession appears, RAGUENEAU and Roxane’s DUENNA
holding candles, the DUENNA crying, the two PAGES—who must have
entered the house by the back door—playing festive music. ROXANE
and CHRISTIAN beam.]
DE GUICHE. You! He! Clever, mademoiselle.
640 ROXANE. Baroness.
DE GUICHE. [to CYRANO.]
You, monsieur, you did that well.
You could have charmed a saint poised on the sill
Of heaven. You ought to write that book.
CYRANO.
I will.
CAPUCHIN. My lord, the knot is tied you bade me tie.
DE GUICHE. As I can see. You, baroness, bid goodbye
645
To your paint-fresh husband.
ROXANE.
Bid good—Why?
DE GUICHE. [to CHRISTIAN.]
Your regiment leaves tonight, sir. Be so good
As to report at once.
ROXANE.
You mean—for the war?
DE GUICHE. That is what regiments usually leave for,
Milady.
ROXANE. But you—surely—I understood
650
The cadets were not going.
CYRANO.
INTERACTIVE READING: Reading Strategy
DE GUICHE.
They are and always were.
[To CHRISTIAN.]
Here is the order. Pray deliver it, sir.
ROXANE. [falling into her husband’s arms.]
Oh, Christian!
DE GUICHE. [sneering, to CYRANO.]
The wedding night is still a good
Way off.
CYRANO. That thought disturbs me less than it should.
CHRISTIAN. Your lips again—
CYRANO.
Come on. Enough. Let’s go.
655 CHRISTIAN. Oh, you don’t know how hard it is.
CYRANO.
I know.
[Drums can be heard in the distance, also the shrilling of a trumpet.]
DE GUICHE. We’re marching.
[He salutes sardonically and marches off.]
ROXANE. [in great distress.] Take care of him, Cyrano.
Keep him out of danger.
CYRANO. [hanging on to CHRISTIAN.]
All right, I’ll try,
But I can’t really promise.
ROXANE.
Be sure he keeps warm and dry.
CYRANO. As far as is soldierly possible.
ROXANE.
Keep him away
660
From other women.
CYRANO.
Not even the odd little chat?
ROXANE. No! And make him write me every day.
CYRANO. [at attention, emphatically.]
Madame, I can certainly promise you that.
[They go. The women weep. RAGUENEAU and the PAGES wave. Drums
and trumpets.]
[CURTAIN.]
Reading Strategy
Make and Verify Predictions About
Plot How do you predict Cyrano will
make sure Christian writes to Roxane
every day? On what evidence do you
base this prediction?
Cy ra n o d e B e rge r a c : Ac t 3
85
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
The Heroic Ideal What traits of the
heroic ideal does Cyrano display in this
comic scene?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
86
NOVEL COMPANION: Unit 2
NOVEL EXCERPT: ACT 3
Do forgive.
You’re impatient to be apprised of the creatures that live
In the lunar caverns, and to know the morphology
Of its cucurbitous rotundity—
DE GUICHE. What I want now—
CYRANO.
Is to know how I got up
590
There—My special invention, yes?
DE GUICHE.
Mad.
CYRANO.
First, I swear
It has nothing to do with Regiomontanus’s
Eagle or Archytas’s pigeon—ornithology
Doesn’t come into it—stupid birds, anyway.
DE GUICHE. Mad, but he’s been to a university.
595 CYRANO. No! My mode of spatial travel is
Painfully original. Mode—did I say?
Modes. I’ve invented six techniques whereby
To violate that blue virginity
Up there.
[DE GUICHE grows interested in spite of himself.]
DE GUICHE. Six?
CYRANO.
Six. Let me specify.
600
I strip myself as nude as a candle, place
Around that nudity a carapace
Covered with crystal vials of morning dew.
The sun sucks up the dew, and sucks me too.
DE GUICHE. So. That’s one.
CYRANO.
Another one. I escape
605
From earth in a ship of icosahedral shape—
Struck with ten burning mirrors. They rarefy
The air. The rare air lifts me, and I fly.
DE GUICHE. Two.
CYRANO.
Or I mount a machine forged in the figure
Of a grasshopper, activated by a trigger
610
That sets off successive charges of saltpetre.
I jerk off into space. What could be neater?
Sweeter?
DE GUICHE. Three.
CYRANO.
Smoke always tends to soar.
I fill a globe with smoke and—
DE GUICHE.
That makes four.
CYRANO. This next may seem fantastic. Bright Apollo,
615
Who rules the sun, he likes to suck and swallow
The marrow of the oxen of the sun.
I smear myself with that—and, swish, it’s done.
CYRANO.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
REDUCE your notes.
MY VIEW
Write down your thoughts on the
excerpt.
Recap
Cy ra n o d e B e rge r a c : Ac t 3
87
AFTER YOU READ: Act 3
Respond and Think Critically
1. Why is Roxane so concerned when she learns that de Guiche is about to
order the soldiers to depart for war? What trick does she play as a result of
her concern? What does this tell you about her personality and Cyrano’s
attraction to her? [Interpret]
2. How would you describe Cyrano’s emotions as he speaks for Christian to
Roxane? Why might he have mixed feelings about what he is doing?
[Analyze]
3. How does Cyrano keep de Guiche from interrupting the wedding? What do
you learn about Cyrano from the method he chooses? [Interpret]
4. Having read the conversation between Roxane and de Guiche, how would
you describe Roxane’s attitude toward him? How does Rostand
communicate Roxane’s true feelings to the audience without making them
clear to de Guiche? [Analyze]
5. The Heroic Ideal Cyrano takes action to ensure Roxane’s happiness rather
than his own. How does this embody the archetype of the heroic ideal?
[Analyze]
88
NOVEL COMPANION: Unit 2
APPLY BACKGROUND
Reread Introduction to the Play on
pages 52–53. How did that
information help you understand or
appreciate what you read in the
play?
AFTER YOU READ: Act 3
Literary Element
Imagery
1. Reread Cyrano’s discussion with de Guiche in lines
546–635. What examples of imagery do you find
particularly striking? [Evaluate]
Vocabulary Practice
Identify whether the words in each pair have the
same or the opposite meaning.
1. augment and diminish __________________________
2. desolate and populous _________________________
3. dissonantly and harmoniously __________________
4. eloquence and expressiveness __________________
5. heresy and sacrilege ___________________________
2. What happens to de Guiche as he listens to
Cyrano’s potent description of his space travels?
What does this tell you about Cyrano’s ability to
read and manipulate others? [Analyze]
Reading Strategy
Academic Vocabulary
Although Cyrano makes up his mind to help Christian
win Roxane, he can’t help but deviate from his
purpose at times. In the preceding sentence, deviate
means “to stray.” Think about Cyrano’s conflicted
actions in this act, and then fill in the blank for this
statement: ________ was one thing Cyrano did that
seemed to deviate from his purpose.
Make and Verify
Predictions About Plot
1. Identify an example of foreshadowing in this act.
[Identify]
2. What prediction can you make about Cyrano’s
chance of winning Roxane’s love in the end? What
evidence do you have for your prediction based on
the information in Act 3? [Analyze]
Cy ra n o d e B e rge r a c : Ac t 3
89
AFTER YOU READ: Act 3
Writing
Speaking and Listening
Paraphrase a Speech
Performance
Just when all seems lost for Christian because of his
inability to speak the eloquent phrases that Roxane
requires, Cyrano comes to his rescue. Choose three
brief sections of Cyrano’s speech to Roxane. Then
paraphrase each one. Be sure to look up the
definitions of any unfamiliar vocabulary. Read your
paraphrases aloud to the class.
Assignment With a partner or small group, select a
scene from Act 3 of Cyrano de Bergerac to rehearse
and present in a staged script-in-hand reading for the
class.
Jot down some notes here first.
Prepare Act 3 contains several very entertaining
episodes. One is the conversation between Roxane
and de Guiche, in which he attempts to seduce her.
Another is the famous balcony scene, in which Cyrano
helps Christian find the words to declare his love for
Roxane. The third is when Cyrano stalls de Guiche as
the wedding is conducted. Decide which roles each of
you will play. Then plan how to present the scene.
Discuss the blocking (how and where actors move
when they are onstage). You will be reading the scene
aloud, so there is no need to memorize your lines.
However, you will need to be very familiar with the
material so that you can give it full expression.
Rehearse your performance several times to make
sure that you and your scene partner(s) are
adequately prepared. You should be familiar enough
with the script to make occasional eye contact with
your scene partners throughout the presentation
instead of staying glued to the script.
Perform Present your scene to the class. Be sure
that your body language and tone of voice match your
character and contribute to the overall comic effect.
Keep the pace lively, but don’t rush through the
material.
Evaluate After the performance, get together with
your group and discuss how successful your
presentation was and how it might have been better.
90
NOVEL COMPANION: Unit 2
BEFORE YOU READ: Act 4
Connect to the Literature
Are your mother and sisters the most beautiful women in your community?
Are your father and brothers the most handsome men? How about your
boyfriend or girlfriend, cousins, aunts, and uncles?
Write in Your Journal
Write in your journal about why you care for all these people even though
their physical beauty may not win contests. What does this fact suggest to you
about why we love others?
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
SUMMARIZE
Summarize in one sentence the most
important idea(s) in Build Background.
Build Background
Historical Context
Cyrano de Bergerac is set in France during the years 1640–1655. In the mid1600s, France was fraught with political tension and in conflict with foreign
enemies. The majority of Cyrano takes place in 1640, when Louis XIII sat on
the French throne and Armand-Jean du Richelieu dominated the political
landscape. Richelieu was a Roman Catholic cardinal and the chief minister and
adviser to the king. (You may recall that de Guiche, the play’s villain, uses his
connections with Cardinal Richelieu to gain power.)
Richelieu’s goals were to strengthen the French monarchy and make France
the most powerful nation in Europe. He led France into the Thirty Years’ War
(1618–1648), a complicated religious, economic, and military struggle. As a
result of the war, France became Europe’s leading power. Protestant monarchs
came to rule in most of northern Europe, and the old dream of a united
Catholic Europe was destroyed forever. One key battle of this long war was the
French siege of Arras, in which the real Cyrano took part. The siege is also the
setting for one of the key scenes in the play, in which his fictional counterpart
is a central figure.
Cy ra n o d e B e rge r a c : Ac t 4
91
BEFORE YOU READ: Act 4
Set Purposes for Reading
왘 BIG Idea The Tragic Vision
Due to its tone and its wide variety of comic elements, Cyrano de Bergerac is
not strictly classified as a tragedy. However, like the ancient Greek tragedies, it
does present a vision of a great man brought down by a complex combination
of circumstances and a fateful character flaw. As you read Act 4, set on the
battleground of the siege of Arras, try to spot elements of tragedy in the
story—elements that rely on either the contradictions within Cyrano’s own
nature or a twist of fate.
Vocabulary
abject [ab´ jekt]
adj. wretched; pathetic
Sadness over leaving his hometown
left my friend in abject misery.
banshee [ban´ she]
n. spirit in Celtic folklore whose
wails signal a coming death
According to legend, the cry of the
banshee is a terrifying thing.
Literary Element
Simile
A simile is a figure of speech that uses like or as to compare two seemingly
unlike things. An epic simile is a long, elaborate comparison of this type that
continues for several lines. It is a feature of epic poems but is found in other
poetic works as well. Cyrano’s speeches are filled with similes as well as
metaphors, figures of speech that compare unlike things without using like
or as.
As you read Act 4, locate the similes that Cyrano and some of the other
characters use, and notice the levels of meaning that these literary elements
add to the characters’ speech. Record your observations on the graphic
organizer on the next page.
Reading Strategy
Apply Background Knowledge
When you apply background knowledge, you use what you have already
learned about the historical, social, and cultural forces that helped shape the
work.
Applying background knowledge allows you to use details from the real world
and from your earlier reading to reflect on ideas, situations, and characters in
fictional works. In this way, you can better understand the text and more fully
integrate the ideas and information into your own life and times.
As you read Act 4 of Cyrano de Bergerac, use the information from Meet the
Author (page 54), Introduction to the Play (pages 52–53), and the Build
Background sections of Acts 1 through 4 to gain further insights about the play.
You may find it helpful to use a graphic organizer like the one at the right.
92
NOVEL COMPANION: Unit 2
insolence [in´ sə ləns]
n. rudeness; disrespect
The waitress said the customer’s
insolence was inexcusable.
specious [spe´ shəs]
adj. seemingly true but actually false
The argument Daniel presented was
specious, and it fooled a number of
the judges.
vacuous [vak´ u əs]
adj. foolish
When Kelly found out she’d won the
contest, she was so stunned that she
just sat with a vacuous smile on her
face.
Detail
What I
Have
Already
Learned
ACTIVE READING: Act 4
Cyrano has the soul of a poet—and the figures of
speech to go along with it. But others in the play know
their way around a simile as well. As you read Act 4,
Simile
Lines 19–20: “Pale as a
ghost, / Poor devil,
starving to death.”
find the similes listed in the chart below. In the middle
column, tell what is being compared in each one. In the
right-hand column, state the implications of the simile.
Comparison
The simile compares
Christian to one
already dead.
Implication
There is a sense of
foreboding, a sense
that Christian might
die either from longing
or from battle.
Lines 100–106: “Put
pipe to mouth... /
Whose every note smiles
like a little sister”... / A
melody whose lazy line
ascends / Like the thin
woodsmoke of the
cottages”
Lines 120–122:
“Listen... / The valley,
and the good earth
like red meat, / The
plains like a storm of
emeralds, the sweet /
Greenness of spring
nights on the Dordogne”
Line 473: “For the sin
that lies upon me like
a stone—”
Cy ra n o d e B e rge r a c : Ac t 4
93
INTERACTIVE READING: Literar y Element
NOVEL EXCERPT: ACT 4
Literary Element
Simile Which lines in this excerpt
contain an epic simile? What two
things are being compared?
94
NOVEL COMPANION: Unit 2
I am saying this:
I’d rather die on pointed elegances—
Fine words, as you call them—under a sky
Of saffron sunset than wail and weep and cry
About my rumbling innards. Rather die
Saying a good thing for a good cause
90
Than dream of licking goose-grease from my paws,
Die at the hands of a worthy enemy
Rather than be degraded by the eclipse
Of death in a soft bed. I want to depart
This life with honourable steel piercing my heart
95
And a piercing epigram upon my lips.
SECOND CADET. But we’re hungry.
CYRANO.
The whole world’s hungry. You
Think only of yourselves.
[We now notice that the old FLUTEPLAYER of the company has come in
starving but stoical. He sits at the back of the stage. CYRANO addresses
him.]
Here, Bertrandou—
Old shepherd as you were, play on your pipe
To these poor little lambs who grouse and gripe
100
At the griping of their guts. Put pipe to mouth
And pipe some of the old airs of the south,
Whose every note smiles like a little sister,
In which we hear, through a nostalgic mist, a
Smoke of memory, the voices of friends—
105
A melody whose lazy line ascends
Like the thin woodsmoke of the cottages
Of our homeland—a pungent tune that is
The very distillation of our speech.
Your flute, that gnarled old warrior, let him reach
110
Back, while your fingers touch the stops and dance
A minuet of sparrows, beyond the chance
That chose him, shaped him, notched him, changed him to
A little glory of ebony. Let him, through you,
Recall his days as a reed of the river, before
115
He lost his innocence and went to war.
CYRANO.
85
INTERACTIVE READING: Literar y Element
[BERTRANDOU plays a melancholy folk tune.]
Listen, you Gascons, now you hear no more
The shrilling martial fife. It’s a woodland cry,
Not a banshee of the battle shrieking high
But the cool cantilene the goatherds finger.
120
Listen—it’s the hill where the night mists linger,
The valley, and the good earth like red meat,
The plains like a storm of emeralds, the sweet
Greenness of spring nights on the Dordogne.
Listen, you Gascons—it is all Gascogne.
[They listen quietly to the flute tune. The odd tear is furtively wiped.]
125 CARBON. You’re making them cry.
CYRANO.
Yes—out of homesickness,
A nobler hunger than that of the flesh.
They’re feeling a starvation in their hearts,
Not in their viscera.
CARBON.
Still, it hurts
Their manhood.
CYRANO.
Weakens them? Not so. I’ll flush
130
The heroic scarlet to their arteries
Back in an instant. All that’s needed is—
[He makes a signal. The drums start beating. The CADETS start up,
rush for their arms, run to the parapet.]
CADET. What—where—what is it—where is it?
CYRANO. [to CARBON.]
See?
[But the CADETS think that cyrano was warning them of the approach
of their colonel. He is coming.]
SECOND CADET. Ach—Monsieur de Guiche is on his way.
THIRD CADET. He makes me—
FOURTH CADET.
Not so much as he makes me.
[They return to their former positions, depressed.]
Literary Element
Simile What is Cyrano’s larger purpose
in sharing these comparisons with the
cadets? What thwarts his efforts?
Cy ra n o d e B e rge r a c : Ac t 4
95
INTERACTIVE READING: Reading Strategy
NOVEL EXCERPT: ACT 4
Reading Strategy
Apply Background Knowledge What
insights did the information in
Introduction to the Play (pages 52–53)
provide into the events depicted in this
excerpt?
96
NOVEL COMPANION: Unit 2
I know what you have said. Did you mean what
you said?
Don’t be afraid of saying it to me.
545
Even if he were ugly?
ROXANE.
Even if he—
[Gunfire begins. The CADETS go into battle, including CHRISTIAN.]
CYRANO. Ah, they’ve started. Terribly ugly?
ROXANE.
Terribly.
CYRANO. Twisted? Deformed? Grotesque?
ROXANE.
How could he be
Anything but noble, sublime, great-souled?
CYRANO.
You’d still
Love him?
ROXANE.
All the more.
CYRANO.
God, is it possible
550
After all? Possible? Roxane, listen to me.
[But LE BRET rushes on and up to CYRANO. He whispers something.]
CYRANO. No.
ROXANE.
What? What’s happening?
CYRANO.
I can never
Say it now. Finished.
ROXANE.
You were going to
Tell me something.
CYRANO.
Something. Yes. Whatever
It was doesn’t matter now. Here’s something new
555
To tell you. Christian—this I swear because
It’s God’s own truth—was a great soul.
ROXANE. [agitated.]
Was?
You say was? Aaaaah—
CYRANO.
It’s over.
[CADETS bring in the dying CHRISTIAN and lay him gently down.
ROXANE runs to him.]
ROXANE.
Christian!
LE BRET.
He
Was first over the parapet. The first shot
Got him.
CARBON.
They’re attacking! Come on—steady—
560
Muskets! Cannon!
CYRANO.
INTERACTIVE READING: Reading Strategy
Christian!
[CYRANO speaks quietly to CHRISTIAN while ROXANE sobs.]
CYRANO.
I told her everything.
It’s you she loves.
CHRISTIAN.
Roxane!
CARBON. Measure your fireline! Fire! Bayonets ready!
[We hear the shattering noise of the guns.]
ROXANE. Speak, my love—
CARBON.
Charge!
ROXANE.
He’s not dead? Speak,
My love, my love. I feel his cheek
565
Cold against mine—A letter here—for me.
[She takes the letter from CHRISTIAN’S bosom.]
CYRANO. My letter—Roxane, I must go. They need me. See.
ROXANE. Stay awhile. He’s dead. You were his friend,
The only one to know his greatness.
CYRANO.
Yes,
Roxane.
ROXANE. He was a great soul, wasn’t he?
570 CYRANO. Yes, Roxane.
ROXANE.
Genius, nobility, no end
To his magnificence of spirit. Purity,
Such depth of heart, such tenderness.
CYRANO. Yes, Roxane.
ROXANE.
And now—and now—gone.
[She weeps bitterly.]
CYRANO. And I must die today, knowing that she,
575
Unknowing, weeps for him but mourns for me.
ROXANE.
Reading Strategy
Apply Background
Knowledge Keeping in mind
information from the Build Background
sections, why do you think Rostand
might have chosen to set Act 4 during
the siege of Arras?
Cy ra n o d e B e rge r a c : Ac t 4
97
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
The Tragic Vision What elements of
tragedy do you find in this excerpt?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
98
NOVEL COMPANION: Unit 2
NOVEL EXCERPT: ACT 4
His—brave blood. His—tender—
Tears—
[She faints. RAGUENEAU, who has been cowering under the coach, runs
to her. The tigers have made themselves scarce.]
RAGUENEAU. This battle—suicide—
CYRANO.
Get her away.
580
I’m going to lead the charge.
[DE GUICHE staggers on, with an arm wound.]
You’ve proved your
Valour, monsieur. Now do what you have to do—
Get her away.
DE GUICHE. I’ll get her away. If you
Can hang on here awhile, we’ll win.
[ROXANE comes to. She staggers off with DE GUICHE and RAGUENEAU.]
CYRANO.
We’ll see.
Goodbye, Roxane.
[CARBON totters on, wounded.]
CARBON.
We’re falling back. I got two
585
Hits in the shoulder—
CYRANO. [calling encouragement.]
Reculez pas! Hardi!
Drollos! Don’t worry. I
Have two deaths to avenge—Christian—my
Happiness.
[He raises the pike with ROXANE’S handkerchief on it.]
And so fly high,
Little flag. Tombé dessus! Escrasas tous!
590
Pipe, piper.
[BERTRANDOU bravely shrills on his flute.]
FIRST CADET. They’re coming over!
CYRANO.
Let them. Fire!
Fire! Fire! Charge!
[The banner of Imperial Spain appears over the parapet. A spanish
officer appears.]
SPANISH OFFICER.
Who
Are these men so anxious to be killed?
CYRANO. [firing on him.]
These are the Gascony cadets,
Captain Castel-Jaloux’s their chief—
595
Barons who scorn mere baronets—
These are the Gascony cadets—
[The rest is lost in the noise of the battle.]
[CURTAIN.]
ROXANE.
CORNELL NOTE-TAKING SYSTEM: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
REDUCE your notes.
MY VIEW
Write down your thoughts on the
excerpt.
Recap
Cy ra n o d e B e rge r a c : Ac t 4
99
AFTER YOU READ: Act 4
Respond and Think Critically
APPLY BACKGROUND
1. What is the military significance of de Guiche’s white scarf? What happens
to it? What does Cyrano think about the white scarf and what action does
he take regarding it? [Interpret]
Reread the Introduction to the Play
on pages 52–53. How did that
information help you understand or
appreciate Cyrano’s character up to
this point in the play?
2. Describe Roxane’s character so far. Do you feel she is worthy of Cyrano’s
love? Of Christian’s? Why or why not? [Analyze]
3. What does Christian urge Cyrano to do? In your opinion, what are his
reasons? [Interpret]
4. What would be Roxane’s reaction if she were to learn the truth about
Christian and Cyrano and her relationship with them? [Evaluate]
5. The Tragic Vision Though Cyrano is heroic, gifted, and noble, in what
way might he be said to lack courage? [Analyze]
10 0
NOVEL COMPANION: Unit 2
AFTER YOU READ: Act 4
Literary Element
Simile
1. How do the similes in Cyrano’s speech to the
cadets help him achieve his purpose? [Interpret]
Vocabulary Practice
Identify whether the words in each pair have the
same or the opposite meaning.
1. abject and miserable __________________________
2. banshee and ghoul ____________________________
3. insolence and respect __________________________
4. specious and deceptive ________________________
2. Why does Roxane feel guilt toward Christian when
she says her sin lies upon her “like a stone”? How
does this turn the course of the plot? [Analyze]
5. vacuous and vibrant ___________________________
Academic Vocabulary
After Christian is killed, Roxane submits to leaving the
battleground. In the preceding sentence, submit
means “surrenders or agrees.” Submit also has other
meanings. For instance: The board asked Eleanor to
submit a letter of recommendation. What do you think
submit means in the preceding sentence? What is the
difference between the two meanings?
Reading Strategy
Apply Background
Knowledge
1. In the Introduction to the Play, you read about
Cyrano’s famous panache. How does he reveal
that panache in Act 4? [Analyze]
2. The Introduction to the Play also refers to the play’s
romanticism as being one of the factors in the
play’s long-term success. How does Act 4 exemplify
that romanticism? [Evaluate]
C y ra no de Be rg e rac : Act 4
101
AFTER YOU READ: Act 4
Write with Style
Speaking and Listening
Apply Figurative Language (Epic Simile)
Literature Groups
Assignment Review the epic simile in Cyrano’s “flute
player” speech, lines 97–124. Using this as a
guideline, write a brief essay about a place you find
very special. Make sure you use figurative language
including an epic simile.
Assignment Cyrano makes a very difficult sacrifice at
the end of this act when he decides not to reveal the
truth to Roxane, and he puts the letter in Christian’s
dying hands. In so doing, he gives up all hope of ever
winning Roxane’s love for himself. In your group,
discuss why Cyrano makes this sacrifice. Then discuss
Rostand’s reasons for having his hero behave in such
a manner. Try to come to a consensus, or general
agreement, on this question.
Get Ideas Write the name of your special place. Make
a series of word webs branching out from your
selected place. In the webs, jot down emotions, ideas,
and items you associate with the place. Connect words
that come to mind when you think of the place.
warm and
bright
sweet
aromas
Grandma’s
kitchen
everyone
coming and
going and
chattering in
different
languages
laughter
Choose one strong image from your word webs to
work with for your epic simile:
Grandma’s kitchen is like an international airport. The
people passing through, chattering like excited
chipmunks, are as happy as world travelers
embarking on a long-awaited vacation.
Give It Structure Introduce your chosen place to
your readers. When you have described the place
using your epic simile, end the essay with a strong,
evocative statement.
Look at Language Don’t stretch the epic simile too
far. Three or four similes connected to your main idea
should suffice. Allow the simile to make your point
and build the image of your chosen place with grace
and precision.
10 2
NOVEL COMPANION: Unit 2
Prepare Before your group meets, review your
knowledge of the character traits of Cyrano, Roxane,
and Christian. Make notes in a chart like the one
below.
Cyrano
Roxane
Christian
Noble, sad,
in love with
Roxane,
verbally
skilled,
strong, selfdefeating,
vulnerable,
loyal, keeps
his promises
Discuss Provide clear, specific examples from your
chart to support your thoughts about how Cyrano’s
traits and those of the other characters influence his
behavior. Broaden the discussion to include what
happens in Act 4. Then move on to what each of you
believes the author’s purpose to be. There may be
general agreement. If not, discuss the subject further
as you try to reach a consensus.
Report Have one group member orally state your
group’s consensus to the class or state that no
consensus was reached.
Evaluate Write a paragraph in which you assess the
effectiveness of your group’s discussion.
BEFORE YOU READ: Act 5
Connect to the Literature
What are the five most important things you hope to have accomplished by
the time you are fifty years old?
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
Chart It
Think about categories such as family, career, and personal accomplishments.
Create a chart that lists what you hope to achieve and how long you think it
will take to accomplish each goal.
WRITE THE CAPTION
Write a caption for the image below
using information in Build Background.
Build Background
The Role of a Lifetime
Cyrano de Bergerac has long been a prized role coveted by stage and
screen actors. Because of Cyrano’s combination of wit and poignancy, not
to mention his swashbuckling panache, actors around the world have vied
to put their particular stamp on the role.
• Puerto Rican–born actor Jose Ferrer (pictured on p. 51) won a Best Actor
Academy Award for his screen portrayal of Cyrano in 1949.
• The renowned British thespian Sir Derek Jacobi took on the role in a 1985
television presentation by the Royal Shakespeare Company.
• In 1990 French superstar Gerard Depardieu won multiple awards for his
on-screen display of the famous long-nosed character’s panache.
• The 2007 Broadway production of Cyrano de Bergerac, starring American
film and stage actor Kevin Kline as Cyrano and Jennifer Garner as Roxane,
played to packed audiences.
C y ra no de Be rg e rac : Act 5
103
BEFORE YOU READ: Act 5
Set Purposes for Reading
왘 BIG Idea The Tragic Vision
Edmond Rostand fueled his most famous work with liberal amounts of satiric
commentary on society, politics, and religion, a style that in some ways mirrors
the comedies written during the golden age of Greek drama. But the play’s
more serious themes borrow instead from those of ancient Greek tragedy.
Like the tragic heroes of those plays, Cyrano is a great man, gifted but
imperfect, neither completely good nor completely bad. As the events play
out, he is eventually brought down by a flaw within his own character. As you
read the final act, consider the author’s larger statement about humanity—the
flaws that make each character, and each reader or audience member,
uniquely human.
Vocabulary
buffoon [bə fōon´]
n. clown, joker
Sometimes in order to break the
tension in the group, Jeff makes
faces and acts like a buffoon.
defiled [di fīld´]
v. polluted; dirtied
Sarah laughed when she told me
she had defiled her dress by getting
splashed with mud.
obstinate [ob´ stə nit]
adj. stubborn; inflexible
Literary Element
Irony
Irony is a contrast or discrepancy between what is expected and what
actually happens. Dramatic irony occurs when the reader or audience
knows something the character does not know. Verbal irony occurs when
a speaker says one thing but really means the opposite. Situational irony
occurs when what happens is the opposite of what is expected or
appropriate.
One more type of irony, structural irony, is typically built into the overall
texture of a longer work. In Cyrano de Bergerac, the structural irony is found
in the sharp contrast between Cyrano’s inner qualities—his wit and intelligence,
his kindness, and his love of beauty, justice, and honesty, which together
make up his panache—and his outwardly unattractive appearance.
As you read Act 5, look for examples of each type of irony. Record your
examples in the graphic organizer on the next page.
I tell my dog it’s not time for a walk,
but she’s so obstinate that she’ll sit
by the door for an hour.
stoic [stō´ ik]
adj. calm; unexcitable
Everyone was in a panic over the
earthquake except my stoic
grandfather, who always takes life
as it comes.
vermin [vur´ min]
n. small, unpleasant animals, such as
rats or fleas
The ramshackle building was full of
vermin and had to be condemned
by the city.
Shared Dramatic Elements
Reading Strategy
Synthesize
When you synthesize, you put what you read together with what you
know from other sources, including your own life, to look at an issue or
idea in a new way. In other words, you use old ideas to create new ones.
Synthesizing is important because it can help you relate knowledge from
several different areas to form new ideas.
Synthesize what you read in final act of Cyrano de Bergerac with what
you know about classical Greek drama. Expand your thoughts by
considering how these same classical elements influence contemporary
film and television. You may want to keep track of your ideas in a chart
like the one at the right.
10 4
NOVEL COMPANION: Unit 2
Greek
Drama
Cyrano de
Bergerac
Modern
Films
Based on
familiar
themes
✔
✔
Fall of a
great
man or
woman
✔
Sometimes
ACTIVE READING: Act 5
Cyrano de Bergerac is rife with examples of literary
irony both large and small. Act 5 presents a
culmination of all the play’s ironies. As you read this
Verbal Irony
act, use the chart on this page to make notes on the
various examples of structural, situational, verbal, and
dramatic irony that you find.
Situational Irony
Cyrano says, “I never loved you”— is verbal
irony because he actually means that he has
always loved her.
Dramatic Irony
Structural Irony
C y ra no de Be rg e rac : Act 5
105
INTERACTIVE READING: Literar y Element
Literary Element
Irony How does this excerpt illustrate
dramatic irony?
10 6
NOVEL COMPANION: Unit 2
NOVEL EXCERPT: ACT 5
ROXANE.
Thank you.
[They leave. She sews. The clock strikes.]
So. The last stroke.
The hour. This is strange. He was
205
Never late before. Perhaps the nun
Who’s always trying to convert him is trying again.
[A pause.]
I’ve never known him to be as late as this.
He ought to be converted by now.
SISTER MARTHE. [appearing on the steps.]
Here he is,
Madame.
[More formally.]
Monsieur de Bergerac.
ROXANE. [following her old custom of not turning her head to
greet him.]
These
210
Old faded colours—difficult to match them.
[She embroiders. CYRANO, very pale, his hat over his eyes, appears at
the top of the stairway. The NUN goes away, troubled by his
appearance. He comes down the steps leaning on his stick, keeping
upright only by a visible effort. ROXANE speaks to him in friendly
banter.]
ROXANE. Late for the first time, Cyrano—
After fifteen years.
[CYRANO reaches his seat with difficulty, his cheerful tone in terrible
contrast to his tortured face.]
CYRANO.
Forgive me, please.
I was detained, I’m afraid.
ROXANE.
Well?
CYRANO. By an unexpected visitor.
ROXANE. [carelessly, working away.]
Was it a
215
Tiresome visitor?
CYRANO.
Very tiresome.
ROXANE.
And you sent him away?
CYRANO. For the time being. ‘This is Saturday,’
I said. ‘And on Saturday I have a
Regular engagement. Do me the favour
Of returning in an hour or so.’
220 ROXANE. He’ll have to wait some time. I shan’t let you go
Before dark.
INTERACTIVE READING: Literar y Element
[gently.]
It’s just possible, I’m afraid,
I may have to go before it’s dark. My apologies.
[He leans back wearily in his chair. SISTER CLAIRE appears, ostensibly
to cut some parsley.]
ROXANE. You’re neglecting your duties, Cyrano. Here is
Someone waiting to be teased.
CYRANO. [opening eyes he has wearily shut.]
Ah, yes.
225
Come here, sister. You of the beautiful
Downcast eyes—
[The NUN, approaching according to the comic tradition she has
established with CYRANO, raises those eyes and is shocked by CYRANO’S
face. CYRANO urgently indicates that she must not betray her shock to
ROXANE.]
I have something to confess.
I ate meat again yesterday. Isn’t that terrible?
SISTER CLAIRE. Terrible. And as a penance you must come
To the refectory later and have a nice big bowl
230
Of bouillon.
CYRANO.
I’ll be there.
SISTER CLAIRE.
You’re becoming quite reasonable,
Monsieur.
ROXANE.
At last you’re breaking his obstinate soul.
Now is the time to convert him.
SISTER CLAIRE.
Oh, no, no,
That’s something I mustn’t do.
CYRANO.
True. And something
You’ve never, in all these years, tried to do.
235
Bursting with virtue like a spiritual plum,
And yet you never preach. Astonishing.
But now, sister, I’m going to astonish you.
I’m going to let you pray for me.
CYRANO.
Literary Element
Irony What type of irony is illustrated
by the highlighted lines? Explain.
C y ra no de Be rg e rac : Act 5
107
INTERACTIVE READING: Reading Strategy
Reading Strategy
Synthesize How does Cyrano sum up
his life and death in this final excerpt?
How might these reflections inspire
audiences to examine their own lives?
10 8
NOVEL COMPANION: Unit 2
NOVEL EXCERPT: ACT 5
[He has a moment of clarity. He declaims.]
Philosopher and scientist,
Poet, musician, duellist,
And voyager through space,
445
A sort of controversialist,
Whose wit kept to a charted track
But sped at a great pace,
A lover too, who seemed to lack
The luck in love of other men—
450
Here lies Hercule-Savinien
De Cyrano de Bergerac,
Nothing, everything, nothing again—
Sunk now, without a trace.
I have to leave you. Sorry. I can’t stay.
455
That lunar shaft is—waiting to carry me away,
A punctual and impatient sort of
Engine.
[He falls back in his chair. The sobbing of ROXANE recalls him to
reality. He looks at her. He strokes her veiled hair.]
I would not ask that you mourn any the less
That good brave Christian blessed with handsomeness,
460
But, when the final cold sniffs at my heart
And licks my bones, perhaps you might impart
A double sense to your long obsequies,
And make those tears, which have been wholly his,
Mine too, just a little, mine, just a—
465 ROXANE. My love, my only love—
[CYRANO, shaken again by fever and delirium, brusquely raises himself.
The others move forward to help him, but he brushes them away. He
sets his back against the tree trunk.]
INTERACTIVE READING: Reading Strategy
Not here, oh no, not lying down. Let
No one try to help me—only this
Tree. He’s coming. He’s coming. Already
I feel myself being shod in marble,
470
Gloved in lead.
[With joy.]
Let him come, then.
He shall find me on my feet—
[He draws.]
My sword in my hand.
LE BRET. Cyrano!
CYRANO. There he is, looking at me, grinning
CYRANO.
Reading Strategy
Synthesize How are the highlighted
lines both comedic and tragic?
At my nose. Who is he
To grin, that noseless one?
What’s that you say—useless, useless?
You have it wrong, you empty brain pan.
You see, a man
480
Fights for far more than the mere
Hope of winning. Better, far better
To know that the fight is totally
Irreparably incorrigibly in vain.
A hundred against—no, a thousand.
485
And I recognize every one, every one of you.
[He lunges at the air again and again.]
All my old enemies—Falsehood, Compromise,
Prejudice, Cowardice. You ask for my
Surrender? Ah no, never, no, never. Are
You there too, Stupidity?
490
You above all others perhaps were predestined
To get me in the end. But no, I’ll
Fight on, fight on, fight—
[He swings his sword again, then stops breathless. During his last
speech he falls into LE BRET’S arms.]
You take everything—the rose and the laurel too.
Take them and welcome. But, in spite of you,
495
There is one thing goes with me when tonight
I enter my last lodging, sweeping the bright
Stars from the blue threshold with my salute.
A thing unstained, unsullied by the brute
Broken nails of the world, by death, by doom
500
Unfingered—See it there, a white plume
Over the battle—A diamond in the ash
Of the ultimate combustion—
[ROXANE kisses his forehead. He opens his eyes, recognizes her, smiles.]
My panache.
475
C y ra no de Be rg e rac : Act 5
109
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
The Tragic Vision In the end, Cyrano
cannot leave his life without letting
Roxane know about his love and his
sacrifice. Do you think it would have
been more heroic—and more tragic—if
Cyrano had died without telling her? In
what way does this final act embody
the major aspects of a tragic hero?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
110
NOVEL COMPANION: Unit 2
NOVEL EXCERPT: ACT 5
You read it,
You read it in such a way—
[The night is approaching.]
CYRANO.
‘But now I can only cry:
Goodbye, my dearest—’
ROXANE.
In such a voice—
CYRANO.
‘Goodbye,
315
My angel, my heart’s treasure, my one love—’
ROXANE. A voice, I know, I am not hearing for
The first time, speaking such words—
CYRANO. ‘Never for one second has my heart
Been absent from your presence. And, as the night
320
Deepens, the shadows of the next world start
To close in on me, I shall be that one
Whose love, raging and blessing like the sun
That outlives all men, will live on and on
Beyond the sun’s limits—’
ROXANE.
How can you
325
Possibly read now—in this lack of light?
[She has risen and gone to him. He opens his eyes, notices, makes a
gesture of surprise, almost of fear, then bows his head. There is a long
pause. Then, in a darkness still growing, she speaks slowly, hands
clasped.]
For all of fifteen years you have played the role
Of the old friend, affectionate, droll,
But never one hint of—
CYRANO.
Roxane—
ROXANE.
So it was you.
CYRANO. Oh no, Roxane, no, no—
ROXANE.
I might
330
Have known, every time you spoke my name.
CYRANO. Not I, oh no—
ROXANE.
It was you.
CYRANO.
Roxane, I swear—
ROXANE. I see through it all now—that generous
Imposture—the letters—it was you.
CYRANO. No.
ROXANE.
It was always you. The mad, dear
335
Foolish words—
CYRANO.
No.
ROXANE.
The voice in the night,
You.
CYRANO. Upon my honour.
ROXANE.
It was all
And always you.
ROXANE.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
REDUCE your notes.
MY VIEW
Write down your thoughts on the
excerpt.
Recap
Cy ra n o d e B e rge ra c : Ac t 5
111
AFTER YOU READ: Act 5
Respond and Think Critically
1. What do you learn about Cyrano from the conversation of the nuns, de
Guiche, and Le Bret before he arrives? Why is this information necessary?
[Analyze]
2. Why do you think de Guiche, Cyrano’s old enemy, gives Le Bret
information about Cyrano’s life being in danger? [Infer]
3. How does Roxane finally learn that it was Cyrano who wrote the letters
and has loved her all along? In your opinion, is she truly surprised?
Explain. [Analyze]
4. How does Rostand use natural imagery to create the mood of this scene?
Why do you think Rostand chose to set the final scene during autumn?
Evaluate the success of this technique. [Evaluate]
5. The Tragic Vision Do you think the end of the play provides the
audience with any sense of hope? Explain your answer. [Analyze]
112
NOVEL COMPANION: Unit 2
APPLY BACKGROUND
Reread Build Background on
page 103. How did that information
help you understand or appreciate
what you read in the play?
AFTER YOU READ: Act 5
Literary Element
Irony
1. Identify the irony in the following line sequence.
RAGUENOT. All I do is odd jobs / For Moliere.
CYRANO. Oh, Moliere. [Analyze]
Vocabulary Practice
Identify the context clues in the following sentences
that help you determine the meaning of each
boldfaced vocabulary word.
1. Although my uncle is a professional clown, he’s no
buffoon—he even taught at Clown College for
several years.
2. The river was completely defiled; its water was
thick with garbage, oil, and chemical runoff.
2. What type of irony does Cyrano employ when he
denies his love for Roxane by repeating “No” again
and again? [Analyze]
3. Jean-Paul has always been obstinate, but this
time he actually gave in quickly and admitted he
was wrong.
4. The apartment building was on fire, but all the
tenants stood in the yard watching with calm,
stoic expressions.
5. The warehouse manager said he would put out
traps to catch rats and other vermin.
Reading Strategy
Synthesize
1. Reread “Set Purposes for Reading” on p. 104. What
themes does this play share with classical Greek
tragedies? What elements of the play correspond to
more current films or plays? [Analyze]
Academic Vocabulary
In the final moments of the play, Cyrano, delirious
and near death, maintains his panache even when he
is barely coherent. Using context clues, try to figure
out the meaning of the boldface word in the sentence
above. Check your guess in a dictionary.
2. Think about what you know about tragic heroes.
Do you think it was Cyrano’s tragic flaw that kept
him from declaring his love for Roxane earlier? Why
or why not? [Infer]
Cy ra n o d e B e rge ra c : Ac t 5
113
AFTER YOU READ: Act 5
Write with Style
Speaking and Listening
Apply Irony
Oral Report
Assignment A eulogy is a speech given in praise of
someone and often presented at that person’s funeral.
It usually includes an evaluation of the person’s life
and achievements, as well as reminiscences that
capture the deceased’s personal qualities. Some
eulogies use humor to convey the dead person’s
zest or appreciation for life. Use information about
Cyrano from the play to write a eulogy that could be
given at his funeral. Read your eulogy aloud to
the class.
Assignment View a film adaptation of the Cyrano story
and present an oral report to the class in which you
compare the film with the play in terms of how the heroic
ideal is addressed in each.
Get Ideas Skim the text to review Cyrano’s character
traits and turns of phrase. Take notes on moments
during which he behaves in a manner that is noble
and/or selfless, but also pay attention to character
traits that are in contrast to those moments.
Give It Structure Begin your eulogy with a topic
sentence stating your main idea about Cyrano’s life
and times. For example, you could begin:
“If ever there was a complicated man, it was Cyrano
de Bergerac.”
Follow with sentences that support that statement,
focusing on the strong qualities and personal traits that
struck you over the course of reading the play. You
may wish to state the play’s structural irony regarding
Cyrano. For example:
“Others could see in Cyrano what he himself could
not: beauty.”
Then follow up with examples that illustrate that irony.
End with a sentence that restates your main idea.
Look at Language Remember that irony depends on
the contrast between what is real and what is
perceived. You might convey this by stringing together
a series of contrasting words and phrases. For
example:
Loyalty, wit, low self-esteem, lust for life, boastfulness,
generosity, pettiness, and of course panache . . . all
these were part of who Cyrano de Bergerac was.
114
NOVEL COMPANION: Unit 2
Prepare Select a film such as Gerard Depardieu’s
faithful 1990 French version of Cyrano de Bergerac or
Steve Martin’s updated comic take on the story,
Roxanne (1987). Develop a list of the traits that
together make up the heroic ideal and note how they
apply to the play you have just read. For example:
Loyalty: Cyrano is loyal to a fault.
Courage in battle: Cyrano is fearless when there is
fighting involved.
Nobility of the soul: __________________
Skill at speaking and writing: ___________
Wisdom: ____________________________
Stoicism: _______________
Moral strength: ______________________
Physical strength: _____________________
Intelligence: _________________________
Honor: _____________________________
When you have completed your list, watch the film
version you selected. Use the same criteria to trace the
film’s adherence to the heroic ideal.
Finally, organize the information you find into a
cohesive statement about the similarities and
differences between the text of the play and the film
version. Provide opinions as to which version you
found more entertaining. Also, discuss which version
moved you most.
Report If you have access to a DVD player or VCR in
your classroom, you may wish to present a short
representative scene from your selected film version to
illustrate your comparisons. Deliver your report in a
clear, well-modulated voice. Make eye contact with
your audience and employ good posture. When you
have finished, hand in your chart along with the
written draft of your report.
Evaluate Write a paragraph in which you assess how
effectively you explained each of your points.
WORK WITH RELATED READINGS
Cyrano de Bergerac
The following questions refer to the Related Readings in Glencoe’s
Literature Library edition of this novel. Support your answers with details
from the texts. Write your answers on a separate sheet of paper, but jot
down some notes first on the lines provided.
The Masterpieces
On Falling in Love
Alba della Fazia Amoia
How does Amoia define Cyrano’s panache? How did
you define it when you read Rostand’s play? Do you
agree with Amoia? Explain.
Robert Louis Stevenson
Stevenson claims that a person in love wishes to be
fully understood. “He wishes to be assured that he
is not loved for this or that good quality, but for
himself, . . . his pride revolts at being loved by
mistake.” How might this statement be viewed by
Christian?
“Cyrano de Bergerac” and “Cyrano” in English
Max Beerbohm
Beerbohm says of Cyrano, “It may not be the
masterpiece I think it, but at any rate it is one’s
money’s-worth.” Anthony Burgess, after translating the
play, wrote: “[It] may not be the greatest play ever
written, … [but it] was worth translating, it’s worth
acting and, I trust you will find, worth reading.” Why do
you suppose the critics like Cyrano de Bergerac so
much even though they agree that it’s not the greatest
play ever written?
Strangers in Love
Esther Gwinnell
Roxane’s realization that she loves Christian/Cyrano’s
soul more than Christian’s outward beauty occurs
while Christian and Cyrano are away at war. Gwinnell
says that “letters between the War and Home . . .
seem to form a lifeline between two people.” How
might the sense of life-threatening danger brought on
by war have had an effect on Roxane’s ultimate
conclusion?
Beauty: When the Other Dancer Is the Self
Alice Walker
At the end of the essay, how do Walker’s feelings
about her eye compare with Cyrano’s feelings about
his nose?
Cy ra n o d e B e r g e r a c
115
CONNECT TO OTHER LITERATURE
LITERATURE EXCERPT: Oedipus the King
Time is the great healer, you win see.
OEDIPUS. I am going—you know on what condition?
CREON. Tell me. I’m listening.
OEDIPUS. Drive me out of Thebes, in exile.
CREON. Not I. Only the gods can give you that.
OEDIPUS. Surely the gods hate me so much—
CREON. You’ll get your wish at once.
OEDIPUS.
You consent?
CREON. I try to say what I mean; it’s my habit.
OEDIPUS. Then take me away. It’s time.
CREON. Come along, let go of the children.
OEDIPUS.
No—
don’t take them away from me, not now! No no no!
CREON.
1665
1670
[Clutching his daughters as the GUARDS wrench them loose and take
them through the palace doors.]
1675
Still the king, the master of all things?
No more: here your power ends.
None of your power follows you through life.
CREON.
[Exit OEDIPUS and CREON to the palace. The CHORUS comes forward
to address the audience directly.]
People of Thebes, my countrymen, look on
Oedipus.
He solved the famous riddle with his brilliance,
he rose to power, a man beyond all power.
Who could behold his greatness without envy?
Now what a black sea of terror has overwhelmed him.
Now as we keep our watch and wait the final day,
count no man happy till he dies, free of pain at last.
CHORUS.
1680
[Exit in procession.]
116
NOVEL COMPANION: Unit 2
CONNECT TO OTHER LITERATURE
Compare the novel you have just read with the literature selection at the left,
Oedipus the King by Sophocles, in Glencoe Literature. Then answer the
questions below. Support your answers with details from the texts.
Compare & Contrast
1. Hero Following the heroic ideal, what common elements do you find
between Cyrano de Bergerac and Oedipus? What are some differences
between the two?
WRITE ABOUT IT
Sophocles and Rostand clearly had
different ideas as to the nature of fate.
Oedipus’s fate was to a large extent
controlled by the gods; Cyrano’s fate
was for the most part in his own
hands. What is your own philosophy
on the subject of fate? Do you think
the events of life are preordained?
Explain your point of view.
2. Imagery How does the imagery of “the black sea of terror” that
overwhelms Oedipus in the end differ from the imagery of Cyrano’s final
moments before death?
3. Irony What irony do you find in the excerpt from Oedipus the King? How
is it similar to or different from irony in Cyrano de Bergerac?
C y ra no de B e r g e r a c
117
RESPOND THROUGH WRITING
UNDERSTAND THE TASK
Expository Essay
Analyze Genre Edmond Rostand categorized his play Cyrano de Bergerac as
a “Heroic Comedy in Five Acts.” Using a variety of sources, research this genre
and the characteristics of related genres such as heroic drama, romantic
comedy, and tragicomedy. In an expository essay, analyze which genre the play
fits into most readily and which elements it employs from each genre.
Prewrite Using sources including your textbook and an Internet search
engine, look up the following keywords: heroic comedy, heroic drama,
romantic comedy, and tragicomedy. Take notes on the descriptions and
examples you find for each of these genres. Organize the information you find
using a chart like the one below
Genre
Characteristics
Tragicomedy
Examples
Life Is Beautiful
serious play or film
with happy ending
Draft When you have organized your notes and completed your chart, you
are ready to begin drafting your essay.
First, create your thesis statement. This will clarify your purpose and lead
directly into your first comparative statement. For example, you may discover
from your research that you do not agree with Rostand’s assessment of his
play as a heroic comedy. In that case, you can use your essay to show why
Cyrano de Bergerac does not fall into that genre—and reveal to your readers
which genre you believe is a more suitable fit.
The topic sentences of each of your body paragraphs should relate to your
thesis. Use evidence from your chart to support your statements. To complete
your essay, restate your thesis.
Revise Reread the first draft of your essay to locate places where your
reasoning is faulty or your examples are unclear. If necessary, revise murky
sections to redefine your points and clarify your thinking. Clean up any sloppy
wording or sentence construction. When you have finished, exchange papers
with a partner and evaluate each other’s essays. Revise your writing based on
the feedback you receive.
Edit and Proofread Edit your writing so that it expresses your thoughts
effectively and is well organized. Carefully proofread for grammar, punctuation,
and spelling errors.
118
NOVEL COMPANION: Unit 2
• Genre is a category or type of
literature. Examples are poetry,
drama, fiction, nonfiction, essay, and
epic. The term also refers to
subcategories such as fantasy,
mystery, and science fiction.
• A thesis statement is the main idea
of an essay or other work of
nonfiction. It may be implied but is
usually stated directly.
Grammar Tip
Colons
It can be very helpful to use colons
to introduce lists or examples,
especially those that come at the
end of a sentence. Use words such
as the following or as follows to
signal that a list is coming.
Examples of tragedy include the
following: Sophocles’ Oedipus the
King, Shakespeare’s Macbeth and
Hamlet, and Arthur Miller’s Death
of a Salesman.
Not all lists need or benefit from
the addition of a colon. Do not use
a colon to introduce a list preceded
by a verb or a preposition.
This year we are going to study
Sophocles’ Oedipus the King,
Shakespeare’s Macbeth and
Hamlet, and Arthur Miller’s Death
of a Salesman. [No colon is needed
after study.]
Nectar in a Sieve
Kamala Markandaya
N e c t a r i n a S ie v e
119
INTRODUCTION TO THE NOVEL
Nectar in a Sieve
Kamala Markandaya
“
India’s life is in her villages; they are her
heart, they are her calm, and Nectar in a
Sieve is written from that heart.
”
—British author Rumer Godden
How does an author perform the magic of
making you experience the world from the
point of view of someone else? What does it
take to allow you to enter into the mind and
heart of someone you will never have the
opportunity to meet? How do you develop
sympathy and understanding for someone
whose experiences may be vastly different
from your own?
Reading Nectar in a Sieve will help you
answer these questions. The novel’s
characters are mostly southern Indian tenant
farmers whose homes are one-room mud
huts, with no running water, electricity, or
heat. They grow their own food and cook
their meals over dung fires. When, and if,
rain falls determines whether they will have
plenty or be in need. Usually, they are so
busy providing for themselves and their
families that they cannot afford to be
concerned with governments, politics, or
other aspects of the wider world. Almost all
marriages are arranged.
The Role of Fate Most of the characters in
Nectar in a Sieve exhibit an unquestioning
acceptance of fate, or their destiny. This
feeling of acceptance runs throughout the
novel. In fact, it is one of the important
dividing lines between the different
characters. To create tension and develop
themes, Kamala Markandaya focuses on
how characters address the issue of fate.
Faced with a change from the outside that
threatens to alter their way of life forever,
12 0
NOVEL COMPANION: Unit 3
one of the characters says, “Bend like the
grass, that you do not break.” Another
character strongly disagrees with this advice.
“You must cry out if you want help,” he
argues. “It is no use whatsoever to suffer in
silence.” This character believes that
rebellion against fate, poverty, and misery is
the nobler option.
Suffering and Hope Markandaya also
explores the role of hope in the face of
suffering. The novel’s title seem to imply
that Markandaya regards hope as necessary
to life. Without it, life cannot continue.
Love is another important theme in Nectar in
a Sieve. The characters’ love for one another
keeps their family together despite their
desperate poverty. The faith they have in one
another is tested severely by the tragedies
they endure. Nevertheless, the bonds linking
them are stronger than the outside forces of
nature, society, and other people.
Finally, in Nectar in a Sieve, Markandaya
examines the tensions caused by the coming
of modernization and industrial progress.
Using one powerful symbol, she shows the
effects of the modern world on village life in
southern India. Some of the characters adapt
successfully to the inevitable changes that
ensue; others are crushed by them.
British Rule in India The novel takes place
in the author’s native southern India. Most
of the action occurs in an unnamed village,
while scenes in the second part of the book
are set in a city. Although the author does
not give a specific timeframe, the novel
seems to be set a few years after India
gained its independence from the British in
1947. India had been essentially under
British control since the early 1800s. The
INTRODUCTION TO THE NOVEL
British believed that they were helping the
Indian people by providing India with
railroads, irrigation projects, and the
cessation of civil war. India was, in fact,
developing at a very fast pace. With
improvements in education, an active
Western-educated group of Indians began to
emerge, calling for the representation of
Indian interests in government. In 1885 the
Indian National Congress, a broadly based
political party, was formed. In 1914
Mahatma Gandhi returned to India after a
prolonged stay in South Africa and
eventually became head of the party. Under
Gandhi’s leadership, the party pushed for
Indian independence, using a strategy of
passive noncooperation. In 1947 the Indian
National Congress took over the government
following the departure of the British. The
separate state of Pakistan was created out of
the predominately Muslim northwestern and
northeastern portions of India.
The period following independence was
fraught with problems stemming from the
partition, or division, of India and the
creation of the sovereign state of Pakistan.
Deaths caused by civil strife numbered in
the hundreds of thousands. Continuing
conflicts, refugee resettlement, and
inadequate resources were but a few of the
hindrances to economic and political
stability. India’s new prime minister,
Jawaharlal Nehru, believed strongly in
economic planning. In the early 1950s, most
of India’s funds were spent on rebuilding
railroads, irrigation systems, and canals.
Food production rose between 1951 and
1961, but population rose even more. As a
result, economic benefits went mostly to the
large landowners and the elite upper class.
The rest of the population remained landless
and unemployed, with an inadequate food
supply, poor housing conditions, and a very
low literacy rate.
Commonwealth Writers
Kamala Markandaya is often
grouped with many other
writers under the heading of
Commonwealth writers. This
term refers to writers born in
countries that were formerly
British colonies and are now
members of the economic and
political alliance known as the
British Commonwealth. Most of
these writers either speak English
as their native language or have
chosen to write in English as a
way of reaching more readers.
Some Commonwealth writers have
emigrated from their homelands
to Britain, the United States, or
other countries, while others have
remained in their homelands or
have returned home after
traveling abroad. Among the
common themes addressed by
many of these writers are the
conflict between traditional and
modern ways of life, the effects of
colonialism on colonized peoples,
and the outsider status of persons
who choose to distance themselves
from their native traditions.
Commonwealth writers include
some of the most famous authors
of the twentieth century. Nigerian
Wole Soyinka, West Indian Derek
Walcott, South African Nadine
Gordimer, and Australian Patrick
White have all won the Nobel
Prize for Literature. Other
commonwealth writers include
Brian Moore and Mordecai Richler
of Canada; V. S. Naipaul and
Samuel Selvon of Trinidad and
Tobago; Chinua Achebe of Nigeria;
Doris Lessing of Zimbabwe;
Alan Paton of South Africa; and
Kamala Markandaya, R. K. Narayan,
Anita Desai, Raja Rao, and
Salman Rushdie of India.
N e c t a r i n a S ie v e
121
MEET THE AUTHOR
Kamala Markandaya (1924–2004)
“
”
The eyes I see with are still Indian eyes.
—Kamala Markandaya
Kamala Markandaya was born in the
southern Indian city of Bangalore in 1924.
Her real name is Kamala Purnaiya Taylor.
She was born a Brahmin—the highest caste,
or social category, of traditional Hindu
society. After studying at the University of
Madras, she took a job writing for a small
newspaper. Although born in a city, she
came to know the rural areas, where the
majority of India’s people live. In 1948, she
moved to England. Later she married an
Englishman and had one child.
Immediate Success Nectar in a Sieve was the
first of her novels to be published, although it
was the third one she had written. When it
appeared in 1954, the novel was greeted as a
masterful picture of life in the unfamiliar world
of India’s villages. It became a worldwide
bestseller and was translated into seventeen
languages. In her next novel, Some Inner Fury
(1955), Markandaya explores the relationship
of an educated Indian woman and her English
sweetheart. In A Silence of Desire (1960), she
returns to one of the themes of Nectar in a Sieve,
the tension between traditional Indian attitudes
and modern Western views. In A Handful of Rice
(1966), Markandaya revisits the village life of
Nectar in a Sieve with the story of a young boy
who endures poverty and finally escapes from
his village to the city and its shadowy
underworld.
Tensions Between East and West, Old
and New In The Coffer Dams (1969),
Markandaya again takes up a theme of her
first published novel as Western and Indian
engineers try to build a dam in southern
12 2
NOVEL COMPANION: Unit 3
India. Tensions between the old and the new
rise as the dam threatens to harness nature
and destroy ancestral land. In The Nowhere
Man (1972), Markandaya uses her own
experiences as an Indian immigrant in
London to tell the story of a young student
who suffers from the racism of English
thugs. In Two Virgins (1973), she describes the
lives of two Indian peasant girls, one of
whom chooses life in the city, while the other
remains in the village. Relations between
the British and their Indian colonial subjects
around the beginning of the twentieth
century are the focus of The Golden Honeycomb
(1977). In Shalimar (1982), an international
corporation’s decision to build an exclusive
resort along the unspoiled beaches of
southern India threatens the livelihood of
local fishermen.
Markandaya has been acclaimed by critics
for her ability to craft a precise, well-written
story. Charles Larson wrote of the author:
Markandaya is a rare kind of magician—she knows
how to control the tension in every scene, in every
incident . . . , often by nothing more than a word or
two which cancel out everything that has been said in
a previous scene or conversation.
Although Markandaya lived in England her
entire adult life, she visited India frequently.
There, she gathered background information
and other material for her novels. Some
Indian readers criticized her for losing touch
with her roots by choosing to live in another
country, but she disagreed. She claimed that
her long residence in England and selfchosen role as an outsider gave her more
objectivity and allowed her to examine
without prejudice the society, customs, and
character of her native land.
BEFORE YOU READ: Chapters 1–13
Connect to the Literature
What do you value the most in life? Friends? Family? Personal possessions?
Something else?
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
Write a Journal Entry
In your journal, briefly describe what you consider the most important thing
in life.
WRITE THE CAPTION
Write a caption for the image below,
in the present tense, using information
in Build Background.
Build Background
India and Its Climate
A monsoon is a major wind system that changes direction at certain times of
the year. The change in wind direction is caused primarily by the difference in
temperature between the ocean and the land. In summer, for example, the
monsoon winds blow from the colder ocean to the warmer land. Monsoons
bring drastic changes in weather, including rainfall. They can occur in both
summer and winter and bring dry or wet weather. In India the summer
monsoon brings most of the annual rainfall in most parts of the country, and
thus is critically important to agriculture. When the monsoon fails to bring
enough rain, crops suffer. India’s monsoon climate creates three seasons: one,
hot and dry; one, hot and humid; and one, cool and dry.
N e c t a r i n a S i e v e : C h a p te r s 1 – 1 3
123
BEFORE YOU READ: Chapters 1–13
Set Purposes for Reading
Vocabulary
왘 BIG Idea A Place in Society
Consider what it might be like to have your whole life determined—and closed
off—by the family and social status into which you were born. In the past,
millions of India’s poorest people had little or no hope of ever transcending
the hopeless economic circumstances into which they were born.
As you read Nectar in a Sieve, focus on how the narrator’s life is ruled by the
impoverished place that she and her family occupy in society, as well as by
her identity as a woman.
Literary Element
Identifying point of view makes you aware of who is controlling what you do
and do not learn—or feel. Recognizing first-person point of view helps you
understand the close relationship of the narrator to the story.
As you read, consider why Kamala Markandaya chose to use first-person point
of view to tell Rukmani’s story. How does this choice help to establish the
theme of individual struggle? Pay close attention to how Rukmani’s use of a
first-person narrator helps to establish her character’s dignity and depth.
ravenous [rav´ ə nəs]
adj. extremely hungry
reproach [ri prōch´]
adj. to blame; to criticize
They loudly reproached the coach
for the losing season.
solace [sol´ is]
n. comfort
The two-year-old found great solace
in his worn blanket.
taciturn [tas´ ə turn]
adj. silent; reluctant to talk
He was considered a taciturn man;
he rarely spoke, and when he did,
he used few words.
Interpret Imagery
When you interpret, you look closely at a text in order
to determine its meaning or emotional effect. When you
interpret imagery, you examine the word pictures the
author creates to evoke emotional responses. To create
imagery, authors use sensory details that appeal to sight,
hearing, touch, taste, or smell.
Imagery
Interpreting imagery can make you aware of why a work
is having an emotional effect on you. It can also help
you appreciate the author’s artistry.
As you read, identify and interpret the imagery. Use a chart like the one to the
right to record the phrases or clauses in which you find imagery, the sense to
which the imagery appeals, and its emotional effect on you.
12 4
Being grounded was only one of
his injunctions; he also couldn’t
watch TV, use the computer, or play
video games.
She forgot her lunch today, and by
dinner she was ravenous.
Point of View
The point of view of a story is the perspective from which the story is told.
Point of view can differ from story to story. In a story told from first-person
point of view, the narrator is a character in the story and uses the words I
and me. In this point of view, the reader can know only the narrator’s every
feeling and thought.
Reading Strategy
injunctions [in junk´ shənz]
n. restrictions; limitations imposed
on a person’s or institution’s
freedom
NOVEL COMPANION: Unit 3
Appeals to
Sense of . . .
Emotional
Effect
ACTIVE READING: Chapters 1–13
The author of Nectar in a Sieve employs striking
imagery that contributes to the powerful emotional
effect of the narrative. As you read the Festival of
Lights scene in Chapter 10, identify distinctive imagery
that appeals to each of the five senses and record the
imagery in the cluster diagram below.
sight
hearing
smell
The Festival
of Lights
taste
touch
N e c t a r i n a S i e v e : C h a p te r s 1 – 1 3
125
INTERACTIVE READING: Literar y Element
Literary Element
Point of View How does the
first-person point of view help you to
see Rukmani as a strong and noble
character in this excerpt?
12 6
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 6
I kept Ira as long as I could but when she was past fourteen
her marriage could be delayed no longer, for it is well known
with what speed eligible young men are snapped up; as it was,
most girls of her age were already married or at least betrothed.
The choice of go-between was not easy to make: Kali was the
nearest to hand and the obvious one, but she was garrulous and
self-opinionated: rejection of the young man she selected would
involve a tedious squabble. Besides, she had sons of her own
and might well consider them suitable husbands, which I
certainly could not, for they owned no land. Old Granny, on the
other hand, would be the ideal go-between: she was old and
experienced, knew very well what to look for and never lacked
patience; but for some years now I had not traded with her and
she might with every justification refuse to act for me. But in the
end it was to her I went.
“A dowry of one hundred rupees,” I said. “A maiden like a
flower. Do your best for me and I shall be ever in your debt.
This I ask you,” I said, looking straight at her, “although Biswas
takes my produce and for you there has been nothing.”
“I bear you no grudge, Rukmani,” she replied. “Times are
hard and we must do what we can for ourselves and our
children. I will do my best.”
Thereafter never a week went by but she brought news of
this boy or that, and she and I and Nathan spent long hours
trying to assess their relative merits. At last we found one who
seemed to fulfill our requirements: he was young and well
favoured, the only son of his father from whom he would one
day inherit a good portion of land.
“They will expect a large dowry,” I said regretfully. “One
hundred rupees will not win such a husband, we have no more.”
“She is endowed with beauty,” Old Granny said. “It will
make up for a small dowry—in this case.”
She was right. Within a month the preliminaries were
completed, the day was fixed. Ira accepted our choice with her
usual docility; if she fretted at the thought of leaving us and her
brothers she showed no sign. Only once she asked a little
wistfully how frequently I would be able to visit her, and,
although I knew such trips would have to be very rare since her
future home lay some ten villages away, I assured her not a year
would pass without my going to see her two or three times.
“Besides, you will not want me so often,” I said. “This home,
your brothers, are all you have known so far, but when you
have your own home and your own children you will not miss
these. . . .”
INTERACTIVE READING: Literar y Element
She nodded slightly, making no comment, yet I knew how
bruised she must be by the imminent parting. My spirit ached
with pity for her, I longed to be able to comfort her, to convince
her that in a few months’ time her new home would be the most
significant part of her life, the rest only a preparation . . . but
before this joy must come the stress of parting, the loneliness of
beginning a new life among strangers, the strain of the early
days of marriage; and because I knew this the words would not
come. . . .
Wedding day. Women from the village came to assist. Janaki,
Kali, many I hardly knew. We went with Ira to the river and,
when she was freshly bathed, put on her the red sari I had worn
at my own wedding. Its rich heavy folds made her look more
slender than she was, made her look a child. . . .
I darkened her eyes with kohl and the years fell away more;
she was so pitifully young I could hardly believe she was to be
married, today.
The bridegroom arrived; his parents, his relatives, our
friends, the priests. The drummer arrived and squatted outside
awaiting permission to begin; the fiddler joined him. There
should have been other musicians—a flautist, a harmonium
player, but we could not afford these. Nathan would have
nothing we could not pay for. No debts, he insisted, no debts.
But I grudged Ira nothing: had I not saved from the day of her
birth so that she should marry well? Now I brought out the
stores I had put by month after month—rice and dhal and ghee,
jars of oil, betel leaf, areca nuts, chewing tobacco and copra.
“I didn’t know you had so much,” said Nathan in amazement.
“And if you had there would be little enough,” I said with a
wink at the women, “for men are like children and must grab
what they see.”
I did not wait for his retort, hearing only the laughter that
greeted his sally, but went out to speak to the drummer. Arjun,
my eldest son, was sitting next to the man, cautiously tapping
the drum with three fingers as he had been shown.
“There is plenty of food inside,” I said to him. “Go and eat
while there is still some left.”
“I can eat no more,” he replied. “I have been feasting all day.”
Nevertheless he had made provision for the morrow: I saw
in his lap a bundle bulging with food; sugar syrup and butter
had soaked through the cloth patchily.
“Join your brothers,” I said, hoisting him up. “The drummer
is going to be busy.”
He ran off, clinging tightly to his bundle. The wedding music
began. . . .
Literary Element
Point of View According to this
passage, what are some of Rukmani’s
fears and regrets? What actions show
her dignity even amidst her poverty?
N e c t a r i n a S i e v e : Chapters 1–13
127
INTERACTIVE READING: Reading Strategy
Reading Strategy
Interpret Imagery Identify three
examples of imagery related to the
storm and explain their effect on you.
Which senses dominate the
descriptions in this passage?
12 8
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 7
In the village the storm had left disaster and desolation
worse than on our own doorstep. Uprooted trees sprawled their
branches in ghastly fashion over streets and houses, flattening
them and the bodies of men and women indiscriminately. Sticks
and stones lay scattered wildly in angry confusion. The tannery
stood, its bricks and cement had held it together despite the
raging winds; but the workers’ huts, of more flimsy
construction, had been demolished. The thatch had been ripped
from some, where others stood there was now only a heap of
mud with their owners’ possessions studding them in a kind of
pitiless decoration. The corrugated-iron shacks in which some of
the men lived were no more: here and there we could see the
iron sheets in unexpected places—suspended from tree tops, or
blown and embedded on to the walls of houses still left
standing. There was water everywhere, the gutters were
overflowing into the streets. Dead dogs, cats and rats cluttered
the roadside, or floated starkly on the waters with blown
distended bellies.
People were moving about amid this destruction, picking out
a rag here, a bundle there, hugging those things that they
thought to be theirs, moving haltingly and with a kind of
despair about them. People we knew came and spoke to us in
low voices, gesturing hopelessly.
“Let us go,” I said. “It is no good; we will come back later.”
We turned back, the two rupees unspent. Our children came
running out to meet us, their faces bright with hope.
“The shops are closed or destroyed,” I said. “Go inside. I will
get you some gruel presently.”
Their faces faded; the two younger ones began crying
listlessly from hunger and disappointment. I had no words to
comfort them.
At dusk the drums of calamity began; their grave, throbbing
rhythm came clearly through the night, throughout the night,
each beat, each tattoo, echoing the mighty impotence of our
human endeavour. I listened. I could not sleep. In the sound of
the drums I understood a vast pervading doom; but in the
expectant silences between, my own disaster loomed larger,
more consequent and more hurtful.
We ventured out again when the waters had subsided a little,
taking with us as before two rupees. This time things were
somewhat better; the streets were clear, huts were going up
everywhere. My spirits rose.
INTERACTIVE READING: Reading Strategy
“To Hanuman first for rice,” said Nathan, excited. “The gruel
we have been swallowing has been almost plain water these last
few days.”
I quickened my steps: my stomach began heaving at the
thought of food.
Hanuman was standing in the doorway of his shop. He
shook his head when he saw us. “You have come for rice,” he
said. “They all come for rice.
I have none to sell, only enough for my wife and children.”
“And yet you are a merchant who deals in rice?”
“And what if so? Are you not growers of it? Why then do
you come to me? If I have rice I do not choose to sell it now; but
I have told you, I have none.”
“We ask for only a little. We will pay for what we have—see,
here is the money.”
“No, no rice, but—wait . . . they say Biswas is selling . . . you
can try. . . .”
To Biswas. “We come for rice. Look, here is our money.”
“Two rupees? How much do you think you can buy with
two rupees?”
“We thought—”
“Never mind what you thought! Is this not a time of scarcity?
Can you buy rice anywhere else? Am I not entitled to charge
more for that? Two ollocks I will let you have and that is
charity.”
“It is very little for two rupees—”
“Take it or leave it. I can get double that sum from the
tanners, but because I know you—”
We take it, we give up the silver coins. Now there is nothing
left for the thatching, unless we use a rupee or two from the ten
that remain in the granary.
I put the rice in my sari, tuck the precious load securely in at
the waist. We turn back. On the outskirts of the village there is
Kenny. His face is grim and long, his eyes are burning in his
pallid face. He sees us and comes up.
“You too are starving, I suppose.”
I tap the roll at my waist—the grains give at my touch.
“We have a little rice—it will last us until times are better.”
“Times are better, times are better,” he shouts. “Times will
not be better for many months. Meanwhile you will suffer and
die, you meek suffering fools. Why do you keep this ghastly
silence? Why do you not demand—cry out for help—do
something? There is nothing in this country, oh God, there is
nothing!”
Reading Strategy
Interpret Imagery Discuss how the
sensory details on this page affect your
response to the narrator and give
meaning to her story.
N e c t a r i n a S i e v e : Chapters 1–13
129
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your
note-taking. Develop a shorthand
system, including symbols, that works
for you. Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
A Place in Society How do the
financial status of Rukmani’s family,
her place in the birth order, and her
identity as a woman affect Rukmani’s
life?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
13 0
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 1
My three sisters were married long before I was. Shanta first,
a big wedding which lasted for many days, plenty of gifts and
feasts, diamond earrings, a gold necklace, as befitted the
daughter of the village headman. Padmini next, and she too
made a good match and was married fittingly, taking jewels and
dowry with her; but when it came to Thangam, only relations
from our own village came to the wedding and not from the
surrounding districts as they had done before, and the only
jewel she had was a diamond nose-screw.
“What for you,” my mother would say, taking my face in her
hands, “my last-born, my baby? Four dowries is too much for a
man to bear.” “I shall have a grand wedding,” I would say.
“Such that everybody will remember when all else is a dream
forgotten.” (I had heard this phrase in a storyteller’s tale.) “For
is not my father head of the village?” I knew this pleased my
mother, for she would at once laugh, and lose her look of worry.
Once when I repeated this, my eldest brother overheard me, and
he said sharply, “Don’t speak like a fool, the headman is no
longer of consequence. There is the Collector, who comes to
these villages once a year, and to him is the power, and to those
he appoints; not to the headman.”
This was the first time I had ever heard that my father was of
no consequence. It was as if a prop on which I leaned had been
roughly kicked away, and I felt frightened and refused to believe
him. But of course he was right, and by the time I came to
womanhood even I had to acknowledge that his prestige was
much diminished. Perhaps that was why they could not find me
a rich husband, and married me to a tenant farmer who was
poor in everything but in love and care for me, his wife, whom
he took at the age of twelve. . . .
“We are home,” he cried. “Wake up! Look!”
I woke; I looked. A mud hut, thatched, small, set near a
paddy field, with two or three similar huts nearby. Across the
doorway a garland of mango leaves, symbol of happiness and
good fortune, dry now and rattling in the breeze.
“This is our home,” my husband said. “Come, I will show you.”
I got out of the cart, stiff and with a cramp in one leg. We
went in: two rooms, one a sort of storehouse for grain, the other
for everything else. A third had been begun but was unfinished,
the mud walls were not more than half a foot high.
“It will be better when it is finished,” he said. I nodded; I
wanted to cry. This mud hut, nothing but mud and thatch, was
my home. My knees gave, first the cramped one, then the other,
and I sank down. Nathan’s face filled with concern as he came
to hold me.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
TO THE POINT
Write a few key ideas.
Recap
N e c t a r i n a S i e v e : Chapters 1–13
131
AFTER YOU READ: Chapters 1–13
Respond and Think Critically
1. What does Rukmani see decorating the entrance to her new home when
she first arrives with Nathan? In what condition are the decorations? What
might the condition represent, or symbolize? [Interpret]
2. What are some of the positive changes the tannery has brought to the
village? What are some negative changes? Do you think the new industry
in the village is good or bad? What does Markandaya seem to be arguing?
[Analyze]
3. Contrast Rukmani’s response to the coming of the tannery with that of the
other women in the village. Who do you think is right? Why? [Compare]
4. Why do Arjun and Thambi go to work in Ceylon? What does their decision
say about them? How do Rukmani’s feelings contrast with those of her
sons? [Analyze]
5. A Place in Society How does Rukmani feel when she is told that her
baby is female? Why does she feel this way? What does her reaction
suggest about the status of Indian women at the time? [Infer]
13 2
NOVEL COMPANION: Unit 3
APPLY BACKGROUND
Reread Meet the Author on page 122.
How did that information help you
understand or appreciate what you
read in the novel?
AFTER YOU READ: Chapters 1–13
Literary Element
Vocabulary Practice
Point of View
1. How close or far away do you feel from Rukmani’s
story? Explain how the point of view influences
your response. [Analyze]
Studying the etymology, or origin and history, of a
word can help you better understand and explore its
meaning. Create a word map, like the one below, for
each of these vocabulary words from the selection.
Use a dictionary for help.
injunctions
solace
ravenous
reproach
taciturn
EXAMPLE: scripture
2. How might your feelings for Rukmani and
her family be different if the story were narrated
from Kenny’s point of view? What would the reader
lose if Kenny were the narrator? What would the
reader gain? [Infer]
Definition: any sacred writing
Etymology: Latin scriptura means or book “writing”
Sample Sentence:
Ameena follows the scripture of Islam.
Academic Vocabulary
Rukmani consults with Kenny for help with her
infertility. To become more familiar with the word
consult, fill out the graphic organizer below.
definition
Reading Strategy
synonyms
Interpret Imagery
1. Name imagery from the novel so far that has a
positive effect on your emotions and tell why.
[Interpret]
consult
antonyms
sentence
2. Explain how imagery of the rice paddy in this
section of the novel has both negative and positive
emotional effects on you. [Interpret]
N e c t a r i n a S i e v e : C h a p te r s 1 – 1 3
133
AFTER YOU READ: Chapters 1–13
Write with Style
Connect to Content Areas
Apply Imagery
Social Studies
Assignment In this novel, Markandaya uses imagery
to convey both ideas and emotions. Identify examples
of imagery from this first section of the novel. Then
think of a place that conjures a strong emotional
response for you. Use imagery, especially imagery that
appeals to senses other than sight, to evoke the place
and convey an attitude toward it.
Assignment Use the Internet and the library to
research what life is like in India today. Consider the
culture, religion, and lifestyles that are common to its
population in both rural and urban settings. Prepare a
written report that details your findings.
Get Ideas Begin by identifying the place and a single
dominant emotional impression you wish to create.
Write the emotion you want to convey at the center of
a word web. Then jot down details about the place
that might help you convey that impression.
laughter,
sounds of
aromas
happiness
splashing
from the
snack bar
List as many sensory details as you can that help to
evoke what you heard, tasted, touched, smelled, or saw.
Give It Structure Think of how you will begin and
end. Do you want to identify the place at the outset,
or lead your reader slowly into it? You might arrange
details from far to near, or in the order someone
might experience them who was approaching and
then entering the scene; or you might identify the
place at the outset and then move slowly away from
it, perhaps noting, by means of your imagery, how the
sounds and smells fade with distance.
Look at Language As you draft and revise,
remember to strive for imagery that goes beyond just
the sense of sight. On the other hand, carefully
evaluate the imagery you select. If the imagery does
not apply, do not use it. For example, if you are
describing the excitement of watching the birth of a
puppy, it is unlikely that the sense of taste will make
sense or add to your dominant impression.
13 4
NOVEL COMPANION: Unit 3
Investigate Begin by identifying your research
questions. What is modern-day India like? What are
common customs, religions, and lifestyles of the
people of India? How do the people in rural and urban
India live? How is traditional life affected by
industrialized life and globalization? Come up with at
least three more questions that you will seek to
answer in your research.
As you research, look for reliable sources that are
appropriate to the topic. Find sources that reflect
various perspectives. Jot down complete bibliographic
information for each source you use. As you take
notes, remember to paraphrase and summarize as
much as possible.
Create Organize and compare the information
(specific data, facts, and ideas) you have compiled
by using a Venn diagram like the one below:
Industrialized Both
India
Traditional
India
Report Using the most relevant details you have
found in various sources, report how industrialized
and traditional India compare, including comparisons
of rural and urban India. Be sure that each paragraph
is focused on one idea, and that specific examples,
as well as correctly formatted quotations from
different sources, are included to support your
research. Include a correctly formatted bibliography
with your report.
BEFORE YOU READ: Chapters 14–23
NOVEL NOTEBOOK
Connect to the Literature
Keep a special notebook to record
entries about the novels that you read
this year.
“The squeaky wheel gets the grease” is an old saying. What does this
saying mean?
Make a Chart
SUMMARIZE
Create a list of examples, from your personal experience or from history, of
“squeaky wheels” who spoke up for their rights. Did these people get what
they wanted?
Summarize in one sentence the most
important idea(s) in Build Background.
Build Background
The Hindu Religion
Most of the characters in Nectar in a Sieve are followers of Hinduism, one
of the world’s major religions. Hinduism developed in India between 1400
and 500 B.C. as a blending of the beliefs of the Aryan invaders and the native
people. Today Hindus live in many countries, including India, Nepal, Sri Lanka,
Malaysia, Guyana, Suriname, and Trinidad and Tobago. More than 1.2 million
Hindus live in the United States.
Hinduism is a polytheistic religion, which means that Hindus worship many
gods. These gods are the separate forms of a single god called Brahma
(or universal spirit). The three major Hindu deities are Vishnu, Shiva, and
Shakti. Hindu worship practices center less on public group activities than
on private rituals, usually performed in the home for important events like
marriages, births, and deaths. Hinduism’s holy scriptures include the Vedas, a
collection of important rituals and commentaries, and a series of epic poems
and stories about gods and heroes.
Among the important beliefs of Hinduism is samsara, the idea that all life
is a series of births, deaths, and rebirths, influenced by the moral purity of a
person’s behavior and attention to religious rituals, called karma. Karma is
sometimes explained as the law of moral cause and effect. By following
proper rituals, doing good deeds, and maintaining purity of thought and action,
people can improve and be reborn into a higher, more spiritual life. Hinduism
places great emphasis on performing one’s duty to the gods as well as to
other people. One’s duty is, in turn, dependent on one’s place in society.
Hindu society has traditionally been divided into groups, called castes, based
on heredity, which determine a person’s occupation and status. Notice how,
in the novel, acceptance of one’s place in society becomes a source of both
comfort and conflict.
N e c t a r i n a Si e v e : C h a p te r s 1 4 – 2 3
135
BEFORE YOU READ: Chapters 14–23
Set Purposes for Reading
왘 BIG Idea A Place in Society
As you read, think about how Rukmani’s place in society continues to
influence and limit her life, as natural disasters and family tragedies
increasingly affect her.
Literary Element
Diction
Diction is an author’s choice of words and the way they are arranged. It is an
important element in the author’s voice or style. In this story, the narrator uses
formal diction, and therefore appears more educated than most of the other
characters, who sometimes use less formal or informal diction.
Diction contributes to the way we feel about the characters and how we
distinguish between them. Recognizing levels of diction, such as formal or
informal, old-fashioned or modern, or friendly or detached, can also lend
insight into social class, experience, age, and other aspects of character,
setting, and theme.
As you read this section of Nectar in a Sieve, isolate elements of Rukmani’s
narration that sound formal: adhering to traditional standards of correctness;
avoiding contractions, colloquialisms, or other casual choices; and, at times,
using dignified, elevated, or sophisticated content or structure.
Reading Strategy
Analyze Cause-and-Effect Relationships
When you analyze, you break something down into smaller parts in order to
understand the whole. When you analyze cause-and-effect relationships,
you identify how one or more events bring about one or more results. To find
the relationship, ask why something happens (that is, you identify the cause)
or what happens as a result (that is, you identify the result).
Identifying cause-and-effect relationships can help you better understand what
you read and deepen your understanding of individual, social, political, and
other interactions in the work.
As you read, focus on how some characters attribute the events in their life to
karma, fate, or destiny. Also focus on how some single events have multiple
causes or multiple results. Use the organizer on the following page to record
ideas.
13 6
NOVEL COMPANION: Unit 3
Vocabulary
cleave [klēv]
v. to cut
He used his machete to cleave a
path through the thick jungle.
exuberant [i z¯
oo´ bər ənt]
adj. joyfully enthusiastic
When she heard that she won the
trip to Jamaica, she was exuberant.
furtively [fur´ tiv lē]
adv. secretively
He furtively crept up to his room,
hoping not to wake his parents.
malignant [mə li´ nənt]
adj. evil
He was a malignant ruler, one who
killed ruthlessly and paid attention
only to his personal gain.
taper [tā´ pər]
n. candle
The taper had been glowing
all night long and was nearly
burned out.
ACTIVE READING: Chapters 14–23
Sometimes a single cause can have multiple effects or
results, and sometimes multiple causes lead to a
single effect. Complete the two organizers below as
completely as you can with text evidence from
Chapters 14–23.
Effects
Cause
Lack of Rain
Causes
Effect
Nathan and Rukmani decide
to leave their home.
N e c t a r i n a Si e v e : Chapters 14–23
137
INTERACTIVE READING: Literar y Element
Literary Element
Diction Examine both the dialogue
and the narration on this page. In what
ways does Rukmani sound more
formal and educated than Biswas
sounds?
13 8
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 18
I went to market laden with smooth-skinned brinjals and
pumpkins, round and fleshed like young women. The earth had
yielded richly: there were, besides, beans and potatoes, melons
and chillies, and I was well pleased with them and with the
silver coins I had received in exchange. I no longer sold to
Biswas; there were several other shops in the town now where I
was paid better, and where I did not have to endure the sly,
spiteful observations he made. Increasing years had added more
grease to his bulk, more flesh to his paunch; they had not
sweetened his nature or endowed him with more kindliness.
Confounding the curses that came his way—and there were
many, for his usury was harsh beyond necessity—he continued
to prosper, squeezing the life from those hapless creatures who
were driven to borrow from him, and gaining his strength from
their weakness.
Seeing me pass, he came and stood in his doorway and
called. “Rukmani! I have news for you. Stop a minute!”
“What is it?”
“Kenny is back. I have seen him.”
“So,” I said warily. “That is good news for everybody.”
“Especially for you,” he said, keeping his eye on me.
“For everybody,” I repeated, “for he is a good doctor. Many
people are in his debt.”
“He is also a man,” he said. “They say he is a good friend to
you.”
“To me and mine,” I said with rising temper. “He has done
much for us.”
“For you particularly,” he insisted, his flabby lips twitching
with innuendo. “I have heard from Kunthi that this is so.”
“A whore’s tale,” I said contemptuously, “as suspect as her
body.”
He thrust his face up to mine.
“Yet not for that reason dismissed,” he said, leering.
I wanted to strike him, I wanted to ram his words back into
his throat. I held myself still with an effort.
“Foul-mouthed pig!” I said. “Carrion crow!”
He only smiled, being used to harsh words.
“As hot headed as ever, Rukmani,” he said. “Where will you
turn when you next need money?”
He was so slippery, so worthless, that my anger died. Not
even the malignant power of Kunthi could rouse me: I felt too
remote.
INTERACTIVE READING: Literar y Element
NOVEL EXCERPT: CHAPTER 20
Literary Element
I was relieved that Kali, most garrulous of women, had not
come, but it was a short-lived relief. She had been suffering
from one of her periodic attacks of ague, and as soon as she had
got rid of it she came, waddling, for she had put on a lot of fat
when prosperity had returned to the land.
“I would have come before,” she puffed, “but for the ague.
The shivering was bad this year and the fever! I tell you, I
hardly know how I survived.” She lowered her voice
confidentially. “You know how it is—not too easy at my age.”
“I hope you are better,” I said.
“Ah well, one must not expect too much. I am well enough.
But I did not come to talk about myself.”
I looked at her without favour: it was plain enough why she
had come. She lowered her voice again.
“Is it true about the baby? People say he is milk-white!”
“He is fair,” agreed Ira equably. “See for yourself,” and she
held out the sleeping child in her arms. Kali bent forward
eagerly, quivering in her excitement, and at that moment as ill
luck would have it the child woke, opened his weak, pinkish
eyes, yawned and began to yell piercingly. Kali stepped back as
if she had been deliberately affronted: and such pity as she
might have had in her perished.
“He looks peculiar,” she said frankly. “Not a bit normal. Who
ever heard of pink eyes in a human child?”
I did not know what to say. Nathan was looking at her
sourly: he had never liked her. Ira’s face was strained and taut
and queerly defensive, as if she had been hurt and was
wondering where the next blow would fall. So she does know, I
thought with something akin to relief, yet of course not wholly
so. She hides her knowledge well. . . . The silence went on,
everybody afraid to speak, thoughts crisscrossing in the overfull air, eyes averted, shifting, lowered at last to the ground.
Then I heard Selvam clearing his throat to speak, and at once
heads turned, surprised, lightened of suspense, very much alert.
“Just a matter of colouring,” he said, “or lack of it. It is only a
question of getting used to. Who is to say this colour is right
and that is not?”
The words of a boy—Selvam was not sixteen—shaming us all.
“But pink—” Kali began.
“A pink-eyed child is no worse than a brown-eyed one,” he
said, looking at her with cold, rebuking eyes. “I should have
thought your instincts as a woman if nothing else would have
told you that.”
Diction What do the levels of diction
employed by the characters in the
excerpt on this page reveal about the
relative sophistication of the
characters?
N e c t a r i n a Si e v e : Chapters 14–23
139
INTERACTIVE READING: Reading Strategy
Reading Strategy
Analyze Cause-and-Effect
Relationships Using evidence from
this page, explain how the characters
view karma, destiny, or fate as a cause
of what happens to them.
14 0
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 16
There is the reaping,” I said, “and the threshing and
winnowing. How shall we manage when the time comes?”
“When the time comes,” Nathan said with a gleam in his eye,
“the strength will be forthcoming, never fear.”
I looked at him doubtfully: thin and drawn, with thighs and
arms so puny that no muscle showed even when he flexed
them. The rice would have to be lifted plant by plant, and the
grain separated from the husk, and the husk beaten for the last
few grains . . . it meant working long hours in the flooded fields
with bent back, and much labouring thereafter converting the
paddy into rice. It was no task for weakened bodies.
“You will see,” he said with confidence. “We will find our
strength. One look at the swelling grain will be enough to renew
our vigour.”
Indeed, it did our hearts good to see the paddy ripen. We
watched it as a dog watches a bone, jealously, lest it be snatched
away; or as a mother her child, with pride and affection. And
most of all with fear.
As we sat there Irawaddy came to us, stepping softly.
“It is hot within,” she said forlornly. “I could not rest.”
She went and picked a head of paddy before sitting down
beside us. I saw her fingers parting the husk, feeling for the
grain within.
“How much longer?”
The same question, the answer to which she already knew,
who had lived on the land since birth.
“Three weeks,” Nathan’s reply, grave, sincere, absolutely
honest where another might have been tempted to easier words.
“It is not long to wait,” I said, trying to hearten her. “And if
the Gods are kind it may even be sooner.”
That was what we prayed for—that it might not be too late.
The tears that brightened Ira’s eyes, the silences of my husband,
the twitching face of Selvam, all came from one thing, the
thought, imprisoned in the brain but incapable of utterance, that
Kuti might not live to see the harvesting. The rest of us might
struggle on, our endurance was greater; but he was only a child,
not yet five, who had already waited a long time and who had
suffered more than any of us. Whether from the unsuitable food,
or from the constant restless movement of his body, he had
developed a thick, irritating rash which he kept scratching; and
where his nails caught, sores and blisters began, destroying
whatever little peace he might have had. Sometimes after
moaning for hours at a stretch he would fall into an exhausted
daze—it could not be called sleep, it was nothing so sweet—and
INTERACTIVE READING: Reading Strategy
I would go to him with beating heart to see if the fight was
ended; but again and again he struggled back to consciousness,
took up again his tormented living; almost I wished it otherwise.
Some two or three days later I noticed a change in Kuti: his
eyes lost their dullness and the whimpering that had been so
harrowing to listen to lessened and stopped. I thought it was the
end—a brief rallying, a frothing up of the last reserves of
strength when there is no longer any need to hold back, like the
sudden brilliant glow of an expiring taper—since we gave him
nothing, there being nothing to give, that might account for the
change. The following day, however, the improvement
continued, and that night he slept peacefully. I gazed at the small
tired face, soothed by sleep as it had not been for many nights,
and even as I puzzled about the change, profound gratitude
flooded through me, and it seemed to me that the Gods were not
remote, not unheedful, since they had heard his cries and stilled
them as it were by a miracle. Irawaddy crept up to me as I
watched, and smiled at me and the child; and I whispered, “He
is better,” but there was no need as she, of all people, knew. . . .
I saw her go out in the dusk, sari tightly wrapped about her.
Saw her walk to the town, along the narrow lane which ran past
the tannery, following it to where it broadened with beedi shops
along one side and tawdry stalls on the other, where men with
bold eyes lounged smoking or drinking from frothing toddy pots.
She moved jauntily, stepping with outrageous fastidiousness
amid the litter of the street, the chewed sugar cane, the trampled
sweetmeats, the red betel-nut spittle; jauntily, a half-smile on her
lips answering the jeers and calls that were thrown at her, eyes
darting quickly round searching, then retreating behind halfdrawn lids. At each turning leading from the street—and there
were many of these, dim lanes and alleys—she paused, and
advanced a little along it, and waited, lost in the shadows.
Reading Strategy
Analyze Cause-and-Effect
Relationships Identify the multiple
causes of Ira’s choice, including causes
implied by the passage as well as
causes that you must infer from your
general knowledge.
N e c t a r i n a Si e v e : Chapters 14–23
141
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your
note-taking. Develop a shorthand
system, including symbols, that works
for you. Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
A Place in Society How does this
passage reflect the place of Rukmani
and her family in society?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
14 2
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 15
Raja had not been dead three full days when two officials
from the tannery came to see us, and the one who was tall and
burly with long mustaches did all the talking, and the other who
was thin and insignificant stepped timidly in his shadow and
agreed with what he said.
“The watchmen were only doing their duty,” the tall one
began. “They are engaged to protect our property, you
understand?”
“I understand.”
“No violence was used,” he said. “Only enough to stop him.
You agree, it was necessary.”
“He was doing nothing.”
“On the contrary. He was seen in the yard, where he had no
business to be, and when the chowkidars caught him they found
he had stolen a calfskin.”
“I do not believe it,” I said. “What use had he for such a
thing?”
“Not in itself maybe,” he replied in a strained voice, as if
struggling to keep his temper, “but of course he could have sold
it—sold it anywhere. We have had a lot of losses recently.”
“You cannot blame my son,” I said wearily. “We live from
hand to mouth, as you can see . . . there is no wealth here, such
as your goods might have brought.”
“. . . The lad was caught in the act of stealing—maybe, as you
say, for the first time and in a moment of weakness—still, he
was caught, and for the consequences that followed, no one was
to blame except himself. He should not have struggled. In these
circumstances you naturally have no claim on us.”
“Claim?” I said. “I have made no claim. I do not understand
you.”
He made a gesture of impatience.
“You may think of it later, and try to get compensation.
I warn you, it will not work.”
Compensation, I thought. What compensation is there for
death? I felt confused, I did not understand what he was getting
at. There was a pause. The timid man said kindly: “He was not
brutally treated or anything, you know. They merely tapped him
with a lathi, as he was trying to escape, and he fell. He must
have been very weak or something.”
“He was,” I said. “He worked hard, and ate little.”
“Naturally, it must have been a blow for you,” said the timid
one. “It is hard to lose—that is—” He tailed off incoherently,
seeing his companion’s glance fixed on him.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
MY VIEW
Comment on what you learned from
your own notes.
Recap
N e c t a r i n a Si e v e : Chapters 14–23
143
AFTER YOU READ: Chapters 14–23
Respond and Think Critically
1. What secret involving Kunthi does Nathan reveal to Rukmani? What secret
does Rukmani reveal in turn? What does their willingness to confess
suggest about their relationship? Do you think they are right to confess?
Why or why not? [Analyze]
2. Consider the sacrifice Ira makes for Kuti and its outcome. How do these
events help express the novel’s central themes? [Synthesize]
3. Rukmani switches to the present tense when describing Raja’s funeral.
Reread this passage in Chapter 15. What effect does the change in tense
produce? Why might the author have chosen to tell this episode in the
present tense? [Analyze]
4. At the end of Chapter 19, Kennington and Rukmani discuss their
approaches to suffering and injustice. Sum up each person’s opinions.
With which person do you agree? Why? [Compare]
5. A Place in Society How does the presence of the tannery serve to
reinforce, rather than to change, the characters’ place in society?
[Synthesize]
14 4
NOVEL COMPANION: Unit 3
APPLY BACKGROUND
Reread Introduction to the Novel on
pages 120–121. How did that
information help you understand or
appreciate what you read in the
novel?
AFTER YOU READ: Chapters 14–23
Literary Element
Vocabulary Practice
Diction
1. Kenny and Rukmani are both educated people.
In conversation, is their level of diction the same?
Explain. [Compare]
A synonym is a word that has the same or nearly
the same meaning as another word. Match each
boldfaced vocabulary word below with its synonym.
Use a thesaurus or dictionary to check your answers.
1. cleave
a. create
2. exuberant
b. candle
3. furtively
c. joyous
4. malignant
d. extreme
5. taper
e. secretly
f. slash
2. How well does the narrator’s formal diction help to
convey her dignity and depth of character?
[Evaluate]
g. malevolent
Academic Vocabulary
Even after years of hardship and many struggles,
Rukmani is still able to sustain her love for Nathan.
Using context clues, try to figure out the meaning of
the boldfaced word in the sentence above. Write your
guess below. Then check it in a dictionary.
Reading Strategy
Analyze Cause-and-Effect
Relationships
1. Name two reasons that Kenny keeps returning to
the village. [Analyze]
2. How does Kenny’s presence in the village help to
change Selvam’s life? [Analyze]
N e c t a r i n a Si e v e : C h a p te r s 1 4 – 2 3
145
AFTER YOU READ: Chapters 14–23
Write with Style
Speaking and Listening
Apply Diction
Oral Interpretation
Assignment Markandaya uses level of diction as a
method of characterization. Partly through the
narration, and partly through the characters’ speech,
personalities and levels of education emerge. Review
the dialogue and narration in this section of the novel
for clues they give to characterization. Then write a
scene in which you use narration and dialogue to
create contrasts between two characters.
Assignment The title Nectar in a Sieve comes from
a poem called “Work Without Hope” by Samuel
Coleridge. In it, Coleridge writes “Work without hope
draws nectar in a sieve / And hope without an object
cannot live.” With a small group, organize and present
an oral interpretation of a scene in the book that
expresses the idea alluded to in the title.
Get Ideas Sketch a “who-what-where-when-why”
organizer to come up with and record ideas for your
scene. Decide on two characters, one of whom will
both narrate the scene in the first person and play a
role in it. Place the characters in a setting that mirrors
or complements their dialogue. For example, if they
will converse about faith, you might place them in a
temple or church; if they will talk about the next soccer
game, you might put them in a locker room.
Give It Structure Use a straightforward, chronological
order for your scene. Remember to start a new
paragraph each time the speaker changes. Add bits of
narration to your dialogue to anchor it in a place and
to convey additional information about how the
characters speak, as well as additional actions, such as
throwing up their hands or gazing out a window.
Look at Language As you draft and revise, make the
contrast between your characters more apparent by
increasing the informality of one speaker’s diction in
these ways:
• add contractions
• insert colloquialisms
• replace formal choices with casual ones
• replace sophisticated language with everyday
language
EXAMPLE:
Do not trouble yourself. I will choose the appropriate
time and venue for our next meeting. [Sophisticated
and formal]
Yer not in charge! I’ll pick the right time for a meeting.
[Colloguial and informal]
14 6
NOVEL COMPANION: Unit 3
Prepare First, discuss the lines from Coleridge’s
poem, using a dictionary to look up words if necessary.
When your group understands what the lines mean,
consider how the lines apply to the novel. Why would
Markandaya name her book Nectar in a Sieve? Next,
decide on one scene in the text that your group thinks
best expresses this idea.
Once you have chosen your scene, read through it two
times. After the first reading, discuss what happened in
the scene. After a second reading, discuss what the
implied meaning of the scene might be. Why is this an
important scene? As a writer, what point is Markandaya
making through this scene, and how does it reflect the
idea posed in Coleridge’s poem?
Select a director and a person to be in charge of
sound effects. Decide who will read each part in your
oral interpretation. Rehearse the scene, with the
director deciding how the lines should be read (what
words should be emphasized, where pauses should
be), and the sound effects person considering where
different sounds could be added for dramatic effect.
Make choices that you think help to reflect the theme
of Coleridge’s poem.
Rehearse the scene until you can perform it smoothly,
focusing on volume, pacing, enunciation, and eye
contact.
Perform Present your oral interpretation to the class.
When the reading is finished, talk about the dramatic
choices you made and how you believe they reflect
the theme of Coleridge’s poem.
Evaluate Discuss how your performance went with
your group members. Write a few paragraphs about
the experience, noting both what went well and what
could be improved.
BEFORE YOU READ: Chapters 24–30
NOVEL NOTEBOOK
Connect to the Literature
Keep a special notebook to record
entries about the novels that you read
this year.
Recall a time when you felt like giving up. What made you feel this way?
How did you cope?
Write a Journal Entry
In your jounal, briefly describe the situation and the ways in which you worked
through it.
WRITE THE CAPTION
Write a caption for the image below
using information in Build Background.
Build Background
Help for the Poor and the Sick
One of the best-known charities in the world, the Order of the Missionaries of
Charity, was founded in India in 1948. Its creator, an Albanian woman named
Agnes Gonxha Bojaxhiu, is better known by the name she took in memory of
Saint Theresa of Lisieux—Mother Teresa.
Arriving in India in 1928, Mother Teresa was deeply troubled by the extreme
misery and poverty of the poor. She moved to the slums of Calcutta and, in
1948, was given permission to use a section of the abandoned temple of
Kali, the Hindu goddess of death and destruction. She renamed it Khalignat,
the Home of the Pure Heart. Along with a few helpers, Mother Teresa used
the temple to tend to the sick and dying. Those brought to the temple
received medical attention and were given the opportunity to die with dignity,
according to the rituals of their faith. Muslims were read the Koran, Hindus
received water from the Ganges, and Catholics received Last Rites. As her
work became known, Mother Teresa attracted more followers. Centers spread
throughout Calcutta and other parts of India, serving blind, aged, handicapped,
and dying poor people. The order also operated a leper colony. From its
beginnings in Calcutta, the Order of the Missionaries of Charity has spread to
more than two hundred locations worldwide.
In 1979, Mother Teresa was awarded the Nobel Peace Prize, “for work
undertaken in the struggle to overcome poverty and distress, which also
constitute a threat to peace.” She refused the conventional ceremonial
banquet given to laureates, and asked that the $192,000 funds be given to
the poor in India, stating that earthly rewards were important only if they
helped her help the world’s needy. She died on September 5, 1997, five days
after her 87th birthday.
N e c t a r i n a Si e v e : Chapters 24–30
147
BEFORE YOU READ: Chapters 24–30
Set Purposes for Reading
왘 BIG Idea A Place in Society
As you read this part of Nectar in a Sieve, notice how the characters’ place in
society seems to ensure that they will have to face ever-increasing challenges
to their survival.
Literary Element
Antithesis
Antithesis is the balanced contrast of two phrases or ideas. Through
antithesis, authors emphasize important ideas. Antithesis can involve the
placement of opposite ideas in linked phrases or clauses. For example, in the
phrase “night is the sister of day,” the two balanced elements in opposition
are the singular nouns night and day. Antithesis can also require the balanced
use of similar grammatical elements. For example, verbs in the same tense,
parallel phrases, and other sentence elements or parts of speech may create
antithesis.
When you become aware of the use of antithesis in a poem, essay, or novel,
you not only develop a greater appreciation of the author’s style but you may
also gain a deeper understanding of themes.
As you read the final section of the novel, look for the balanced presentation
within single sentences of opposing ideas. Use the graphic organizer on the
following page to record examples, to identify their contrasting elements, and
to comment on their effect.
Reading Strategy
Connect to Contemporary Issues
When you connect to contemporary issues, you link what you read to
events and issues in today’s world.
Vocabulary
amity [am´ ə tē]
n. friendship
You could tell there was a real sense
of amity between them; they simply
enjoyed each others’ company.
inexorably [i nek´ sər ə blē]
adv. mercilessly, relentlessly
The students all agreed that when
the teacher decided to give a
surprise quiz plus three hours of
homework, he was just being
inexorably cruel.
poignancy [pred´ ə tor´ ē]
adj. preying on others
There was poignancy between them
when they said goodbye–they knew
they might never see each other
again.
predatory [pred´ə tor´ē]
adj. preying on others
Susan was a predatory thief of
homework; her friends were her
victims and she relied on them to
do all the work for her.
wily [w¯´ lē]
adj. sly
He was a wily young boy, always
looking to get into new mischief.
Making these connections helps you to understand the author’s message and
how it may relate to our world today.
As you read Rukmani’s story, set in a time of great turmoil and unrest, keep in
mind the turmoil and unrest of today’s world. Think of news stories that you
see often on the television or Internet. Look for characters, settings and events
in the text that you recognize in today’s world as well. You may find it helpful
to use a graphic organizer like the one at the right.
14 8
NOVEL COMPANION: Unit 3
Issues in
Rukmani’s
World
Both
Issues in
our World
Today
ACTIVE READING: Chapters 24–30
Identifying antithesis requires close analysis of
individual sentences. In works of fiction, sentences that
contain antithesis are usually found in the narration
rather than in the dialogue. Use the chart below to
record sentences that contain antithesis. In the second
column of the chart, identify the two grammatically
balanced opposites that create the antithesis. Then
write the effect of the antithesis by commenting on
how it creates emphasis or another strong impression.
Sentence with Antithesis
Balanced Elements
Effect
“Not satisfied with one
but must try and make
capital out of charity.”
nouns: capital, charity
Conveys the hopelessness
of Rukmani and Nathan’s
situation, when they can
manage to get only one
serving of food at the
temple; also creates
irony—two servings is
hardly “capital”
N e c t a r i n a Si e v e : Chapters 24–30
149
INTERACTIVE READING: Literar y Element
Literary Element
Antithesis Identify an example of
antithesis on this page; name the
balanced opposites; and explain the
effect of the antithesis.
15 0
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 25 AND 26
As always nathan stirred with the first light; when he saw
I was awake he sat up quickly, rubbing the sleep from his eyes.
“Yes, I was tired. But you look as if you had been up all night.”
“Almost . . . I could not sleep.”
“You were worried no doubt,” he said gravely, and the
concern in his voice made me slightly ashamed of myself. “Still,
we shall soon be with our son and you will be able to rest.
Come, we may as well start now—the sooner the better.”
We went to wash at the tap, threading our way among the
heap of rags under which men and women lay huddled in
sleep, their crutches or staffs and begging bowls beside them,
and when we had done we went out the way we had come in.
Early though it was, many of the shops were open. From the
food stalls came the spluttering of ghee and oil as bread and
pancakes were fried, ready for the early worshippers who would
soon be coming. As we passed, Nathan hesitated and I was him
eyeing the crisp golden pancakes laid out upon a platter.
“Let us buy a few,” he said cheerfully. “I am hungry enough
and you must be too.”
I for may part hesitated, although the food was tempting
enough, for the silver coins we had were few and precious and
there was no telling what our needs might be; still could not
very well deny him when I had already made up my mind to
spend ome of the money on cooking vessels, and so I put may
hand in my waistband to take out the money I had tied there.
The coins were gone. I felt in my bodice and again in my
waistband. I shook out the folds of my sari, but there was no
doubt the money was gone.
“It may have slipped out in the night,” Nathan said, and we
went back, unhopeful, to where we had slept but the ground
was bare and innocent. And those who saw us entering again
laughed and said free meals were only given in the evening, not
in the morning, their laughter changing to concern when we
explained what had befallen us: but their concern was only
perfunctory since they were after all lookers-on and not
partakers, and I noticed one or two glances exchanged, pitying
yet scornful, which said as plainly as words, These are simple
careless country folk. Lost and bewildered though I was I could
contain myself no longer and I said sharply there was not too
little care but too many thieves, and saw them nodding in facile
agreement. Yes, thieves and pickpockets were very skilful; one
needed to exercise the utmost care. . . .
INTERACTIVE READING: Literar y Element
I went quickly from him with the sack on my back; running to
get to the head of the waiting queue. Six annas, less than we have
earned before; but we have nearly enough now, I thought, coming
through the gloom. I must see about a carter. Maybe it will not be
as much as we have reckoned, then we can leave at once. My
mind wandered to my home; would it still be there? I saw before
me my daughter and the shy white-faced Sacrabani. And Puli . . .
if only he would come, how happy we would be, my husband
and I! Not Puli, though; he would certainly refuse. I shall miss
him, I thought sadly. But he—he won’t even notice our going.
Disjointed thoughts kept clattering through my brain—or was
the clatter only the rain? I stumbled down the hill-slopes, treacherous
with mud and stones, sighing with relief as I reached the road.
Half way along it, I saw a small knot of people gathered.
Nothing can make me stop, I thought, hurrying along. Then one
of the group called: “Ai! See to your man. He has fallen.”
I stopped and may senses poised themselves on the brink of
insensibility, ready to swoop away at the merest nod from me. I
shook off the blackness and went to him through the gathered
people, who parted to let me through, then closed their ranks as
I knelt beside him.
He was lying by the side of the road where someone had
carried him—not in the gutter but away from the road, to avoid
the mud-churning cart wheels. His body had made a trough of
the wet mud, in it he lay jerking and twitching. Next to him the
swollen gutter ran like a stream, noisily; above it I could hear
his hoarse breathing. I touched him and his body was as chill as
the wind. The pitiless rain came splashing down uncaring. I had
no shield for him. At last I unwound part of my sari, meaning
to tear it, but the material would not tear: where my hands were
it gave, limp and perished. In despair I wound the rags about
me again. Nobody gave anything, nobody had anything to give;
the men in loincloths, the women in saris tattered and sodden
like mine. It makes no difference, I thought to myself, and found
the words being murmured by another.
One man took him by the armpits, another his feet. I came
walking behind; with me other women, whispering words of
comfort that the rain washed away as soon as they were uttered.
Sometimes there was a silence while they waited for my answer,
waited while I groped for their words.
“Has he been ill long?”
“Yes; some time.”
“Have you no sons to help?”
“Yes—no—not here.”
I licked my wet lips. There was a taste on them of salt and of
the fresh sweetness of rainwater. I did not know I had been crying.
Literary Element
Antithesis In each of these passages,
the author uses multiple examples of
antithesis. Why do you think that she
use this technique? What is the literary
effect that this technique creates?
N e c t a r i n a Si e v e : Chapters 24–30
151
INTERACTIVE READING: Reading Strategy
Reading Strategy
Connect to Contemporary Issues How
might children in the United States
living in families with incomes below
the poverty line, live lives similar to the
homeless Indian children described in
this passage?
15 2
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 25
Through the streets of the terrifying city, amid the
unaccustomed traffic and crowds, screwing up our courage each
time we asked our way, we went slowly along. Some we
questioned would not stop to answer, others did not know,
many in trying to be helpful directed us wrongly. Without
exception they were confusing—or we were dull. There were so
many turnings we were to take, so many not to, that by the time
we had followed the instruction to about the third turning, we
were completely lost and had to stop and ask again. . . .
“I am a little slow,” Nathan said humbly. “They speak so fast
I can hardly follow, and I cannot remember all they say.”
“If you are, so am I,” I said stoutly, “for I also find it
difficult.”
It being near midday we sat down to rest by the roadside.
A dozen or more children were playing there, dodging in and
out of the traffic with a skill and indifference which I could not
help admiring. For all their play they looked as if they had never
eaten a full meal in their lives, with their ribs thrust out and
bellies full-blown like drums with wind and emptiness; and they
were also extremely dirty with the dust of the roadside and the
filth deposited upon it; and the running sores many of them had
upon their bodies were clogged with mud where blood or pus
had exuded. But they themselves were forgetful of their pains—
or patient with them as the bullock had been—and played
naked and merry in the sun. Merry, that is, until a crust of bread
fell on the road or a sweetmeat toppled from an over-ambitious
pyramid when, all childishness lost, all play forgotten, they
fought ferociously in the dust for the food . . . my children had
fought thus too, I remembered, but time had mellowed the
memory or dimmed it, for it did not seem to me that they had
struggled like these: teeth bared, nails clawing, ready, predatory
like animals. But when a man of wealth passed they were as
tender and pitiful as fledglings, beseeching with soft open
mouths and limpid eyes, their begging bowls meekly held
before them and altogether changed with an artfulness which
surely my children had not at their command. And however
much they played and were children, still their faces were
scored with the knowledge and cares that children should not
have, their eyes were knowing and guileful beyond their years.
“We may yet be forced to that,” said Nathan, pointing to
their begging bowls, “if we do not find our son—”
“Never,” I protested, a little frightened by his dejection.
“Come, we must be on our way.”
“Let us ask these children,” he said. “They seem quick.”
INTERACTIVE READING: Reading Strategy
He clicked his fingers and called, and they came with bright
curious eyes, twittering like sparrows.
“Tell me, my son, do you know where Koil Street is?”
“Koil Street? There are three or four. Which one do you
seek?”
“Three or four!” exclaimed Nathan. “No wonder we have
been chasing our tails!”
“If you tell me the name of the people,” a boy said, “there are
few I do not know.”
“That I can well believe. We are looking for my son who is
named Murugan, and he works with one Birla, who is a doctor.”
“I do not know of Murugan,” the boy said frankly, “but
everyone knows Birla. For a small sum,” he added, “I will take
you there myself.”
“I have less than you,” Nathan sighed. “I can give you
nothing.”
“Oh,” the boy said, disappointed, his voice falling away.
Then an idea seemed to strike him and he said shrewdly: “Yet I
will myself take you there, and if you prosper you can pay me.”
“And how shall I know you?”
“I am called Puli after the king of animals, and I am leader of
our pack. I am as well known as Birla.”
“Then I shall know where to find you,” Nathan said smiling,
for there was an impudence in the boy which was somehow
attractive, “Lead on, my young friend.”
The boy turned and said something to his companions, and
there was no doubt that he was their leader, for they dispersed
at once; then he beckoned to us. “Follow closely,” he said
firmly—this child who might easily have been our grandson,
“or you will be lost!” and he motioned us forward. And as he
did so I saw that he had no fingers but only stumps. The disease
which was rotting his body had eaten away nail and flesh to the
first knuckle.
Prudently we took his advice to follow closely, although he
went at a pace which we found difficult to match, and presently
he brought us to a small whitewashed house set in a street on
the corner of which stood a church.
“This is the street—this is the church—this is the house,” he
said rapidly pointing, and at once turned and made off, his
head down and his shoulders moving as he ran.
We stood and looked at the house, arrived but uncertain how
to proceed, and it looked back at us neither inviting nor
forbidding. There was a wooden paling around it, broken by a
small wooden gate, and at length—there being nobody in sight
to ask—we walked through to the garden and so to the house.
Reading Strategy
Connect to Contemporary Issues
Rukmani describes the street children
as having eyes that “were knowing
and guileful beyond their years.” What
kind of “knowledge and cares that
children should not have” do many
poor American kids have today?
N e c t a r i n a Si e v e : Chapters 24–30
153
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your
note-taking. Develop a shorthand
system, including symbols, that works
for you. Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
A Place in Society How does this
scene reflect Murugan’s place in
society and the way it affects Nathan
and Rukmani’s place?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
15 4
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 25
The doctor meanwhile was approaching. Under the thin shirt
I saw the figure of a woman and I whispered hastily to my
husband: “Be careful—it is a woman.” Nathan turned
bewildered eyes on me. “The trousers—” he began, but there
was no time to say more and he stopped short confused and
stammering.
“Who are you? What do you want?” A woman’s voice,
unmistakably.
“Our son came here to work some years ago,” I said. “We
have come to seek shelter with him.”
“His name?”
“Murugan.”
“Oh yes, he came through Kennington, did he not?”
“Yes,” I said eagerly. “Kenny gave him the recommendation.
He has been very good to me and mine.”
“How is he?” she asked, forgetting we thirsted for news.
“I have not seen him for a very long time.”
“Well,” I said, “and happy, since he is building this new
hospital. My son works for him.”
She looked at me thoughtfully and I could see she wanted to
know more about the hospital, but she only said: “Of course,
you are anxious about your son. I am afraid I cannot help you,
he left here nearly two years ago.”
Left . . . two years ago. Where could he go? Why go with no
word to us? We stood mute and miserable. At last I felt I must
know. “Has anything happened—I mean had he done some
wrong—?”
“No; nothing like that. He was a very good servant and he
went after higher wages.”
Well, I thought. This at least is better hearing, and I licked my
dry lips and said, “If you would tell us where he went—we
must go to him, there is no one else. . . .”
“I am not sure,” she said with a hint of pity in her eyes, “but I
have heard that he works for the Collector. He lives on
Chamundi Hill,” she added. “Anyone will show you the house:
it is big enough.”
We were at the gate when she came after us. “You look
faint—have you not eaten?”
“We were fed at the temple,” I said, not meeting those
shrewd eyes.
“It is a long time since,” she said. “You had better have a
meal here before you go.” She called to the servant and spoke to
him rapidly, and he came, looking none too pleased, to lead us
to where we had to go.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
ASK QUESTIONS
Write a question about the novel. Can
you find the answer in your notes?
Recap
N e c t a r i n a Si e v e : Chapters 24–30
155
AFTER YOU READ: Chapters 24–30
Respond and Think Critically
1. This section begins with a journey. In what way is this journey a symbolic
representation of the lives of Nathan and Rukmani? How do aspects of this
journey reflect the lives of the two characters? [Analyze]
2. To what activity does Rukmani first turn to earn money in the city? What is
ironic, or unexpected, about this choice? [Interpret]
3. Markandaya does not name the city to which Nathan and Rukmani go,
nor does she give specific details about where they live or when the events
occur. There is also no mention of politics, government, or other aspects of
modern life. Why might the author avoid presenting this kind of
information? [Infer]
4. Returning from work one day with Puli, Rukmani spends some of their
precious money on toys and food treats. How does she feel about these
purchases? Do you feel she was right to buy them? What might buying
such things as toys and treats represent to people in Rukmani’s situation?
How would you justify buying the toys and the treats if you were in her
place? [Infer]
5. A Place in Society How well do you think the ending of Nectar in a
Sieve reflects the Big Idea of the inescapability of one’s place in Indian
society? [Evaluate]
15 6
NOVEL COMPANION: Unit 3
APPLY BACKGROUND
Reread Build Background on
page 147. How did that information
help you understand or appreciate
what you read in the novel?
AFTER YOU READ: Chapters 24–30
Literary Element
Vocabulary Practice
Antithesis
1. How does antithesis add to the emotional impact
of some of Markandaya’s sentences? [Evaluate]
Write the vocabulary word that correctly completes
each sentence. If none of the words fits the sentence,
write none.
amity
predatory
inexorably
wily
poignancy
2. Antithesis is often used as a device in argument.
Write an example of antithesis that Kenny might
use to argue for change in the lives of people like
Rukmani. [Apply]
1. The lion was a
beast;
any other animal placed in his cage would
be in danger.
2. She was happy that Tom had gotten the job in
the next state but was also sad to see him go;
their good-bye was filled with
.
3. The coffee shop was filled with
students, studying for final exams.
4. He wasn’t surprised to find that the
little girl had snuck into
the cookie jar when he wasn’t looking.
5. After he had reminded her ten times in one
day about the cleaning, Susan accused Tom of
nagging her.
Reading Strategy
Connect to
Contemporary Issues
1. How do Rukmani and Nathan’s struggles and
turmoils in the new city compare to those a person
may experience in a poor, urban area today?
[Compare]
6. The protesters’ chants filled the air, creating a
feeling.
7. After being friends for more than twenty years,
the women displayed a comfortable
.
Academic Vocabulary
Throughout the book, poverty kept Rukmani and
Nathan’s welfare in constant peril. In the preceding
sentence, welfare means “one’s safety and wellbeing.” Think about something in your life that affects
your welfare. What is it and how does it affect you?
2. In this novel, Markandaya presents effects of
industrialization upon rural India. How do you think
she might react to globalization? In what ways do
you think that globalization and industrialization
have a similar effect on village life, and in what
ways do they have a different effect? [Evaluate]
N e c t a r i n a Si e v e : Chapters 24–30
157
AFTER YOU READ: Chapters 24–30
Writing
Connect to Content Areas
Write a Letter to the Editor Write a letter to the
editor of a local or big-city newspaper about poverty.
Focus on your community, state, or country, or present
ideas about poverty around the globe. Incorporate at
least one example of antithesis in your argument,
perhaps placing it at the end of a paragraph or at the
end of your letter for greatest effect on your audience.
Art
Jot down some notes here first.
Assignment The Hindu goddess Sita is often
mentioned by critics as a model for Rukmani’s
character. Sita is known as a symbol of devotion,
never-ending patience, and self-sacrifice. In art, she
is most commonly shown gazing at her husband
with blissful happiness. Research a Hindu god or
goddess and create a piece of art that reflects his
or her well-known qualities.
Investigate Use the Internet and the library to
research Hindu gods and goddesses; there are
hundreds of them. Identify and analyze unfamiliar
terms. Also keep in mind that with so many gods
and goddesses, and much information regarding them,
some of your research may conflict. Synthesize the
information you have found from multiple sources and
identify any complexities or discrepancies in the
information.
Choose the god or goddess that you find most
fascinating. Compose a word web with the god or
goddess’s name in the center. Make note of all
the qualities you have found attributed to this god
or goddess.
Create Create a piece of art that portrays the god or
goddess of your choice. Through your art, at least one
of the famous qualities of your god or goddess should
be made clear. Choose an artistic medium through
which you think these qualities will best be apparent
to your audience.
Report Share your artwork with your classmates,
using appropriate tone of voice, body language, and
eye contact. Using language fitting to the art medium
you have chosen, explain the artistic choices you have
made and how the choices help to show what your
god or goddess is best known for.
15 8
NOVEL COMPANION: Unit 3
WORK WITH RELATED READINGS
Nectar in a Sieve
The following questions refer to the Related Readings in Glencoe’s
Literature Library edition of this novel. Support your answers with details
from the text. Write your answers on a separate sheet of paper, but jot
down some notes first on the lines provided.
Pictures of Marriage
Ved Mehta
In Nectar in a Sieve, Rukmani is considered a plain
woman, but her daughter, Ira is perceived as beautiful.
How did families take girl’s physical appearance
into account as they selected mates and calculated
dowries? Among Mehta’s extended family, find the
two engagements that were called off because of
physical appearance. Why do you think Mamaji told
Ved “without a moment’s hesitation” that he would
never marry?
Snatched from Death; In India,
Marriages Made by Computer
translated by Dwijendra Nath Neog; Sheila Tefft
How do the marriage customs or values presented in
these articles echo or depart from those you read
about in Nectar in a Sieve?
Work Without Hope
Letter to Lord Irwin and About That Letter; Rice
Samuel Taylor Coleridge
Why might Markandaya have chosen to title her novel
after the last lines of Coleridge’s poem? Do you think
that the title is effective? Explain.
Mahatma Gandhi; Chemmanam Chacko
In your opinion, which of these readings most clearly
relates to the situation in which Rukmani and Nathan
find themselves? Why?
from A Passage to India
Santha Rama Rau
The fictional characters Fielding and Kennington
develop warm friendships with individual Indians.
Do you think they are able to bridge the gap between
East and West because they are (1) sensitive to
others? (2) not able to “fit” in with their own
countrymen? (3) have a natural curiosity about other
cultures? Or (4) all of these? Explain your answer.
N e c t a r i n a S ie v e
159
CONNECT TO OTHER LITERATURE
LITERATURE EXERPT: The Parable of the Prodigal Son
And he said,
“A certain man had two sons: and the
younger of them said to his father, ‘Father,
give me the portion of goods that falleth to
me.’ And he divided unto them his living.
And not many days after the younger son
gathered all together, and took his journey
into a far country, and there wasted his
substance with riotous living. And when he
had spent all, there arose a mighty famine in
that land; and he began to be in want. And
he went and joined himself to a citizen of
that country; and he sent him into his fields
to feed swine. And he would fain have filled
his belly with the husks that the swine did
eat: and no man gave unto him.
“And when he came to himself, he said,
‘How many hired servants of my father’s
have bread enough and to spare, and I
perish with hunger! I will arise and go to my
father, and will say unto him, “Father, I have
sinned against heaven, and before thee, and
am no more worthy to be called thy son:
make me as one of thy hired servants.” ’
“And he arose, and came to his father.
But when he was yet a great way off, his
father saw him, and had compassion, and
ran, and fell on his neck, and kissed him.
And the son said unto him, ‘Father, I have
sinned against heaven, and in thy sight, and
16 0
NOVEL COMPANION: Unit 3
am no more worthy to be called thy son.’
But the father said to his servants, ‘Bring
forth the best robe, and put it on him; and
put a ring on his hand, and shoes on his feet:
and bring hither the fatted calf, and kill it;
and let us eat, and be merry: for this my son
was dead, and is alive again; he was lost,
and is found.’ And they began to be merry.
“Now his elder son was in the field: and
as he came and drew nigh to the house, he
heard music and dancing. And he called one
of the servants, and asked what these things
meant. And he said unto him, ‘Thy brother
is come; and thy father hath killed the fatted
calf, because he hath received him safe and
sound.’ And he was angry, and would not
go in: therefore came his father out, and
intreated him. And he answering said to his
father, ‘Lo, these many years do I serve thee,
neither transgressed I at any time thy
commandment: and yet thou never gavest
me a kid, that I might make merry with my
friends: but as soon as this thy son was
come, which hath devoured thy living with
harlots, thou hast killed for him the fatted
calf.’ And he said unto him, ‘Son, thou art
ever with me, and all that I have is thine. It
was meet that we should make merry, and
be glad: for this thy brother was dead, and is
alive again; and was lost, and is found.’ ”
CONNECT TO OTHER LITERATURE
Compare the novel you have just read to the literature selection at the left,
“The Parable of the Prodigal Son” from the King James version of the Bible in
Glencoe Literature. Then answer the questions below.
Compare & Contrast
1. Point of View How is the point of view in this parable different from the
point of view in Nectar in a Sieve? Why does the parable require a different
point of view?
TALK ABOUT IT
How well do you think that the lesson
that Jesus teaches in the story of the
prodigal son matches the philosophy
of life that Rukmani reflects throughout
Nectar in a Sieve? Support your ideas
with specific examples from the novel.
Jot some notes of your discussion on
the lines below.
2. Diction How would you compare the level of diction in this parable to the
level of diction in Nectar in a Sieve? Consider both the narrator and the
characters.
3. Antithesis Explain how the use of antithesis in this parable compares or
contrasts with the use of antithesis in Nectar in a Sieve.
N e c t a r i n a S ie v e
161
RESPOND THROUGH WRITING
Autobiographical Narrative
Apply Point of View In Nectar in a Sieve, first-person point of view is crucial
to the understanding that the reader develops of Rukmani and the many
cause-and-effect relationships that dictate her choices—or lack of choice. Tell a
brief story from your own life that is set in the place where you live now or
once lived. Use the first-person point of view.
Prewrite Because an autobiographical narrative reveals or reflects on the
significance of an event, or series of events, in the writer’s life, be sure you
choose a story that changed or affected you in some way or that has a
significance that you can make clear to your reader. Try freewriting about
periods of your life to see what ideas emerge. For example, freewrite on your
earliest memories of going to school, a summer vacation that stands out in
your mind, or an experience of growing up or learning something for the first
time. After you freewrite, identify some of the causes and effects inherent in
your story. For example, you may call the events that led up to a tragedy or a
triumph fate, destiny, or karma. Similarly, you might identify the reasons for
the experience as cultural, societal, or family matters.
Draft Remember that an autobiographical narative is a story, so follow this
structure as you draft:
Introduction
Conflict/Problem
time and place, main characters,
including me
internal or external struggle I faced
Events
Resolution
Reflection
• An autobiographical narrative is a
story in which an author tells a
sequence of events from his or her
life and reveals the personal
significance of the experience.
• Point of view is the perspective from
which a story is told. In first-person
point of view, the narrator is a
character who relates his or her own
experience using the pronouns I, me,
my, and mine, and, sometimes, we,
our, or us.
Grammar Tip
Sentence Variety
Always strive for a variety of
sentence structures and lengths. If
you find you have too many long
sentences, or if your sentences are
too long, complicated, or illconstructed for the reader to make
sense of them, break them down
into shorter sentences:
That is how I first learned that it is
always better just to admit to and
apologize for a lie. No matter how it
feels at the time, owning up is a
better course of action than letting a
lie grow bigger and bigger. After all,
a lie will almost always come back
one day and finally expose you.
↓
what I learned, including insight into causes
and effects
Revise Check to be sure you have maintained the first person throughout
your essay and that you have employed a narrative structure: introduction of
characters and setting; conflict; events; and resolution; as well a final reflection
on what you learned or how you were changed by the events you related.
Edit and Proofread Edit your writing so that it expresses your thoughts
effectively and is well organized. Carefully proofread for grammar, punctuation,
and spelling errors.
16 2
UNDERSTAND THE TASK
NOVEL COMPANION: Unit 3
That was how I learned that it is
always better just to admit to and
apologize for a lie, rather than
letting it grow bigger and bigger,
until one day it comes back and
exposes you.
Picture Bride
Yoshiko Uchida
P i c t u r e B r id e
163
INTRODUCTION TO THE NOVEL
Picture Bride
Yoshiko Uchida
“
Tomorrow, at last, the ship would dock in
San Francisco and she would meet face to
face the man she was soon to marry. Hana
was overcome with excitement at the
thought of being in America and terrified of
the meeting about to take place. What would
she say to Taro Takeda when they first met,
and for all the days and years after?
”
—Picture Bride, Chapter 1
These words reflect the emotions of twentyone-year-old Hana Omiya, the main character
of Picture Bride, as she nears the end of her
journey to the United States. Hana not only is
traveling alone to an unfamiliar country but
also is about to meet for the first time the man
she has promised to marry. Hana’s
experiences mirror the real experiences of
hundreds of young Japanese women who
immigrated to the United States as “picture
brides” in the early nineteen hundreds.
Yoshiko Uchida’s fictional character gives
these women a voice—revealing why many
journeyed to America and what their lives
were truly like after they arrived.
Arranged Marriages In many states,
marriages between white Americans and
people of Japanese descent were outlawed.
For that reason Japanese American men
often sought arranged marriages. Frequently,
the marriages were arranged through family
or friends of the woman or the man. The
couple, often strangers to each other, would
agree to marriage after exchanging pictures
and perhaps some letters. The women who
agreed to this arrangement, called picture
16 4
NOVEL COMPANION: Unit 4
brides, sometimes saw the marriage as a
door to opportunities not available to them
in Japan. Like Hana, many were excited by
the idea of going to the United States.
Facing Prejudice Community, family life,
and tradition were important to Japanese
women. In the United States, many found
that their communities and families were
continually threatened by outside problems.
In addition to having to adjust to marriage
with a virtual stranger, the women quickly
learned that many people in the United
States were not friendly to Asian immigrants
and their families.
White Americans felt threatened by the influx
of Chinese and Japanese immigrants. Their
attitudes often led to open hostility, violence,
and the imposition of restrictions on the work
that Japanese Americans could do and the
places where they could live. In Picture Bride,
Hana enters the United States with innocent
excitement but, over the course of time, learns
some harsh realities about U.S. society.
The Drive to Get Ahead What accounts for
what the historians call “waves of
immigration” when no war or catastrophe
causes the movement? The desire to improve
one’s economic situation is a factor in many
large migrations. The migrations of
Europeans from the 1600s to the late 1800s
were often prompted by the hope of owning
land on the large and unsettled North
American continent. Some came to establish
businesses and begin new careers, often
settling in colonies and communities
populated by earlier arrivals from their
home countries.
INTRODUCTION TO THE NOVEL
When Hana arrived in California in 1917, the
period of the largest influx of immigrants to
the United States was ending. Beginning in
1840 and continuing until the 1920s, 37
million immigrants arrived, mostly from
European countries in which the Industrial
Revolution was changing the economy. It is
estimated that less than 10 percent of the
immigrants to the United States over the
years were motivated by political or
religious reasons.
Regardless of their country of origin, the
majority of the immigrants faced
discrimination in their new country.
National laws and official actions often
reflected the prejudices of the U.S. electorate,
as Hana and her husband discover in the
novel. Immigration laws are frequently
revised even today, often reflecting the need
in the United States for workers and
economic development. Despite the annual
limits on the number of people who can
migrate to this country—usually under
1 million—about 3.6 million names were on
the waiting list at the end of the twentieth
century.
Daughter of a Samurai
In the first chapter of Picture Bride,
readers are given insight into
Hana’s family life and cultural
background. She is said to be the
daughter of one of her village’s last
samurai. Samurai refers to
members of the warrior class in
Japan’s feudal system, which
developed in the twelfth century.
From the beginning of the
seventeenth century, samurai
formed the leading, most respected
class in Japanese society. People
within this warrior class were often
wealthy and powerful, owning large
amounts of land. In 1868 a new
emperor reorganized Japan’s
government. The positions of
shogun, daimyo, and samurai were
eliminated, so people like Hana’s
father found their lives dramatically
changed. Some fell into poverty,
while others went on to become
successful businesspeople or
politicians.
The fact that Hana’s father was a
samurai indicates that her family
has had a long and prestigious
history in Japan. Also, the values of
her family are probably influenced
in part by the strict values of the
samurai.
P i c t u r e B r id e
165
MEET THE AUTHOR
Yoshiko Uchida (1921–1992)
“
By putting . . . special happenings into
words and writing them down, I was trying
to hold on to and somehow preserve the
magic as well as the joy and sadness of
certain moments in my life, and I guess
that’s really what books and writing are
all about.
”
—Yoshiko Uchida
Considered one of the most important
Japanese American writers of her time,
Yoshiko Uchida wrote more than thirty
books, including nonfiction for adults and
fiction for young people. The daughter of
Japanese immigrants, Uchida (pronounced
Oo-CHEE-dah) grew up in Berkeley,
California. Although her father had a secure
job with an international trading company,
many of her family’s immigrant friends
lived in poverty because anti-Asian
discrimination limited job opportunities.
While Uchida’s parents provided their two
daughters with financial security, many
books, and enriching experiences, the outside
world—especially school—could be a
frightening place for a young girl of Asian
ancestry in the 1920s and 1930s. In high
school, Japanese American students were
excluded from social functions. Anxious to
escape from high school, Uchida took a heavy
class load in order to graduate early and
enter the University of California at Berkeley
by the time she was sixteen years old.
16 6
NOVEL COMPANION: Unit 4
World War II and Internment Returning
home from her university classes on
December 7, 1941, the day Japan attacked
Pearl Harbor and the United States entered
World War II, Uchida found that her father
had been taken away by FBI agents for
questioning. This was the beginning of three
years of harassment and forced confinement
of her family and thousands of other
Japanese Americans on the West Coast. U.S.
government officials feared that some among
the population might be sympathetic to
Japan during the war.
Universal Values After receiving her
master’s degree in education Uchida taught
for a while. Supporting herself with office
jobs, she began her writing career in New
York City. After publishing a collection of
Japanese folktales for children, she received a
fellowship to study in Japan. Although
Uchida focused on Japanese history and the
Japanese American experience in much of her
writing, she saw a larger purpose:
I try to stress the positive aspects of life that I
want children to value and cherish. I hope they
can be caring human beings who don’t think in
terms of labels—foreigners or Asians or
whatever—but think of people as human beings. If
that comes across, then I’ve accomplished my
purpose.
BEFORE YOU READ: Chapters 1–9
Connect to the Literature
What might it be like to leave family and friends behind and move to a
faraway land where the language, the customs, and the way of life were
completely unfamiliar to you?
Freewrite
Spend five to ten minutes writing about what it might be like to be a stranger
in a faraway land. Consider how you would deal with loneliness,
homesickness, and the need to learn a new language and a new way
of life.
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
WRITE THE CAPTION
Write a caption for the image below
using information from Build
Background.
Build Background
Early Japanese Immigration
The first Japanese immigrants came to the United States in the 1880s. Some
arrived in Seattle, Washington, and Portland, Oregon, but most entered
through San Francisco. Soon, San Francisco was the first large Japanese
settlement in California. By 1890, there were also significant numbers of
Japanese in nearby Alameda County, where Oakland, the setting of much of
this story, is located.
Most early Japanese immigrants worked as farmers or laborers on the West
Coast. Japanese immigrants often farmed land that white settlers did not want.
Japanese farmers were successful—they worked hard and produced highquality crops. By 1900 there were nearly twenty-five thousand Japanese in the
United States. The success of these early Japanese immigrants and their
increasing numbers did not escape the attention of white settlers, particularly
farmers who said they could not compete against Japanese farmers. These
complaints launched the first anti-Japanese campaigns in the United States.
Groups formed to try to end Japanese immigration, and Japanese farms and
businesses were frequently vandalized. This hostility was fueled by more than
farmers’ concerns about competition. It reflected the same intense racism that
had prompted a ban on Chinese immigration in 1882.
P i c t u re Bri de : Chapters 1–9
167
BEFORE YOU READ: Chapters 1–9
Set Purposes for Reading
왘 BIG Idea Family and Tradition
How have family and tradition shaped the choices you’ve made? How does
your sense of membership in a family, religion, ethnic group, or other group
determine what you do?
As you read Picture Bride, focus on how the family influences, values, and
traditions that the main characters bring with them to America shape their
lives in their new home.
Literary Element
Conflict
Conflict is the struggle between two opposing forces in a literary work. An
external conflict exists when a character struggles against some outside
force, such as nature, society, fate, or another person. An internal conflict
occurs within the mind of a character who is torn between opposing feelings
or goals. Many characters experience both external and internal conflicts.
As you read the first section of the novel, identity each main character’s
internal conflicts. Then examine the character’s role within the Japanese
American community and the external conflicts that arise from being a
member of that community. Use the graphic organizer on the following page
to record information about the external conflicts in the first part of the novel.
Reading Strategy
affluence [af´ lo
¯
o ənts]
n. abundance; wealth
Their affluence allowed them to buy
a new home and a boat.
conscientious [kon´ shē en´ shəs]
adj. ethical; principled
Because Mark was conscientious, he
always did his homework.
placid [plas´ id]
adj. calm; mild
There was no wind, so the lake was
placid.
pungent [pun´ jənt]
adj. biting; strong
The pungent flavors of the dish were
stronger than those of most foods I
eat.
vulnerable [vul´ nər ə bəl]
adj. exposed; unsafe
Don’t build your house where it is
vulnerable to hurricane damage.
Analyze Text Structure
When you analyze, you look closely at the parts of something in order to
understand the whole work. When you analyze text structure, you
recognize a work’s pattern of organization. Works of fiction are most
commonly arranged by chapters, but they may also be divided into parts. Text
structure in fiction also includes chronology—that is, how the events are told in
relation to time.
Analyzing text structure can help you understand the overall plan of a work
and scope of a story. In Picture Bride, a glance at the Table of Contents shows
the many years that the book spans, as well as the many years that are not
part of the narrative.
As you read the novel, use the part headings to keep track of time. Also focus
on time-order words such as first, then, after, later, and finally, as well as other
clues to time order, to help you follow the sequence of events. Use a graphic
organizer like the one on the right to help you.
16 8
Vocabulary
NOVEL COMPANION: Unit 4
Hana’s uncle suggests
Takeda for a husband.
ACTIVE READING: Chapters 1–9
The first nine chapters of the novel introduce readers
to several characters who play important roles in the
remaining sections of the novel. As you read, fill in the
Character
Hana
chart below with details about each character’s role in
the Japanese American community and the conflicts
that arise out of his or her cultural identity.
Role in Japanese American
Community
Conflicts with American Society
Taro’s picture bride
is ignorant about the life she will face
in America; does not speak English;
must adjust to new lower status in
America
Taro
Yamaka
The Todas
Dr. Kaneda
P i c t u re Bri de : Chapters 1–9
169
INTERACTIVE READING: Literar y Element
Literary Element
Conflict How does Kiku explain the
conflict between the Japanese
Americans and the American culture in
which they live?
17 0
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 4
Hana nodded. “Oh yes, it was a most eventful day,” she
began. “It was my first visit to a Christian church, and there was
lunch at a Chinese restaurant and then the lovely drive around
the lake.” She recited the day’s activities like a dutiful child
reporting to its mother. She paused a moment and added, “I
also saw Taro San’s shop.”
“Oh. What did you think of it?”
“It was . . . well, it was very nice,” Hana began, trying to find
some kind words among the misgivings that raged inside her.
She saw Kiku’s questioning look, however, and suddenly
abandoned all attempts at restraint and control.
“No, that’s not true,” she burst out. “It wasn’t nice at all. It
was drab and dirty and smelled of stale food. There were
cobwebs and mice droppings in the corners, and the shelves
were covered with dust. It’s a wonder anyone would want to
buy anything there.” Hana swallowed, trying to blink back
the tears.
Kiku put an arm around her. “You were expecting something
a bit finer, I expect.”
Hana nodded. Kiku’s openness made it possible to answer
her with shameless candor. “I thought he would have a large
store on a fine street. I thought there would be American ladies
and gentlemen coming to his shop to buy shirts and silks and
thread.” She paused, remembering the lonely men on Seventh
Street. “Is it only people like those I saw today on his street who
go there to shop?”
“The fine white American ladies and gentlemen have their
own stores,” Kiku explained gently. “They have no need to
come to Seventh Street to buy pickled radish or soy sauce.”
She turned Hana’s face toward her and said gravely, “You’re
going to have to realize something important, Hana. We are
foreigners in this country, and there are many white people who
resent our presence here. They welcome us only as cooks or
houseboys or maids. Why, even if Taro’s store was twice as big
and it was on the best corner in downtown Oakland, still his
only customers would be the Japanese and the men on Seventh
Street. Don’t forget, we are aliens here. We don’t really belong.”
Hana recalled the minister’s prayer that morning. “It isn’t such
a golden life here in America then, is it?” she said almost to herself.
“Just don’t have too many big dreams and you’re less likely
to be hurt,” Kiku warned. “You came to America to make Taro
Takeda happy. Just remember that and don’t expect too much
from him or from America.”
INTERACTIVE READING: Literar y Element
Hana listened carefully, and then, suddenly, she kicked off
her shoes. “There, that feels better,” she said. “I have never
worn shoes all day. That is probably what made me feel so
dismal.”
“Are you sure?”
“I think so.” Hana couldn’t say any more, for doubts were
already swirling inside her. She told herself she had been with
Taro only two days and seen his shop only once. She must give
herself more time before making judgments, but she couldn’t
help wondering if she could face the life that seemed to lie
ahead. Yet what were the alternatives? She could beg Taro’s
forgiveness and break her engagement to him. She could wait a
decent interval and perhaps marry someone else. Hana didn’t
dare let herself think who that might be. It was clearly
impossible to renege on her promise, not only for Taro’s sake,
but for her uncle’s. He would suffer a complete loss of face after
having worked so hard to convince Taro’s parents that she
would be a good wife.
Kiku checked the water heater in the kitchen and told Hana
there was enough hot water now for her bath. “Before you go,”
she added, “let me tell you what I’ve been planning today.”
She sat down beside Hana and eagerly revealed her plans for
the wedding. “I’m sure we could be ready in two weeks,” she
confided. “We’ll talk to Taro San about it tomorrow, and I want
to take your measurements so I can start your gown. Then we’ll
shop for some clothes for you, and you’ll want to fix up his
rooms so you can move right in after the wedding.”
Hana nodded mechanically, realizing that she had
momentarily nurtured a desperate delusion. It was quite
apparent that she was fully committed. There were no
alternatives after all.
“Thank you, Kiku San,” she murmured. “You are very kind.”
Then she went quickly to her own room.
She had her bath in the strange bathroom where there was
no area to wash herself before stepping into the tub of clean
water. She thought with longing of the large pine tub at home
where she could soak in hot water that came up to her chin. In
winter that was the only place to get warm, and Hana recalled
how she used to sit in the tub and dream until the maid was
sent to haul her out.
A mass of troubled thoughts tumbled about in her head as
she prepared for bed. Perhaps she had made a terrible mistake
in coming to America.
Literary Element
Conflict How does this excerpt show
that Hana experiences both internal
and external conflicts? Which conflict is
more influential in her life so far?
Pi c t ure B ri d e : C h a p te r s 1 – 9
171
INTERACTIVE READING: Reading Strategy
Reading Strategy
Analyze Text Structure What do the
clues that you find on this page tell
you about the pattern of organization
of this novel?
17 2
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 7
Hana awoke at six o’clock to the happy thought that it was
New Year’s Day of the year 1918. It was a time for new
beginnings and a time to be grateful. She held her hands
together in remembrance of her family and her ancestors. She
beseeched Buddha and Taro’s Christian God to purify her soul at
the start of this new year in her new life. She tried to hold on to
the good thoughts, but too many other thoughts crowded them
out. She quickly thrust aside her piety and hurried out of bed.
It was still dark and the room was silent except for Taro’s
deep even breathing and the ticking of the clock beside their
bed. He would sleep for another hour, but Hana had work to do
before her guests arrived for New Year’s breakfast.
She hurried to the bathroom and lit the coal oil heater, looking
up at the ceiling to see the circular pattern of lights cast from the
vents. It was a friendly, comforting sight, and she always looked
for it before erasing it with the kettle she put on top of the heater.
Shivering in the damp cold, Hana carried her clothes to the
bathroom and dressed as close to the heater as she dared.
Although she was trying hard to adapt to her new country, today
she wanted to cling to the familiarity of her kimono which still felt
more comfortable than her western dresses. She put on her best
silk kimono with the scattering of peonies at the hem, and as she
slipped into it, she remembered other New Years in Oka Village.
She remembered the sounds and smells that drifted from
their dark kitchen as her mother and the maid prepared for the
New Year feast. The best years were when her father was still
alive and pounded the rice for the rice cakes himself. Hana and
her sisters were always up long before he was ready, and having
exhausted themselves throwing snowballs and building ice
houses in the bitter cold, they would come into the steamy
kitchen blowing on their frozen fingers and clustering near the
large earthen oven.
When the special rice for mochi was steamed and fluffy, the
maid would place it in a big stone mortar. Father would lift the
heavy wood mallet to his shoulders and bring it thudding down
on the mound of rice. The maid’s task was to turn and reshape
the mound between each blow, and as the mallet went up into
the air, her hand darted in, escaping seconds before it came
thudding down again. Pound and turn . . . pound and turn . . .
“Hai, hai . . . yoi, yoi . . . hai, hai . . . yoi, yoi . . .” The children
gathered around, chanting with them to the rhythm of their
movement.
When the first batch of mochi was ready, Father would
squeeze small pieces from the soft round mass and let each
INTERACTIVE READING: Reading Strategy
child have one to dip into a bowl of sweetened bean flour. Hana
could recall even now the hot, sweet, sticky lumps of mochi
which they could barely contain in their mouths. Gasping,
blowing and squealing with delight, they sampled each new
batch until they bulged like plump rice cakes themselves.
Hana smiled to herself as she remembered, wishing it were
possible to store such happiness away to draw on when it was
needed. But perhaps one was entitled only to such remembering
as she was doing now and the fleeting moment of warmth it
brought to her heart. Perhaps one could store only a few such
joys in all of a lifetime, to be pulled some day from the pocket of
memory. And who could tell but that someday in her old age,
she might recall these very days of new beginnings with the
same faint stir of happy memories she felt now.
Hana went to the kitchen to get on with her work. She
washed some rice with a firm, practiced hand, swishing
rhythmically, rinsing until the water ran clear. She added water
to the first joint of her middle finger and put the pan on the
stove to cook. Then she prepared the broth with a large piece of
kelp and bonito shavings. It seemed strange to be performing
such familiar tasks as though she were still in Japan when, in
fact, she would soon be serving her first New Year’s breakfast to
her friends in America.
Taro usually had coffee, cereal and toast for breakfast, but
Hana couldn’t begin a day without rice and bean soup. When
she had insisted that on New Year’s Day they must have a
proper Japanese breakfast, Taro had suggested they invite Kiku
and Henry, Dr. Kaneda and Kiyoshi Yamaka to join them.
Slightly apprehensive at the thought of entertaining her first
guests, Hana had spent the last three days preparing a variety
of special dishes. She had already cooked a pot of sweetened
black beans, a dish that supposedly brought a year of good
health to those who ate it. Still lingering in the small kitchen
was the aroma of the sweetened soy sauce in which she had
cooked such delicacies as lotus and burdock root, bamboo
shoot, dried mushrooms, fish paste, herring roe, taro root and
such ordinary fare as chicken, carrots and celery. She had put
them all in her tiered lacquer boxes to be stored until it was
time to bring them to the table.
In another hour she would broil the whole sea bass and toast
the rice cake squares for the broth so she would be ready when
her guests arrived at ten-thirty.
Surrounded by the array of delicious food, Hana couldn’t
wait. She filled a bowl with cold rice, poured hot tea over it and
ate it in quick gulps with slices of yellow pickled radish.
Reading Strategy
Analyze Text Structure Is the order of
this entire excerpt chronological?
Explain.
Pi c t ure B ri d e : C h a p te r s 1 – 9
173
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Family and Tradition How do Hana’s
family, along with their values and
traditions, cause Hana to make her
decision to go to America?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
174
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 1
Almost before she realized what she was doing, she spoke to
her uncle. “Oji San, perhaps I should go to America to make this
lonely man a good-wife.”
“You, Hana Chan?” Her uncle observed her with startled
curiosity. “You would go all alone to a foreign land so far away
from your mother and family?”
“I would not allow it.” Her mother spoke fiercely. Hana was
her youngest and she had lavished upon her the attention and
latitude that often befall the last child. How could she permit
her to travel so far, even to marry the son of Takeda who was
known to her brother.
But now, a notion that had seemed quite impossible a
moment before was lodged in his receptive mind, and Hana’s
uncle grasped it with the pleasure that comes from an
unexpected discovery.
“You know,” he said looking at Hana, “it might be a very
good life in America.”
Hana felt a faint fluttering in her heart. Perhaps this lonely
man in America was her means of escaping both the village and
the encirclement of her family.
Her uncle spoke with increasing enthusiasm of sending Hana
to become Taro’s wife. And the husband of Hana’s sister, who
was head of their household, spoke with equal eagerness.
Although he never said so, Hana guessed he would be pleased
to be rid of her, the spirited younger sister who stirred up his
placid life with what he considered radical ideas about life and
the role of women. He often claimed that Hana had too much
schooling for a girl. She had graduated from Women’s High
School in Kyoto which gave her five more years of schooling
than her older sister.
“It has addled her brain––all that learning from those books,”
he said when he tired of arguing with Hana.
A man’s word carried much weight for Hana’s mother.
Pressed by the two men she consulted her other daughters and
their husbands. She discussed the matter carefully with her
brother and asked the village priest. Finally, she agreed to an
exchange of family histories and an investigation was begun
into Taro Takeda’s family, his education and his health, so they
would be assured there was no insanity or tuberculosis or police
records concealed in his family’s past. Soon Hana’s uncle was
devoting his energies entirely to serving as go-between for
Hana’s mother and Taro Takeda’s father.
When at last an agreement to the marriage was almost
reached, Taro wrote his first letter to Hana.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
MY VIEW
Write down your thoughts on the
excerpt.
Recap
Pi c t ure B ri d e : C h a p te r s 1 – 9
175
AFTER YOU READ: Chapters 1–9
Respond and Think Critically
1. Why does Hana agree to marry Taro? What is her attitude toward her
decision after she arrives in the United States? [Summarize]
2. Who are the Todas? How is Kiku Toda different from Hana? [Compare]
3. Evaluate the relationship between Hana and Taro. Do you think their
marriage will last? Why or why not? [Evaluate]
4. Do you think that Hana takes her new role seriously? Give evidence from
the novel to support your answer. [Infer]
5. Family and Tradition How do family and tradition continue to influence
Hana’s life after she leaves Japan? [Synthesize]
176
NOVEL COMPANION: Unit 4
APPLY BACKGROUND
Reread Introduction to the Novel
on page 164–165. How did that
information help you understand or
appreciate what you read in the
novel?
AFTER YOU READ: Chapters 1–9
Literary Element
Vocabulary Practice
Conflict
1. What conflicts does Hana struggle with in her
marriage? [Analyze]
2. What are the greatest conflicts that the Japanese
Americans faced in America? Support your answer
by referring to ideas or events in the novel.
[Synthesize]
An antonym is a word that has the opposite or
nearly the opposite meaning as another word.
Match each boldfaced vocabulary word below with
its antonym. Use a thesaurus or dictionary to check
your answers.
1. affluence
a. bold
2. conscientious
b. mild
3. placid
c. unethical
4. pungent
d. intolerable
5. vulnerable
e. poverty
f. secure
g. stormy
Academic Vocabulary
Reading Strategy
Analyze Text Structure
When the narrator explains that Hana’s uncle would be
pleased to be rid of Hana and her “radical ideas
about life and the role of women,” the reader gains
knowledge of the conflict between the traditional and
the new or extremely new in Japan. Using context
clues, try to figure out the meaning of the boldfaced
word in the sentence. Write your guess below. Then
check it in a dictionary.
1. At what point in Hana’s life do the events of the
novel begin? How does the reader learn about
events prior to that time? [Analyze]
2. Why do you think the author decided to structure
the events of the novel in the manner that appears
in the Table of Contents? [Evaluate]
Pi c t ure B ri d e : C h a p te r s 1 – 9
177
AFTER YOU READ: Chapters 1–9
Writing
Research and Report
Personal Response What thoughts went through
your mind as you read about Hana’s first year in
California? Name some challenges Hana faces, and
give your opinion of how she responds to them.
Visual/Media Presentation
Assignment When she wants to pray, Hana often
addresses both Buddha and Taro’s Christian god.
Present a computer-slide, transparency, or other visual
report showing what the basic beliefs of each religion
are and when and how each was introduced to Japan.
Get Ideas Make a list of research questions and
search terms. Decide which type of sources fit your
purpose best. For example, will you use a general or
specialized encyclopedia, books, government web
sites, or other sources?
Research Use at least three sources of information.
Take notes in your own words, and carefully write
down the source of each bit of information. Organize
your notes in four categories:
•
•
•
•
Buddhist Beliefs
Christian Beliefs
Introduction of Buddhism to Japan
Introduction of Christianity to Japan
Prepare Create your visuals. Be sure each one has a
clear heading that identifies the type of information.
Make headings large and clear. Present additional
information as bulleted text in a traditional, large, and
legible font. Write the text you will use to present and
explain each visual, and rehearse speaking as you
show your slides, transparencies, or other visuals.
Present As you display and explain the information,
speak slowly and clearly. Leave time for your audience
to read, reread, and, if necessary, ask questions about
each one. Always use a respectful tone when
discussing religions, and make as much eye contact
with your audience as possible.
17 8
NOVEL COMPANION: Unit 4
BEFORE YOU READ: Chapters 10–23
Connect to the Literature
What are some qualities that can help people solve problems, accept change,
or rise above difficult circumstances?
NOVEL NOTEBOOK
Keep a special notebook to record
entries about the novels that you read
this year.
Share Ideas
In a small group, talk about specific personal qualities that can help people
adjust to change and survive difficult times. If possible, refer to individuals you
know or have read about. Share your insights with the members of another
group.
SUMMARIZE
Summarize in one sentence the most
important idea(s) in Build Background.
Build Background
Prejudice Despite Citizenship
People who immigrated to the United States from Japan, like Hana and Taro,
were known as Issei. The children of Issei were known as Nisei. Because they
were born on U.S. soil, Nisei automatically became citizens of the United
States. As citizens, they could own property; thus, parents often would
purchase land under their children’s names. United States citizenship,
however, could not protect Nisei from racist attitudes. Although they had lived
in the United States since birth and usually spoke fluent English, Nisei were
seen by many other Americans as outsiders.
During the early nineteen hundreds, the U.S. public’s hostility toward Japanese
immigrants influenced aspects of government policy. The San Francisco Board
of Education, in response to public pressure, voted to racially segregate
schools in 1906. All Japanese American schoolchildren were sent to schools
in Chinatown. When Japan protested this action, President Theodore Roosevelt
proposed a “gentleman’s agreement” whereby he would try to end
segregation if Japan would stop Japanese men from immigrating to the United
States. Other laws that grew out of anti-Japanese sentiment included the Alien
Land Law of 1913, which banned Japanese people from owning land, and
the Immigration Act of 1924, which officially halted Japanese immigration to
the United States.
P i c t u re Bri de : Chapters 10–23
179
BEFORE YOU READ: Chapters 10–23
Set Purposes for Reading
왘 BIG Idea Family and Tradition
As you read, notice how Hana’s reliance on tradition and on family unity is
tested by American values.
Literary Element
Tone
Tone is the attitude toward the subject matter and toward the audience that
is expressed indirectly in a literary work. Tone is conveyed through elements
such as word choice, punctuation, sentence structure, and figures of speech.
Tone may convey a variety of attitudes, such as sympathy, seriousness, irony,
sadness, bitterness, or humor. Tone contributes to the emotional impact of a
literary work upon the reader.
In a non-fiction work, tone always expresses the attitude of the author; tone
may give us clues to the author’s purpose, biases, or experience. A work of
fiction, on the other hand, can have a variety of tones; tone in fiction may
express the attitude not only of the author but also of the narrator and of the
characters.
As you read this section of Picture Bride, look for words and phrases that help
convey tone or attitude. Use the graphic organizer on the next page to help you.
Vocabulary
dissuade [di swād´]
v. to discourage
Leah had to win the prize, and no
one could dissuade her from trying.
effusive [i fū´ siv]
adj. expressive; talkative
The effusive praise led me to believe
I had done a great job.
erratically [ə rat´ ik ə lē]
adv. not consistently
Jolene goes to practice erratically,
so we never know when she will
show up.
impel [im pel´]
v. to move forcefully
The gratitude we feel impels us to
return the favor.
indignation [in´di nā´ shen]
n. outrage
I felt indignation when Tomás did
not invite me to his party.
Reading Strategy
Analyze Historical Context
Remember that, when you analyze, you break something down into smaller
parts in order to understand the whole. When you analyze historical
context, you identify details that tell about the time and place in which a
literary work was written, including the traditions, customs, beliefs, and values
of the time and place. Analyzing historical context can deepen your
understanding of the work’s themes.
As you read, focus on details that reveal Western attitudes toward Asian
cultures, as well as details that allude to the coming war. Use a chart like the
one at the right to record details and what they tell you about the time and
place.
18 0
NOVEL COMPANION: Unit 4
Details
How They
Reveal
Time and
Place
Taro explains
the term
“yellow
peril” to
Hana
The term
reflects the
deep and
widespread
prejudices
and
ignorance of
Americans
at the time
ACTIVE READING: Chapters 10–23
You will hear tone expressed in a variety of ways as
you read these chapters. For example, the author, the
narrator, and the characters all express attitudes on the
subject of becoming part of American culture. Use the
chart below to describe the tone you hear in each
quotation.
Author/
Narrator/
Character
Example
Tone
Hana
“I must study English so I can
talk more with Mary.”
determined, anxious
Taro
“Mary wants to become a
doctor. Isn’t that a fine
thing?”
encouraging
Narrator
“[Hana] slipped into the
habit of reading only
Japanese books . . . while her
textbooks remained
unopened.”
Mary
“By the time you read this . . .
I will be Joe’s wife>”
Mrs. Davis
Author
Pi c t ure B ri d e : Chapters 10–23
181
INTERACTIVE READING: Literar y Element
Literary Element
Tone In the beginning of this excerpt,
four strangers appear at Hana’s front
door. What is the tone of Hana’s words
in response to this? How does Hana’s
reaction express and support this tone?
18 2
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 10
One week after they moved into their new home, four white
men whom Hana didn’t recognize came to call.
“Good evening, is your husband at home?” one of them
asked.
Hana tried to explain that Taro was at a prayer meeting at
church, but the words jammed in her throat and her English
came out in broken spurts.
“She doesn’t know anything,” one of them said.
“Tell your husband we’ll be back at seven tomorrow night.”
The men had not bothered to remove their hats, and their
words, although harmless enough, seemed to carry ominous
overtones.
Hana shivered and bolted the door after them. Their mere
presence on the porch seemed a threat to her child, and she
hurried to the bedroom to look in on her.
“It’s all right, Ma Chan,” she said, “It’s all right.” She
repeated the words over and over until she succeeded in
calming herself.
Hana saw a flicker of concern cross Taro’s face when she told
him of the callers, but he said nothing. Promptly at seven the
next evening the doorbell rang.
“You need not come out to meet them,” Taro told Hana, and
he went to the door alone.
“Please come in,” he said. The four men filled the living
room with their large physical presence and the smell of cigars.
“We represent the people of this block,” one of them began.
“We’d like to have a talk with you.”
“Yes. Please sit down.”
The men glanced around the living room which Hana had
taken great pains to decorate properly. A new flowered rug lay
on the floor, and fresh white curtains that Kiku had helped
Hana sew hung at the windows. The first tight buds of the
flowering peach in their yard had begun to swell, and knowing
there would be callers, Hana had arranged a spray on the
mantel.
“We’ll come right to the point,” a tall red-headed man said
without bothering to sit down. “There’ve been some complaints
from the neighborhood about having Japanese on this block.”
Taro caught his breath. “I see. Can you tell me who it was
that complained?”
“Just some of the neighbors.”
“What is it we have done to offend them?”
“Well, nothing specific.”
INTERACTIVE READING: Literar y Element
Taro looked at each of the men in turn and tried to keep his
voice steady. “Gentlemen,” he began. “My wife and I looked
many, many months to find a home where we might raise our
daughter. When the owner said there would be no objection to
our moving here, we trusted him. It was a dream come true for
us. We have already spent much time and money to make this
house our home. And now, you would ask us to leave?”
Taro dared not stop before he finished all he wanted to say. “I
should like to meet those neighbors who object to us,” he said.
“Is it any of you gentlemen?”
The men looked uncomfortable. “We’re just here to represent
them.”
“Then please invite them to come talk to me. If they can tell
me why we aren’t desirable or why we do not deserve their
respect, I shall consider their request. I am the proprietor of
Takeda Dry Goods and Grocers on Seventh Street and I would
be happy to have them visit my shop as well.”
The men glanced uneasily at one another and had nothing
more to say. “Very well then,” their spokesman said abruptly.
“We’ll inform them to that effect.”
They moved to the door, and as they left, the last of them
paused a moment and shook Taro’s hand. “My name’s
Johnson,” he said furtively, then he hurried out after the others.
The moment they were gone, Hana came from the kitchen
where she had stood at the door watching through the crack,
listening to every word.
“Will there be trouble?” she asked anxiously.
“I hope not,” Taro’s voice was heavy now with weariness.
“I’m not going to give up our first real home without a fight.”
Literary Element
Tone Compare and contrast the tone
of the visitors and Taro’s tone. How
does the tone change between the
beginning of the excerpt and the end?
Pi c t ure B ri d e : Chapters 10–23
183
INTERACTIVE READING: Reading Strategy
Reading Strategy
Analyze Historical Context What do
Mary’s experiences, as described on
this page, tell you about how whites
viewed Japanese Americans at this
time, even citizens? Use examples to
support your answer.
18 4
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 21
Mary had a few white girl friends at school, and knew that
among themselves they spoke of skating or swimming parties or
the spring prom, but she was never included in such discussions
and accepted her exclusion as the normal course of events.
For some years now, Mary had known that her Japanese face
denied her certain privileges. White people had their own
special world, and the Japanese Americans were not a part of it,
except perhaps as servants, day workers, gardeners or cooks.
When she went to the City Plunge with her friends one day, she
was told, “We don’t think you’ll enjoy swimming here.” When
she made her first appointment for a haircut at Corley’s Beauty
Parlor, she called first to ask whether they would cut Japanese
hair. Mary knew that’s how life was. She neither questioned it
nor resented it, trying only to be unobtrusive, emulating the
white American world, hoping desperately to be absorbed into
it. She submerged her Japaneseness whenever she could, trying
to be less different, shielding herself from hurt by keeping to her
own private world.
The one after-school activity Mary enjoyed was the
International Club, where she was sometimes forced to
acknowledge her heritage on such occasions as the special
International Day assembly. Miss Nelson, who advised the club,
persuaded Mary and the two other Nisei girls to wear kimonos
for their part in the program.
“Do you think your mother could come help you girls get
dressed in your kimonos?” Miss Nelson asked Mary.
“Sure, if it’s not one of her days to . . . I mean if she’s free.”
Mary did not want to admit that her mother did housework and
could not come on the days she worked.
When Mary spoke of it to her mother, Hana was delighted.
“Why, of course, I’ll be glad to help,” she said, circling the date
on the Takeda Dry Goods and Grocers calendar that hung on
their kitchen wall.
On the morning of the assembly, Mary instructed her mother
to be at school by two o’clock sharp. “Don’t be late now,” she
begged. “You know how to get to my school?”
“Yes, I know. I won’t be late.” Hana had already determined
the time necessary to get there on the streetcar. She had pressed
Mary’s blue-flowered kimono and hung the brocade obi out to
air, so it would not smell of moth balls. Both had lain in a trunk
since Mary’s grandmother sent them from Japan, and when
Hana removed them, she had taken out her best silk furoshiki in
which to wrap and carry the kimonos.
INTERACTIVE READING: Reading Strategy
That was the last thing Hana told herself as she left the
house. She must remember not to bow too much or to call her
daughter “Ma Chan” in front of her friends. She didn’t want
Mary to feel ashamed of her today. If Mary was with her when
she met a Japanese friend on the street, she would poke Hana
after the third bow, saying, “Mama, please don’t make a
spectacle of yourself.” And she would hurry Hana off,
embarrassed because her mother spoke in a foreign tongue.
Hana took a deep breath as she approached the high school,
carrying her best blue leather handbag and Mary’s Japanese
outfit carefully wrapped in her silk furoshiki. Mary was waiting
at the door to meet her.
“Mama, you came on the streetcar carrying that thing?”
“What, my furoshiki?” Hana was startled. “It’s my best one.”
“But you look like you just came off the boat from Japan.”. . .
Reading Strategy
Analyze Historical Context How does
Mary view Hana in this scene? How
does Miss Nelson view Hana? Based
on what you have read so far, how
does the historical setting help shape
these attitudes?
Miss Nelson fluttered about, admiring the kimonos and
the brilliant red and gold obis. She dabbed powder and rouge
on the girls’ faces and told them they looked exquisite. As
the bell signaled the end of the period, squeals and shrieks
circled the room. It was time for the girls to go to the
auditorium, and Hana was anxious to see what they were
going to do.
“All right, everyone. Let’s go, quickly now.” Miss Nelson
gathered a cluster of girls around her and rushed from the
room, neglecting to invite Hana to join her or even to attend the
assembly.
Mary tugged nervously at her obi as she prepared to follow
Miss Nelson. “Thanks for coming, Mama,” she said briefly. “We
can get out of this stuff by ourselves and I’ll bring everything
home.”
“Thank you, Mrs. Takeda. Goodbye,” the two other kimonoclad girls called, hurrying after Mary.
Hana sat down in the empty room, surveying the clutter of
discarded blouses and skirts and the oxfords stuffed with bobby
socks. The desks and chairs were askew from the hurried
scramble, and Miss Nelson’s makeup kit lay in complete
disarray on one of the desks. Hana fought back an instinctive
urge to straighten up the mess, to push the desks where they
belonged and pair up the shoes. She sat there for several
minutes, too disappointed to move.
She told herself that Miss Nelson had, in her excitement,
simply forgotten to invite her to the assembly. As for Mary, well,
perhaps she felt she could not invite her mother when none of
the other parents had been asked.
Pi c t ure B ri d e : Chapters 10–23
185
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Family and Tradition What makes this
scene in the country one of such utter
contentment for both the Takedas and
the Todas?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
18 6
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 18
It was as though she were trying in this one meal to make up
for all the years they hadn’t seen one another, and for Hana, it
was like a homecoming. Kiku and Henry were her only extended
family in America, and she savored fully every moment of her
time with them. Watching Kiku, she was suddenly engulfed with
thoughts of her mother and sisters, and tears of longing and
memory filled her eyes. Even Taro forgot about his shop and
allowed himself to relax in the easy comfort of the day.
With their stomachs filled, the boys quieted down, and as the
dusky evening settled into night, they stretched out on the mat,
contemplating their toes.
Henry lit the kerosene lamp and leaned back on an old crate.
“The sight of a moon rising over the fields can bring out a song
in a man,” he remarked. Then, closing his eyes like a dog baying
at the moon, he sang in a high nasal voice.
“Kiso no Nakanori San,
Kiso no Ontake San wa nanjara hoi,
Natsu demo samui, yoi yoi yoi
Yoi yoi yoi no yoi yoi yoi . . .”
Taro soon joined in, as the women and children clapped to
the beat of the music.
“Yoi yoi yoi no yoi yoi yoi,” the boys shouted.
Hana closed her eyes to hold onto the feeling of utter
contentment, but she was soon aware that Kiku was speaking
to her.
“I work like an old army horse,” she was saying with her
quick easy laugh, “but when I go to sleep it’s with a weariness
in my bones and not in my head.”
“That’s good, Kiku,” Hana said. “There’s room for one’s soul
to stretch out in this kind of peace.”
As she looked at the lemon-wedge moon climbing into the
dark sky, she heard the eager young voice of her daughter
saying, “No, you’re wrong, Kenny. There’re a million, zillion
stars up there.” And glancing over, she was pleased to see Mary
stretched out head to head beside the Toda boys as they looked
up at the glorious night sky.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
MY VIEW
Comment on what you learned from
your own notes.
Recap
Pi c t ure B ri d e : Chapters 10–23
187
AFTER YOU READ: Chapters 10–23
Respond and Think Critically
1. Why do you think Ellen Davis is in the novel? What does she represent?
[Analyze]
2. Explain why Nishima is staying in the Takeda home. What do Hana’s
actions toward him reveal about her character? [Interpret]
3. Why do you think Mary’s feelings toward her family and her heritage
change so much as she grows older? [Infer]
4. In your opinion, how has the relationship between Hana and Taro changed
since the early chapters of the novel? [Synthesize]
5. Family and Tradition Prejudice forced members of the Japanese
American community to rely on each other. Why else did Japanese
immigrants stay together in their own community? [Synthesize]
18 8
NOVEL COMPANION: Unit 4
APPLY BACKGROUND
Reread Build Background on page
179. How did that information help
you understand or appreciate what
you read in the novel?
AFTER YOU READ: Chapters 10–23
Literary Element
Vocabulary Practice
Tone
1. What do you hear in the narrator’s tone as Ellen
Davis is presented for the first time to the reader?
[Interpret]
2. How would you describe the narrator’s tone
throughout this book so far? Explain. [Evaluate]
For each boldfaced vocabulary word in the left
column, identify the related word with a shared root
in the right column. On a separate sheet of paper,
write each word and underline the part they have in
common. Use a printed or online dictionary to look
up the meaning of the related word. Then explain
how it is related to the vocabulary word.
1. dissuade
a. profuse
2. effusive
b. propelling
3. erratically
c. compensation
4. impel
d. stoically
5. indignation
e. dignified
f. persuasion
g. erred
EXAMPLE:
disconsolate, solace
Solace means “comfort.” A disconsolate person is
one who cannot be comforted.
Academic Vocabulary
Reading Strategy
Analyze Historical
Context
1. Name three main ways in which the Takedas’ lives
are limited or otherwise affected by the time and
place in which they live. [Synthesize]
Hana is upset by the prospect of doing housework
for one of her neighbors. In the preceding sentence,
prospect means “possibility.” Think about a prospect
that has excited you. What was the prospect, and why
did you have positive feelings about it?
2. Does this novel suggest that prejudicial American
attitudes toward Japanese Americans are the result
of ignorance of Japanese culture? Were there
additional reasons? Explain. [Infer]
Pi c t ure B ri d e : Chapters 10–23
189
AFTER YOU READ: Chapters 10–23
Writing
Speaking and Listening
Write a Letter Imagine that you are a close friend of
the Takeda family and you have noticed how Hana
and Mary are drifting apart. Write a letter to both Hana
and Mary urging them to improve their relationship.
Help them see how their differences result more from
the stress of their identity as Japanese immigrants than
from other problems between them. Encourage them
to find common ground.
Speech
Jot down some notes here first.
Prepare Make a list of reasons for welcoming the
Takedas. Also, prepare an anecdote, or a brief story,
telling about a time when someone took your part and
explaining how it felt to be supported. Use your
reasons and your anecdote to appeal to your
neighbors’ reason and sense of fairness. Frame your
anecdote in this way:
Assignment Imagine that you live on the Takedas’
block and that you disapprove of the chilly reception
that the family has received. Prepare an informal
speech to be presented at the next meeting of the
block club. Encourage your neighbors to put aside their
prejudices and welcome the Takedas to the
neighborhood.
EXAMPLE:
Once, when I ____________________________.
As a result, I felt ____________________________.
Also, remember your identity as a member of the
same group that makes up your audience, and use the
pronoun we wherever possible. Identify with your
audience as you simultaneously present a different
point of view.
Deliver This is an informal speech, so keep your tone
personal. Remember, however, that all the guidelines
of effective delivery still apply: you should speak loudly
and clearly enough for everyone to hear. Keep your
pace slow enough so that everyone hears every word,
but not so slow that you sound unnatural.
Evaluate Write one paragraph reflecting on the
content of your speech. Was it persuasive? Was it
clear? Write another paragraph reflecting on your
delivery. Did you keep your audience engaged? Do
you think you might have changed any minds?
19 0
NOVEL COMPANION: Unit 4
BEFORE YOU READ: Chapters 24–35
Connect to the Literature
NOVEL NOTEBOOK
What if you were forced to leave your home and your daily routine on short
notice and for an indefinite period of time?
Keep a special notebook to record
entries about the novels that you read
this year.
Quickwrite
WRITE THE CAPTION
Describe how you might react if you were suddenly forced to leave your
home. What would you take with you? What would you miss most?
Write a caption for the image below,
using information in Build Background.
Build Background
The Internment of American Citizens
The bombing of Pearl Harbor, a U.S. naval base in Hawaii, by the Japanese in
December 1941 stirred up anti-Japanese feelings based on the idea that
people of Japanese ancestry might become a threat to national security.
Rumors fueled by racism and irrational fear began to spread. Before long, the
entire California coastline was named Military Area One, an area from which
Japanese families were told that they should voluntarily move. Although many
tried to move, they found that they were unwelcome in other parts of the
state. In 1942 President Franklin Roosevelt signed Executive Order No. 9066,
which gave the military permission to remove “enemy aliens” and anyone
who was believed to be disloyal. People in this area were to be evacuated
and moved into relocation camps.
In trying to evacuate “enemy aliens” from the West Coast, the government
evacuated Japanese Americans. Many of these people had never been to Japan
and did not speak Japanese. Ironically, because they were U.S. citizens, the Nisei
were the only persons the government allowed to hold positions of authority in
the camps. Japanese tradition calls for elders to be treated with respect, yet Issei
(people who had immigrated from Japan) were not allowed positions of
authority, which caused conflict for many in the camps.
P i c t u re Bri de : Chapters 24–35
191
BEFORE YOU READ: Chapters 24–35
Set Purposes for Reading
왘 BIG Idea Family and Tradition
In this part of Picture Bride, the characters must face the ultimate threat and
insult as they are uprooted from their homes and even attacked. As you read,
notice the ways in which the bonds of family and the pull of tradition remain
strong through it all.
Vocabulary
cursory [kur´ser ē]
adj. hastily done
Carla’s cursory work resulted in
several careless errors.
garrulous [ar´ ə ləs]
adj. talkative
Literary Element
Mood
Mood is the overall feeling or emotional quality that a work of literature
creates for readers. An author’s choice of language, subject matter, setting,
diction, and tone can help create mood. Mood is a broader term than tone,
which refers specifically to the attitude of the author. Awareness of mood may
help you become more involved in a story by engaging your emotions.
As you read the final section of the novel, looks for words and details in the
text that convey or evoke emotion. Use the graphic organizer on the following
page to record descriptive details that cause you to react with feeling to the
two internment camps, Tanforan and Topaz.
Reading Strategy
Visualize
When you visualize, you picture characters, scenes, and actions in your mind
by using the descriptive details that the author provides. Fiction writers and
poets often use imagery, or sensory details, to bring the characters and
setting of a story or poem to life. Visualization can deepen your understanding
and enjoyment of a passage or a work, and it can help to make an event or
scene more memorable.
Good readers use sensory details and other descriptive language to picture
the places, objects, people and events described in a narrative.
As you read, pay close attention to the details that help you visualize. You may
find it helpful to use a graphic organizer like the one at the right.
After two hours with the garrulous
man, I wanted only silence.
laud [lôd´]
v. to praise
The coaches laud us for our efforts
but not for our losing streak.
sabotage [sab´ ə tazh´]
n. deliberate damage
The sabotage was planned to stop
traffic at the busiest time of day.
succor [suk´ər]
v. to aid
It was an act of treason to succor
the enemy.
Description/Imagery
“The sun dipped each evening
behind the towering
mountains that ringed the
desert.”
Visualization
I see the sun setting behind
tall mountains that form a
circle on the borders, or
horizon, of the desert.
19 2
NOVEL COMPANION: Unit 4
ACTIVE READING: Chapters 24–35
In Chapters 24–35, Uchida creates a vivid picture of
the deplorable conditions endured by the Takedas and
other Japanese Americans who were forced to live in
assembly centers and internment camps. As you read,
Descriptive Details
record descriptive details of the conditions at Tanforan
and Topaz in the chart below. Then name the mood
these details create.
Mood Created
At Tanforan:
– forced to live in cold, dirty horse
stalls
At Topaz:
– a seething mass of dust
P i c t u re Bri de : Chapters 24–35
193
INTERACTIVE READING: Literar y Element
Literary Element
Mood What emotional effect do the
words on this page have on you?
Which literary elements does the
author use to create this mood?
NOVEL EXCERPT: CHAPTER 26
It was long past midnight. Kiku and the boys had gone to
bed, but Henry Toda was in no mood to sleep. They had spent
the entire evening discussing the future of their farm and he
was still not sure they had made the right decision.
The Japanese American farmers had contemplated the
various paths open to them, but found none to be a fully
satisfactory solution. They could sell their farms at great losses,
try to find someone to rent them or contract with Mel Clarkson
to operate the land for them. Clarkson had already signed to
operate two thousand acres of farms and vineyards in the area,
promising the farmers he would send each of them their fair
share of the earnings.
“I’m not sure about Mel Clarkson,” Henry had said warily.
“He is glib and promises too much.” Signing with him was like
asking a smiling stranger to hold your bag of gold instead of
leaving it on the street. Whether that stranger could be trusted
any more than someone who might come along and pick it up
was something only time would reveal.
“But if you can’t find anyone to lease or sell to, what else is
there to do?” Kiku asked. “Besides, if we sell, there will be
nothing to come home to after this is all over.”
The boys, however, were in favor of selling the farm. “At
least we’ll have the money in hand if we sell,” they pointed out,
“and it could be earning some interest in a bank.”
“How do you know Clarkson will ever send our fair share?”
Kenny asked.
They didn’t know, but Kiku and Henry remembered the
years of hard work they had put into the land. Whatever grew
there now existed because they had planted it and nurtured it in
the heat and the wind and the dust.
“It would be like selling my own flesh and blood,” Henry
explained. He knew the boys did not want to return to the farm,
but that was all he and Kiku had. That was their life. . . .
“You are a good wife, Kiku, and a good mother, too,” he said
softly. And he thought back to the days when Kiku had worked
beside him in the fields with Jimmy tied to her back because he
was too small to be left alone. She had worked, too, in the
packing shed so she could earn a little extra money. How had
she found the time to cook and clean and wash for him and the
boys as well? She hadn’t complained about watching every
penny and she had been content to wear second-hand clothes.
Now, at last, when life was getting easier and the boys were
learning professions, everything they had worked for was
slipping away like sand through their fingers.
19 4
NOVEL COMPANION: Unit 4
INTERACTIVE READING: Literar y Element
“I’m sorry, Kiku,” Henry whispered, and he did not awaken her.
If only the boys could have remained behind to complete
their education, Henry thought, they could have come down on
weekends to keep an eye on the farm. But they’d had to drop
out of school and return to Livingston to avoid separation from
their parents when they were sent to the government camps. It
just wasn’t right. The boys were American citizens. They had
done nothing wrong, except to be born to parents who were of
Japanese birth. Henry knew that if he allowed himself to be
overcome by bitterness and anger, he would go under from the
weight of it. He went back to the kitchen, ate his cake without
really tasting it and lingered over his coffee with a cigarette.
Henry put down his cup. Was that a footstep on the gravel
walk outside? He listened quietly, but heard only the ticking of
the clock. Who could be wandering around their house at two
o’clock in the morning? He turned out the living room light and
looked out into the frosty darkness. The night was quiet and
there was no moon. Old Rick was dead, but somewhere on
another farm, a dog was howling into the night. Henry felt a
chill go down his back as he listened. This time he was sure of
it, there was someone prowling about in his yard. Henry found
a flashlight, opened the door quietly and stepped outside. As he
did, a dark figure darted into the shadow of the walnut tree.
“Who is it? Who’s there?”
The man did not answer.
“What do you want?”
Henry’s flashlight caught the shape of a man whose face was
shadowed by a wide-brimmed hat. He held a gun in his hand.
“What do you want?” Henry demanded again.
“Filthy stinking Jap!” the man shouted in a quivering voice.
“Put down your gun. You’re drunk.” Henry waited,
watching for a chance to disarm the man. “Put down your gun.
You don’t know what you’re doing.”
Henry took a slight step forward, and in that instant a shot
rang out. The man uttered a cry of rage and desperation and ran
off into the night.
Henry Toda slumped to the ground, as blood rushed from
the bullet hole in his chest.
Literary Element
Mood How does the mood of this
excerpt change? Cite details from the
excerpt in your answer.
P i c t u re Bri de : Chapters 24–35
195
INTERACTIVE READING: Reading Strategy
Reading Strategy
Visualize What do you see as Hana
and Taro board the bus and ride to
Tanforan? Give examples from the
excerpt of the details that help you
create this picture in your mind.
19 6
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 27
In just an hour, Mrs. Davis would be there to take them to
the Civil Control Station. From there, they would be sent to
Tanforan Race Track. Hana wasn’t sure she could get through
the day. Already her heart was pounding and her throat felt dry.
Finding a broom she had left in the pantry, she proceeded to
sweep out the house.
“What are you doing, Hana? We’ve got to be ready soon.”
“I know. I just want to leave the house clean.”
Victor Davis came with his mother to help them with their
baggage. “I think it’s a crime, what they’re doing to you
people,” he said, as he slung the large rucksack on his back.
“Thank you, Victor,” Hana said, not knowing whether she
was thanking him for being angry on their behalf, or for
carrying out their baggage.
By the time they got to the departure point, a large crowd of
Japanese Americans had already gathered and were milling
about looking bewildered and lost. Victor and Taro unloaded
their baggage and were told to take them to waiting trucks.
Kenji San had been right, Hana thought. They weren’t going to
make them carry everything into camp with them. “I didn’t
have to practice carrying the bags after all,” she murmured. But
no one knew what she was talking about.
“Hana, my dear, I can’t say goodbye.” Ellen Davis gathered
her tenderly in her arms.
Hana barely managed to thank her and shook Victor’s hand
silently, leaving Taro to offer the proper words of thanks and
parting for them both.
Ellen and Victor Davis watched as Hana and Taro struggled
through the crowd, finally reaching the armed guards who
stood at the entrance of the building. They waited until Hana
and Taro went inside, but neither looked back.
Hana and Taro sat on stiff folding chairs until it was time to
board the buses. Although the hall was noisy with the rumble of
voices, they remained silent, each wrapped in thoughts that could
not be shared. Neither bothered to look for a familiar face, for
their church friends had been sent to Tanforan a few days earlier.
Only the children chattered, as the buses, filled with Japanese
Americans, began their trip through familiar streets. Hana watched
silently from the window as the bus crossed the Bay Bridge,
moved down the peninsula and finally approached the grandstand
that loomed beside the highway. As the bus turned in toward the
racetrack, she saw that a barbed wire fence surrounded the
grounds, and when the last of the buses moved in, armed guards
INTERACTIVE READING: Reading Strategy
swung the gates shut. Hana swallowed hard as the anxiety and
dread of the day rose up and lodged like a knot in her throat.
A large crowd of those already uprooted stood along the
track railing watching for friends as each busload arrived. Hana
searched for their friends, but saw only a blur of Japanese faces.
She felt far more apprehensive than she had on the day she
arrived from Japan. Although this time Taro was with her, he
seemed equally stunned. It was as though they were walking in
a nightmare. Unable to believe this was actually taking place,
Hana looked about in complete disbelief. What on earth are we
doing here, she wondered, thrown into a racetrack teeming with
thousands of uprooted Japanese Americans.
Not until they had a cursory medical check-up and had been
assigned their quarters did Kenji Nishima find them. “There
you are,” he called. “Welcome to Tanforan.”
Hana felt like a lost child suddenly finding its father. “Thank
goodness you are here, Kenji San,” she cried.
He looked at the slip of paper in Taro’s hand. “Barrack Sixteen,
Apartment Forty,” he read. “I’ll take you there. Come with me.”
The two men walked slightly ahead of Hana, who followed
them down the curve of the track. The ground was muddied by
rain, and she skirted the puddles carefully, wishing she hadn’t
worn her Sunday shoes or dressed as though she were going to
church. It had never occurred to her to go out dressed
otherwise, but she felt foolish now, for it would have been more
appropriate to be in her work clothes.
“Are you all right, Mrs. Takeda?” Kenji looked back and
waited for her to catch up.
“Yes. Are we almost there?”
He paused to get his bearings, glancing about at the army
barracks constructed in every available space around the track.
“Not quite. I think you’ve been assigned to one of the old stables.”
“We are to live in stables where the horses were kept?” Taro
had not intended to show his dismay, but the words had
slipped out before he could stop them.
Twice Kenji had to ask for directions, then, leaving the
racetrack, he led them to a long stable labeled Barrack Sixteen.
They went up a ramp and came to a door marked number forty.
Kenji pushed open the door and they stepped into a stall so
hastily white-washed that insects still clung to the walls,
immortalized in their small acts of survival by man’s hasty
white spray. There were two small windows on either side of
the door, but the rear half of the stall was dark and windowless.
It also smelled of its former occupants.
Reading Strategy
Visualize Which descriptive and
sensory details help you see, hear,
smell, taste, and feel the Takedas’s
new home?
P i c t u re Bri de : Chapters 24–35
197
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your
note-taking. Develop a shorthand
system, including symbols, that works
for you. Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Family and Tradition How have the
bonds of family and tradition
continued to have a hold on or
lessened their grip on Dr. Kaneda,
Taro, and Hana?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
19 8
NOVEL COMPANION: Unit 4
NOVEL EXCERPT: CHAPTER 32
When Taro received a letter from Sojiro Kaneda, he opened it
eagerly, only to find that it contained shattering news.
“I have been moved again,” Kaneda wrote, “and who knows
how many more times we will be uprooted before this is all
over. One morning half the men in our barrack were told to be
ready to move in an hour, and now, here we are in North
Dakota. It is cold and bleak and lonely here. Even the Bible
holds little comfort for me.”
Hana shuddered as she listened to Taro. In all the years she
had known Dr. Kaneda, he had always found strength in his
faith. She had never known him to lose hope.
“I am tired and growing old,” Taro read on. “And I am all
alone. I have neither wife nor children, and am separated from
the friends I hold dear. I have had much time to think and
agonize and pray over what I am about to tell you.
“I have asked to be repatriated to Japan whenever it is
allowed, for there I still have one brother. There I can be free,
and I know now that without freedom, a man can be crushed
and defeated. Please understand what I am doing. I hope some
day when the war is over, we can meet again. Until then, God
bless you and keep you, dear friends.”
Taro stopped reading. He remembered how eager and full of
hope Sojiro Kaneda had always been. He remembered how hard
he had worked to help his countrymen be accepted in their new
land; how firmly he believed that one day America would allow
them to become citizens and to live as other Americans did. It
was Sojiro Kaneda who had reinforced Taro’s own hope and
belief in America. And now, the country had betrayed them both.
“Oh, Taro, how can we stop him?” Hana asked.
Taro was silent for a long while. Then he folded the letter
carefully and put it back in its envelope.
“We cannot stop him,” he said slowly. “We have no right.”
“The war will end someday. . . .”
“It is already too late for Kaneda,” Taro said, and rising
abruptly, he went outside to be alone.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
ASK QUESTIONS
Write a question about the novel. Can
you find the answer in your notes?
Recap
P i c t u re Bri de : Chapters 24–35
199
AFTER YOU READ: Chapters 24–35
Respond and Think Critically
1. How do Hana and Taro cope with the living conditions at Topaz? What do
their responses reveal about the character of each individual? [Analyze]
2. What happens when Taro goes out alone for a walk one evening at Topaz?
How does Mary respond to this event? What does her response reveal
about her feelings toward her parents? [Analyze]
3. Why do Taro and Hana apologize to each other near the end of the novel?
Do you think these apologies are necessary? Why or why not?
[Evaluate]
4. Evaluate the decision Hana makes at the end of the book. Do you think it
is the right decision? Why or why not? [Evaluate]
5. Family and Tradition How well do you think the ending of Picture Bride
reflects the Big Idea of family and tradition that you have seen elsewhere in
the novel? [Evaluate]
20 0
NOVEL COMPANION: Unit 4
APPLY BACKGROUND
Reread Meet the Author on page
166. How did that information help
you understand or appreciate what
you read in the novel?
AFTER YOU READ: Chapters 24–35
Mood
Vocabulary Practice
1. What is the mood of the passage in which Hana
and Taro read about Executive Order 9066 and
their upcoming evacuation? [Analyze]
Identify the context clues in the following sentences
that help you determine the meaning of each
boldfaced vocabulary word.
Literary Element
1. The cursory note was like everything Jim did—
rushed and careless.
2. The garrulous child chattered for the entire
two-hour ride.
2. What is the mood at the end of the novel? Which
details reveal the mood? [Analyze]
3. We did not know whether our parents would
laud us for our courage or criticize us for our
risk-tasking.
4. Damaging the electrical plant was an act of
sabotage.
5. The agency will succor those in need by
providing food and shelter.
Reading Strategy
Visualize
1. What do you visualize in the scene in which the
train passes through Salt Lake City? [Apply]
Academic Vocabulary
A great, unbreakable bond forms between Kiku and
Hana. In the preceding sentence, bond means “a
deep personal connection.” Bond also has other
meanings. For instance: When Tim purchased the
bond, he expected a good rate of return. What do
you think bond means in the preceding sentence?
What is the difference between the two meanings?
2. Which details help you imagine the areas of the
camps outside the living quarters? [Analyze]
P i c t u re Bri de : Chapters 24–25
201
AFTER YOU READ: Chapters 24–35
Write with Style
Speaking and Listening
Apply Imagery
Debate
Assignment Choose one place from Chapters 29 or
31 that you can see very well in your mind’s eye or
experience through your senses. Create one main
impression of the place by describing it in a paragraph.
Assignment Although the U.S. government would
probably never again act as it did toward the Japanese
during World War II, this question remains: Should the
government be able to limit freedoms in time of war
for reasons of national security? Create two teams,
choose a side of the issue, and debate.
Get Ideas Make a cluster like the one below to
record imagery related to the place or thing.
Place
Prepare With your team, review evidence from the
novel that supports or refutes your side of the debate.
Then use Internet and print sources to read, gather,
and develop reasons to support your side. List your
arguments and your support for them. Also, list the
arguments and counterarguments that you expect the
other side to offer. Make a plan, including evidence
and explanation, to meet those counterarguments.
Debate Begin with your best arguments. State them
clearly and use specific examples to explain them.
Listen carefully as the other team presents. Focus on
how best to challenge their arguments. Then use
specific examples to undermine their position and
support your own.
Decide on a single main idea that all or most of your
imagery creates. Cross out any imagery that does not
contribute to that one main idea.
Give It Structure Use spatial order to describe the
place. For example, you can start from far away from
the scene or object and move closer, describe it from
top to bottom or from left to right, or start from the
center and work outward. Choose a method of
organization that makes sense.
Look at Language Select imagery that allows your
reader to see or otherwise experience the place. In
addition to visual imagery that tells shape, size, and
color, use words and phrases that appeal to other
senses, such “air thick with dust” and “the stale air of
the crowded car.”
Evaluate Critique your own participation and skills in
the debate by providing examples of each of the
criteria below and rating how well you met them:
Criterion
Developed
effective
arguments
beforehand
Presented and
supported
arguments
clearly
Anticipated
and met
counterarguments
202
NOVEL COMPANION: Unit 4
Example
Made a list
of 4 wellsupported
reasons
My
Rating
Good
WORK WITH RELATED READINGS
Picture Bride
The following questions refer to the Related Readings in Glencoe’s
Literature Library edition of this novel. Support your answers with
details from the texts. Write your answers on a separate sheet of paper,
but jot down some notes first on the lines provided.
Natsu Okuyama Ozawa—A Japanese Woman
Remembers
June Namias
How did the racial discrimination that Ozawa
experienced before and during the war compare with
the discrimination that Hana and Taro faced?
Sent from the Capital to Her Elder Daughter
Otomo No Sakanoe
Compare and contrast the speaker in this poem with
Hana.
Rain Music
from Nisei Daughter
Monica Sone
How does Mary’s attitude toward her heritage in
Picture Bride compare with Sone’s attitude?
Longhang Nguyen
Compare and contrast Linh’s parents with Mr. and Mrs.
Takeda in Picture Bride. In what ways are their hopes
for their children similar?
Topaz: City of Dust
Yoshiko Uchida
Identify some experiences in “Topaz: City of Dust” that
Uchida retold as the experiences of Hana in Picture
Bride.
P i c t u r e B r id e
203
CONNECT TO OTHER LITERATURE
LITERATURE: Forsaking the Mists
Forsaking the mists
That rise in the spring,
Wild geese fly off.
They have learned to live
In a land without flowers.
204
NOVEL COMPANION: Unit 4
CONNECT TO OTHER LITERATURE
Compare the novel you have just read to the literature selection at the left,
“Forsaking the Mists” by Lady Ise in Glencoe Literature. Then answer the
questions below.
Compare & Contrast
1. Conflict What is the central conflict or problem in this brief narrative
poem? In what ways does it reflect one of Hana’s early conflicts in Picture
Bride?
WRITE ABOUT IT
Imagine that Hana reads Lady Ise’s
poem one day while she is interned at
Topaz or Tanforan. Write a journal
entry from Hana’s point of view in
which she responds to and identifies
with the words and emotions in the
poem.
Jot down a few words here first.
2. Tone What is the tone of the poem? How does the tone of the poem
compare or contrast with the tone of Picture Bride?
3. Mood Describe the feeling you get as you read the poem and name one
or more passages in Picture Bride that evoke the same feelings and create
the same mood.
P i c t u r e B r id e
205
RESPOND THROUGH WRITING
Research Report
Investigate East Asian Immigration Use the Internet to research
immigration from East Asia to the United States or to another country. Write a
research report of about 1,500 words. Focus your report on one aspect of the
topic, such as Japanese immigration to the United States in the early 1900s,
contemporary Chinese immigration to the United States and elsewhere, or
twentieth-century East Asian refugees to the United States.
Prewrite Write four or five questions to guide your research. Evaluate a
variety of sources to be sure they are reliable, authoritative, timely, and
appropriate. Take notes that carefully represent and credit those sources. After
you develop a thesis, create an outline or other plan for organizing your main
and supporting ideas.
Draft Be sure that your introduction presents your thesis and leads your
reader smoothly into the body of your paper. As you write your body
paragraphs, choose only those details from your notes that strengthen your
thesis, and be sure to explain how they relate to your thesis. Paraphrase and
summarize as much as possible; reserve exact quotations for those places
where you truly cannot state the information clearly or cogently without them.
Correctly cite, or credit, each work you use, both in your paper and in your
Works Cited list.
Revise Ask yourself:
• How can I make my thesis clearer, more precise, or more truly reflective of
the body of my paper?
• Where do I need to give more explanation?
• Where should I weave in my sources more smoothly, perhaps by adding
phrases such as “According to . . . , ” and “As [the author] writes, . . . ”?
• Which terms in my paper might be unfamiliar to my readers? How can I
explain them better?
Revise for clarity and to remove any potential misunderstandings.
Edit and Proofread Edit your writing so that it expresses your thoughts
effectively and is well organized. Carefully proofread for grammar, punctuation,
and spelling errors.
206
NOVEL COMPANION: Unit 4
UNDERSTAND THE TASK
• A research report summarizes the
results of a search for information
from a variety of sources on a single,
narrowed topic.
• A thesis statement tells what your
topic is and what you intend to say
about it. It is your research report’s
central idea.
Grammar Tip
Parentheses in Citations
In the body of your paper, cite
online sources by enclosing the
author or authors’ names in
parentheses:
“Amarjargal Dorj, a Mongolian
[immigrant], has lived in
homeless shelters since early
February, shortly after defecting
while working as a journalist”
(Martin).
If no author is given, enclose the
name of the sponsoring institution
or the title of the online work in
parentheses:
Between 1980 and 1989, 42% of
all immigrants to the United
States came from Asia
(Population Reference Bureau).
All Quiet on the
Western Front
Erich Maria Remarque
A l l Q ui e t on t h e Wes t e r n Fr o n t
207
INTRODUCTION TO THE NOVEL
All Quiet on the Western Front
Erich Maria Remarque
“
This book is to be neither an accusation
nor a confession, and least of all an
adventure, for death is not an adventure to
those who stand face to face with it. It will
try simply to tell of a generation of men
who, even though they may have escaped
its shells, were destroyed by the war.
”
—Erich Maria Remarque, preface to
All Quiet on the Western Front
The subject of All Quiet on the Western Front
is the worldwide conflict of 1914–1918, then
called the Great War. World War I, as we
refer to it today, was a shockingly intense
conflict that not only transformed the
political landscape of Europe but also
changed forever the values and perceptions
of civilized Western society.
World War I Begins In the years before the
war’s outbreak, the major countries of Europe
had formed alliances that divided the
continent into two hostile camps. On one side
were the Central Powers, which included
Germany, Bulgaria, and Austria-Hungary;
on the other were the Allies, which included
France, Great Britain, and Russia among
others. The “tinderbox of Europe” ignited
when the assassination of Archduke
Ferdinand of Austria sparked a series of
threats and counterthreats that drew the two
alliances into war. Germany, the leading
military and industrial power in Europe,
quickly embarked on a war of expansion. The
German plan, which its leaders had worked
on for decades, called for fighting on two
fronts. First, the Germans planned to launch a
massive offensive against France in the west.
They thought their offensive would be
208
NOVEL COMPANION: Unit 5
completed in six weeks, allowing them time to
turn east and invade Russia on a second front.
German forces quickly swept through
Belgium, but they were halted just outside
Paris. From that point on, Germany’s plan
for a quick victory in the west unraveled.
Newly developed weapons of war, especially
modern cannons and machine guns with
tremendous firepower, made the battlefield
so violent that traditional, organized attacks
quickly disbanded. For shelter, the soldiers
had no choice but to burrow into the ground.
As a result, by 1915 a strategy called position
warfare developed. Both sides dug a series of
trenches that ran in a broken line all the way
from the Belgian coast to the Swiss border.
From these trenches, the armies fought a
stationary war of defense rather than a war
of movement and offense. Their aim was to
hold their ground at any cost. The war thus
became a stalemate as each side tried to
wear down the other. Military leaders,
trained in nineteenth-century tactics,
continued to stage countless small frontal
offenses, ordering infantry soldiers to go
“over the top” of the trenches. But the results
were murderous and success was rare, with
gains measured only in yards. Trench
warfare was incredibly costly in terms of
human lives.
Long-Term Effects of the War The war
had far-reaching political and social
consequences. It broke up the four great
empires of Europe—the German, AustroHungarian, Russian, and Turkish empires—
leaving Europe unstable. The war also
brought more deaths and casualties than any
war in the previous one hundred years.
Some 8.5 million people died, and 21 million
were wounded. By 1916 few families in
INTRODUCTION TO THE NOVEL
Europe were left untouched by the death of
a son, husband, father, cousin, or friend.
The war also had a profound psychological
effect on those who survived it, like Remarque,
and those who came of age in its wake.
Sometimes called the “lost generation,” many
of these young people developed a pessimistic
and uncertain outlook on life and society after
the war. The traditional social values that had
led to the war—honor, duty, glory, and
discipline—seemed hollow, and many
survivors blamed the older generation for
permitting the war’s ghastly and wasteful
destruction. They felt the old order was morally
corrupt, and no new order had risen to provide
a sense of hope and stability. Remarque’s novel,
published in 1929, some ten years after the
war’s end, spoke to and of this generation. As
one critic noted, “All Quiet seemed to
encapsulate the whole modern impulse as it
manifested itself in the postwar world: the
amalgamation of prayer and desperation,
dream and chaos, wish and desolation.”
The novel also speaks to readers who
wonder what the war was like for the
average soldier. Narrated by a young
German infantryman, All Quiet on the
Western Front provides a picture of the war
that, in one critic’s words, is “unsurpassed
for vividness, for reality, for convincingness,
which lives and spreads and grows until
every atom of us is at the Front, seeing,
mingling, suffering.” Written in a clear and
lively style, Remarque’s fictional account
has an eyewitness authenticity that still
engages and moves readers today.
Universality in Wartime
All Quiet on the Western Front takes place
during the last two years of World War I,
between 1916 and November 1918. The
action occurs in the trenches, behind the
lines, and away from the front, in Paul
Bäumer’s hometown. Remarque, however,
does not give exact place names, suggesting
that what Paul experienced was typical of
many soldiers on the Western Front,
regardless of their location. Indeed, many
foreign readers who fought in the war have
confirmed that Paul’s experiences were
essentially the same as those of soldiers from
other nations.
Life in the Trenches
The daily scenes encountered by
soldiers at the front were
nightmarish. In the trenches, men
fought and lived among the dead—
and pieces of the dead, for the new
weapons of war could shatter
human bodies. Corpses were also
strewn across the narrow stretch of
ground known as “No Man’s Land”
that separated enemy trenches
facing each other. The sights,
sounds, and smells of death were
everywhere. Because conditions in
the front line were so horrific,
soldiers generally were not placed
there for more than a week at a
time. They were sent from the front
line to a support trench, then
farther back to a reserve trench,
and then to a quiet base camp at
the rear for rest.
Trenches, typically about ten feet
deep, were built in zigzags. This
pattern limited the destruction
caused by bursting shells and
protected soldiers from gunfire if the
enemy entered the trench. Short
lengths of trench jutted into No
Man’s Land to allow better listening
and observation of the enemy. In
addition, narrower communication
trenches, used to bring up supplies,
troops, and orders, connected the
main trenches from front to rear.
Soldiers in the front line were not
always under attack. Days in the
trenches tended to be boring,
although the danger of sniper fire
and random artillery shelling
always lurked. In the daytime, the
men cleaned their rifles and wrote
letters. Most work was done at
night when the men could move
about more safely. Creeping on
their bellies, soldiers ventured out
into No Man’s Land to string
barbed wire, scout enemy
positions, or rescue the wounded.
Much time was also spent repairing
trenches damaged by shellfire,
raids, or rain. As one veteran
recalled, “The men slept in mud,
washed in mud, ate mud, and
dreamed mud.”
A l l Q ui e t on t h e Wes t e r n Fr o n t
209
MEET THE AUTHOR
Erich Maria Remarque (1898–1970)
“
I write by ear. I hear everything that I
write. I choose words for their sound. . . .
my novels all sound good when they’re read
out loud. I find easy what other authors
find most difficult: writing dialogue.
”
—Erich Maria Remarque
Like the main character in All Quiet on the
Western Front, Erich Maria Remarque served
as a German soldier in World War I. Drafted
in November 1916 at the age of eighteen, he
was sent to the Western Front in Flanders
(now Belgium). There he worked in a
support unit behind the lines, laying barbed
wire and building bunkers and dugouts to
help fortify gun sites. His work often took
him within range of enemy gunfire. In July
1917 he was wounded while retrieving an
injured soldier during an attack. He was sent
to a hospital, where he spent most of the rest
of the war recuperating. Later he would
incorporate some of his own war experiences
into his popular war novel, Im Westen nichts
Neues, or All Quiet on the Western Front.
An Artistic Temperament Remarque,
whose ancestors were French, was born in
Osnabrück, Germany, in 1898. Although his
family was poor, Remarque’s childhood was
happy. Interested in music at an early age, he
played both the organ and piano. By the time
he was seventeen, he had begun to write
essays and poems and had started a novel.
During his wartime hospital stay, Remarque
continued to write short pieces that were
published in a popular German magazine.
After the war, Remarque finished his
education but remained unsettled by his
wartime experiences. He worked briefly as a
teacher and at various odd jobs. In 1925 he
2 10
NOVEL COMPANION: Unit 5
became an editor for a sports magazine. The
financial success of All Quiet on the Western
Front, an international bestseller published
in 1929, allowed Remarque to quit his job
and write full time. In 1931 he moved to a
villa in Switzerland on Lake Maggiore.
Success and Controversy The publication
of All Quiet on the Western Front brought
fame and wealth to Remarque, but also
sparked controversy. Many readers viewed
the novel, which stresses the wasteful
destruction of the war, as a humanitarian
antiwar statement. To the Nazis, the rising
political faction in Germany at the time, the
book was unpatriotic and subversive. In
1933 All Quiet on the Western Front was one
of the first books burned in public by the
Nazis, who declared it a “betrayal of the
soldiers of the First World War.” The
successful American film based on the novel,
made in 1930, was also banned by the Nazis.
Had Remarque remained in Germany, he
would have faced certain persecution. The
Nazi government later revoked his German
citizenship in 1938.
In 1939 Remarque moved from Switzerland
to the United States, living first in
Hollywood and then in New York City.
There he continued to write novels, several
of which were made into films, though none
were as greatly admired as his first. Most of
them focused on the lives of Germans in
the aftermath of the two world wars.
Meanwhile, Remarque moved in glamorous
circles, acquiring well-known friends and
acquaintances including Greta Garbo,
Charlie Chaplin, and Ernest Hemingway.
Remarque divided his time among New
York, Hollywood, his villa in Switzerland,
and several European cities. After years of
heart problems, Remarque suffered a fatal
heart attack in Switzerland in 1970.
BEFORE YOU READ: Chapters 1–5
NOVEL NOTEBOOK
Connect to the Literature
What are the general characteristics of your parents’ generation or
grandparents’ generation? How would you describe your own generation?
Keep a special notebook to record
entries about the novels that you read
this year.
Freewrite
Take ten minutes to freewrite about your impressions of an older generation
and younger generation. In general, do you respect the opinions of persons
older than you? Do you think older people have the same values or
perspectives that younger people do? Do you think all young people have
the same values and points of view? Explain.
WRITE THE CAPTION
Write a caption for one of the images
below using information in Build
Background.
Build Background
A Total War
World War I was a “total war,” meaning that the populations of entire nations
were caught up in the conflict. Factories that had produced goods for farms
and families suddenly were called on to produce weapons, ammunition, and
military supplies. Because most able-bodied men were serving in the military,
women often replaced male workers in industry. Civilians sacrificed food and
supplies to help support the war effort. Near the battle lines, civilians were
exposed to the dangers of shelling; in some cases, entire villages were
obliterated.
As the fighting dragged on, all of the participating nations experienced food
shortages. In response, governments in Europe instituted food rationing, which
led to long lines at stores for what little food was available. In Germany,
shortages were especially severe because the Allies had blockaded German
ports. With little grain available, turnips and potatoes were used to make krieg
(war) bread, and acorns were gathered and ground up to make coffee. By the
winter of 1916–1917, German citizens were becoming weak and thin, and
many died of starvation.
A l l Q ui e t on t h e Wes t e rn Front : Chapters 1–5
211
BEFORE YOU READ: Chapters 1–5
Set Purposes for Reading
왘 BIG Idea Realism and Modernism
By the mid-1800s, Realism, a reaction to Romanticism, was changing the
shape of European literature. Realist authors sought to re-create the texture of
everyday life and to address the problems of ordinary people. All Quiet on the
Western Front is fundamentally a Realist work, though it employs some of the
experimental stylistic techniques of Modernism.
In looking at war from the inside out in All Quiet on the Western Front, author
Erich Maria Remarque revealed a grotesque wartime world that had resonance
far beyond its time. Despite the fact that the novel was published in 1929, its
themes remain as current as this morning’s headlines. As you read the opening
chapters of the novel, think about how World War I was different from—and
similar to—contemporary wars.
Literary Element
Dialogue
Dialogue is conversation between characters in a literary work. Dialogue brings
characters to life by revealing their personalities and by showing what they are
thinking and feeling as they interact with other characters. Dialogue can also
create mood, advance the plot, and develop theme.
In the novel you are about to read, author Erich Maria Remarque combines
gritty, realistic dialogue with present-tense first-person narration. The result is
a stark eyewitness intensity, which provides a sharp contrast to more
conventional past-tense reminiscences and flashbacks. A flashback is an
interruption in the chronological order of a narrative to relate a scene from an
earlier time. An author may use this device to give the reader background
information or to create tension.
As you read Chapters 1 through 5 of All Quiet on the Western Front, consider
how dialogue plays a key role in developing various aspects of the novel. Use
the chart on the next page to help you organize your thoughts.
Reading Strategy
Evaluate Characters
When you evaluate characters, you analyze their attitudes, actions, words, and
motivations. To help you to make judgments about them, you can use what the
characters say, what they do, and what other characters say about them.
Evaluating characters helps you stay engaged with the lives of the people
about whom you are reading. Constantly making judgments about what the
characters’ words and deeds imply about them leads to more insight into the
themes of the work.
As you read the first five chapters of All Quiet on the Western Front, ask
yourself questions to evaluate the soldiers in the main character’s unit. Your
evaluations may change as the story progresses. You may find it helpful to use
a graphic organizer like the one at the right.
2 12
NOVEL COMPANION: Unit 5
Vocabulary
barrage [bə rɑ
zh´]
n. curtain of heavy artillery fire just in
front of friendly troops to screen and
protect them
The most recent barrage saved the
entire regiment from certain death.
billets [bil´ its]
n. lodgings assigned to military
personnel
The tired soldiers made their way to
the local billets to which they had
been assigned.
insubordination [in´ sə bôrd ən ā´ shən]
n. disobedience to authority
Refusing to obey a direct order is
considered an act of insubordination.
restive [res´ tiv]
adj. restless
I woke up at four in the morning and
found my brother sitting in the
kitchen looking very restive.
windfall [wind´ fôl]
n. sudden unexpected gain
Charlie plays the lottery every day,
but whenever he actually wins he
claims it’s a windfall.
Question
Answer
Why is
Kemmerich
so worried
about his
watch?
It is his
prized
possession
and he
associates it
with staying
alive.
ACTIVE READING: Chapters 1–5
As you read Chapters 1 through 5, note that the
author conveys a great deal of information to the
reader through dialogue. In the chart below, write
examples of dialogue from the first five chapters and
list the effect or effects the author achieved in each
Dialogue
case. Possible effects include develop theme, advance
plot, create mood, reveal personalities, convey
background, and create tension. Note the chapter of
each quotation.
Effect
“Mind how you speak to a noncommissioned officer!” bawled
Himmelstoss. “Have you lost your
senses? You wait till you’re spoken
to. What will you do anyway?”
“Show you up, Corporal,” said
Kropp, his thumbs in line with the
seams of his trousers. (Ch. 2)
A l l Q ui e t on t h e Wes t e rn Front : Chapters 1–5
213
INTERACTIVE READING: Literar y Element
Literary Element
Dialogue What does Kat’s dialogue
with the “youngster” tell you about
Kat’s relationship with new recruits?
What does it tell you about his
relationship with Kropp, Muller, and
Paul?
NOVEL EXCERPT: CHAPTER 3
Reinforcements have arrived. The vacancies have been filled
and the sacks of straw in the huts are already booked. Some of
them are old hands, but there are twenty-five men of a later
draft from the base. They are about two years younger than us.
Kropp nudges me: “Seen the infants?”
I nod. We stick out our chests, shave in the open, shove our
hands in our pockets, inspect the recruits and feel ourselves
stone-age veterans.
Katczinsky joins us. We stroll past the horse-boxes and go
over to the reinforcements, who are already being issued with
gas masks and coffee.
“Long time since you’ve had anything decent to eat, eh?”
Kat asks one of the youngsters.
He grimaces. “For breakfast, turnip-bread—lunch, turnipstew—supper, turnip-cutlets and turnip-salad.” Kat gives a
knowing whistle.
“Bread made of turnips? You’ve been in luck, it’s nothing
new for it to be made of sawdust. But what do you say to
haricot beans? Have some?”
The youngster turns red: “You can’t kid me.”
Katczinsky merely says: “Fetch your mess-tin.”
We follow curiously. He takes us to a tub beside his straw
sack. Sure enough it is half full of beef and beans. Katczinsky
plants himself in front of it like a general and says:
“Sharp eyes and light fingers! That’s what the Prussians say.”
We are surprised. “Great guts, Kat, how did you come by
that?” I ask him.
“Ginger was glad I took it. I gave him three pieces of
parachute-silk for it. Cold beans taste fine, too.”
Patronizingly he gives the youngster a portion and says:
“Next time you come with your mess-tin have a cigar or a chew
of tobacco in your other hand. Get me?” Then he turns to us.
“You get off scot free, of course.”
We couldn’t do without Katczinsky; he has a sixth sense.
There are such people everywhere but one does not appreciate
it at first. Every company has one or two. Katczinsky is the
smartest I know. By trade he is a cobbler, I believe, but that
hasn’t anything to do with it; he understands all trades. It’s a
good thing to be friends with him, as Kropp and I are, and Haie
Westhus too, more or less. But Haie is rather the executive arm,
operating under Kat’s orders when things come to blows. For
that he has his qualifications.
For example, we land at night in some entirely unknown
spot, a sorry hole, that has been eaten out to the very walls. We
2 14
NOVEL COMPANION: Unit 5
INTERACTIVE READING: Literar y Element
are quartered in a small dark factory adapted to the purpose.
There are beds in it, or rather bunks—a couple of wooden
beams over which wire netting is stretched.
Wire netting is hard. And there’s nothing to put on it. Our
waterproof sheets are too thin. We use our blankets to cover
ourselves.
Kat looks at the place and then says to Haie Westhus: “Come
with me.” They go off to explore. Half an hour later they are back
again with arms full of straw. Kat has found a horse-box with
straw in it. Now we might sleep if we weren’t so terribly hungry.
Kropp asks an artilleryman who has been some time in this
neighbourhood: “Is there a canteen anywhere abouts?”
“Is there a what?” he laughs. “There’s nothing to be had
here. You won’t find so much as a crust of bread here.”
“Aren’t there any inhabitants here at all then?”
He spits. “Yes, a few. But they hang round the cook-house
and beg.”
“That’s a bad business!—Then we’ll have to pull in our belts
and wait till the rations come up in the morning.”
But I see Kat has put on his cap.
“Where to, Kat?” I ask.
“Just to explore the place a bit.” He strolls off. The
artilleryman grins scornfully. “Go ahead and explore. But don’t
strain yourself in carrying what you find.”
Disappointed we lie down and consider whether we couldn’t
have a go at the iron rations. But it’s too risky; so we try to get a
wink of sleep.
Kropp divides a cigarette and hands me half. Tjaden gives an
account of his national dish—broad-beans and bacon. He
despises it when not flavoured with bog-myrtle, and, “for God’s
sake, let it all be cooked together, not the potatoes, the beans,
and the bacon separately.” Someone growls that he will pound
Tjaden into bog-myrtle if he doesn’t shut up. Then all becomes
quiet in the big room—only the candles flickering from the
necks of a couple of bottles and the artilleryman spitting every
now and then.
We are just dozing off when the door opens and Kat appears.
I think I must be dreaming; he has two loaves of bread under
his arm and a bloodstained sandbag full of horse-flesh in his
hand.
The artilleryman’s pipe drops from his mouth. He feels the
bread. “Real bread, by God, and still hot too?”
Kat gives no explanation. He has the bread, the rest doesn’t
matter. I’m sure that if he were planted down in the middle of
the desert, in half an hour he would have gathered together a
supper of roast meat, dates, and wine.
Literary Element
Dialogue How does this dialogue
advance the plot? What is the effect of
the artilleryman’s scornful remarks on
Kat?
A l l Q ui e t on t h e Wes t e rn Front : Chapters 1–5
215
INTERACTIVE READING: Reading Strategy
Reading Strategy
Evaluate Characters Knowing what
you do about Kat so far, how would
you evaluate his personality?
NOVEL EXCERPT: CHAPTER 4
I sit up, I feel myself strangely alone. It’s good Kat is there.
He gazes thoughtfully at the front and says:
“Mighty fine fire-works if they weren’t so dangerous.”
One lands behind us. Some recruits jump up terrified. A
couple of minutes later another comes over, nearer this time.
Kat knocks out his pipe. “We’re in for it.”
Then it begins in earnest. We crawl away as well as we can in
our haste. The next lands fair amongst us. Two fellows cry out.
Green rockets shoot up on the sky-line. Barrage. The mud flies
high, fragments whizz past. The crack of the guns is heard long
after the roar of the explosions.
Beside us lies a fair-headed recruit in utter terror. He has
buried his face in his hands, his helmet has fallen off. I fish hold
of it and try to put it back on his head. He looks up, pushes the
helmet off and like a child creeps under my arm, his head close
to my breast. The little shoulders heave. Shoulders just like
Kemmerich’s. I let him be. So that the helmet should be of
some use I stick it on his behind;—not for a jest, but out of
consideration, since that is his highest part. And though there is
plenty of meat there, a shot in it can be damned painful.
Besides, a man has to lie for months on his belly in the hospital,
and afterwards he would be almost sure to have a limp.
It’s got someone pretty badly. Cries are heard between the
explosions.
At last it grows quiet. The fire has lifted over us and is now
dropping on the reserves. We risk a look. Red rockets shoot up
to the sky. Apparently there’s an attack coming.
Where we are it is still quiet. I sit up and shake the recruit by
the shoulder. “‘All over, kid! It’s all right this time.”
He looks round him dazedly. “You’ll get used to it soon,” I
tell him.
He sees his helmet and puts it on. Gradually he comes to.
Then suddenly he turns fiery red and looks confused. Cautiously
he reaches his hand to his behind and looks at me dismally.
I understand at once: Gun-shy. That wasn’t the reason I had
stuck his helmet over it. “That’s no disgrace,” I reassure him:
“Many’s the man before you has had his pants full after the first
bombardment. Go behind that bush there and throw your
underpants away. Get along—”
He goes off. Things become quieter, but the cries do not
cease. “What’s up, Albert?” I ask.
“A couple of columns over there got it in the neck.”
The cries continued. It is not men, they could not cry so terribly.
“Wounded horses,” says Kat.
2 16
NOVEL COMPANION: Unit 5
INTERACTIVE READING: Reading Strategy
It’s unendurable. It is the moaning of the world, it is the martyred
creation, wild with anguish, filled with terror, and groaning.
We are pale. Detering stands up. “God! For God’s sake!
Shoot them.”
He is a farmer and very fond of horses. It gets under his skin.
Then as if deliberately the fire dies down again. The screaming
of the beasts becomes louder. One can no longer distinguish
whence in this now quiet silvery landscape it comes; ghostly,
invisible, it is everywhere, between heaven and earth it rolls on
immeasurably. Detering raves and yells out: “Shoot them! Shoot
them, can’t you? Damn you again!”
“They must look after the men first,” says Kat quietly.
We stand up and try to see where it is. If we could only see
the animals we should be able to endure it better. Müller has a
pair of glasses. We see a dark group, bearers with stretchers,
and larger black clumps moving about. Those are the wounded
horses. But not all of them. Some gallop away in the distance,
fall down, and then run on farther. The belly of one is ripped
open, the guts trail out. He becomes tangled in them and falls,
then he stands up again.
Detering raises up his gun and aims. Kat hits it in the air.
“Are you mad—?”
Detering trembles and throws his rifle on the ground.
We sit down and hold our ears. But this appalling noise,
these groans and screams penetrate, they penetrate everywhere.
We can bear almost anything. But now the sweat breaks out
on us. We must get up and run no matter where, but where these
cries can no longer be heard. And it is not men, only horses.
From the dark group stretchers move off again. Then single
shots crack out. The black heap convulses and then sinks down.
At last! But still it is not the end. The men cannot overtake the
wounded beasts which fly in their pain, their wide open mouths
full of anguish. One of the men goes down on one knee, a
shot—one horse drops—another. The last one props itself on its
forelegs and drags itself round in a circle like a merry-go-round;
squatting, it drags round in circles on its stiffened forelegs,
apparently its back is broken. The soldier runs up and shoots it.
Slowly, humbly, it sinks to the ground.
We take our hands from our ears. The cries are silenced. Only
a long-drawn, dying sigh still on the air.
Then only again the rockets, the singing of the shells and the
stars there—most strange.
Detering walks up and down cursing: “Like to know what
harm they’ve done.” He returns to it once again. His voice is
agitated, it sounds almost dignified as he says: “I tell you it is
the vilest baseness to use horses in the war.”
Reading Strategy
Evaluate Characters In evaluating
Detering’s final comment, would you
say that he cares more about horses
than people? Explain.
A l l Q u i e t o n t he Wes t e rn Fro n t : C h a p te r s 1 – 5
217
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Realism and Modernism What do
you think the author is trying to
express in this excerpt about soldiers
in war-torn places? How does it meet
the goals of Modernist authors?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
2 18
NOVEL COMPANION: Unit 5
NOVEL EXCERPT: CHAPTER 5
It takes a long time to roast a goose, even when it is young
and fat. So we take turns. One bastes it while the other lies
down and sleeps. A grand smell gradually fills the hut.
The noises without increase in volume, pass into my dream
and yet linger in my memory. In a half-sleep I watch Kat dip
and raise the ladle. I love him, his shoulders, his angular,
stooping figure—and at the same time I see behind him woods
and stars, and a clear voice utters words that bring me peace,
to me, a soldier in big boots, belt, and knapsack, taking the
road that lies before him under the high heaven, quickly
forgetting and seldom sorrowful, for ever pressing on under
the wide night sky.
A little soldier and a clear voice, and if anyone were to caress
him he would hardly understand, this soldier with the big boots
and the shut heart, who marches because he is wearing big
boots, and has forgotten all else but marching. Beyond the skyline is a country with flowers, lying so still that he would like to
weep. There are sights there that he has not forgotten, because
he never possessed them—perplexing, yet lost to him. Are not
his twenty summers there?
Is my face wet, and where am I? Kat stands before me, his
gigantic, stooping shadow falls upon me, like home. He speaks
gently, he smiles and goes back to the fire.
Then he says: “It’s done.”
“Yes, Kat.”
I stir myself. In the middle of the room shines the brown
goose. We take out our collapsible forks and our pocket-knives
and each cuts off a leg. With it we have army bread dipped in
gravy. We eat slowly and with gusto.
“How does it taste, Kat?”
“Good! And yours?”
“Good, Kat.”
We are brothers and press on one another the choicest pieces.
Afterwards I smoke a cigarette and Kat a cigar. There is still a
lot left.
“How would it be, Kat, if we took a bit to Kropp and Tjaden?”
“Sure,” says he.
We carve off a portion and wrap it up carefully in newspaper.
The rest we thought of taking over to the hut. Kat laughs, and
simply says: “Tjaden.”
I agree, we will have to take it all.
So we go off to the fowl-house to waken them. But first we
pack away the feathers.
CORNELL NOTE-TAKING SYSTEM: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
ASK QUESTIONS
Write any questions you have about
the novel. Do you have to go to an
outside source to find the answers?
Recap
A l l Q ui e t on t h e Wes t e rn Front : Chapters 1–5
219
AFTER YOU READ: Chapters 1–5
Respond and Think Critically
1. How do the young men feel about their former high school teacher,
Kantorek? Why? [Infer]
2. Describe Muller’s feelings about Kemmerich’s boots. Why does he feel
this way? [Interpret]
3. Identify a scene that provides a contrast to the tension and horror the
men experience at the front. [Analyze]
4. What does Kropp mean when he says of himself and his classmates,
“The war has ruined us for everything”? [Interpret]
5. Realism and Modernism What aspects of day-to-day warfare did you
find most striking in this chapter set? [Connect]
220
NOVEL COMPANION: Unit 5
APPLY BACKGROUND
Reread Introduction to the Novel on
pages 208–209. How did that
information help you understand or
appreciate what you read in the
novel?
AFTER YOU READ: Chapters 1–5
Literary Element
Dialogue
1. What does the novel’s dialogue help you
understand about the group dynamics among Paul
and his fellow soldiers? [Synthesize]
Vocabulary Practice
Identify the context clues in the following sentences
that help you determine the meaning of each
boldfaced vocabulary word.
1. They laid down a barrage in front of the advancing
troops before the enemy could begin their assault.
2. The billets were pretty basic—composed of plank
floors, screen windows, and hard bunk beds.
2. What does the dialogue in Chapter 5 reveal about
the men’s divergent feelings about the possibility of
peacetime? [Analyze]
3. The colonel ordered the recruits to perform fifty
pushups and added that refusal would result in a
charge of insubordination.
4. Because Angie had always thought her grandfather
lived in near poverty, her inheritance of ten
thousand dollars seemed like the most amazing
windfall.
5. Uncle John says the new puppy is very restive, but
the puppy’s constant napping suggests otherwise.
Reading Strategy
Evaluate Characters
1. How would you evaluate Himmelstoss in terms of
his power over the men at the front as opposed to
during training? [Evaluate]
Academic Vocabulary
As Remarque describes it, the military operates in a
strict hierarchy based on rank and duty. In the
preceding sentence, hierarchy means “chain of
command.” Think about an organization you know of
that has a hierarchy. What do you think are the
benefits and drawbacks of this kind of structure?
2. Describe the bond that Paul and Kat share.
[Interpret]
A l l Q ui e t on t h e Wes t e rn Front : Cha pte r s 1 – 5
221
AFTER YOU READ: Chapters 1–5
Writing
Research and Report
Write a News Bulletin
Visual/Media Presentation
Imagine that you are a newspaper reporter
accompanying Paul’s group on the night they perform
their mission in No Man’s Land. Write about the scene
in a news bulletin for your readers. Include details of
sight and sound to convey the dangers the men face
during the bombardment. Describe the actions of the
men and their emotions and attitudes before, during,
and after the fighting. After you have written a first
draft, review it critically. Does your report have an
interesting lead? Does it give readers a feeling of
actually being present in the situation you are
describing? Does it convey human interest? Revise
and proofread your report.
Assignment Paul’s teacher Kantorek persuaded his
students to join the army by telling them they would
be fighting for the glory of the fatherland. Many military
recruiting posters at the time did the same. Recruiting
posters were a form of propaganda, which is written
or spoken material designed to bring about a change
or damage a cause through use of emotionally
charged words, name-calling, or other techniques. In
propaganda, information is stated as fact but may
consist of half-truths.
Create a recruitment poster that might be used to
recruit soldiers and influence public opinion and
actions regarding war.
Get Ideas Your recruitment poster may appeal to
logic, emotion, or both. For examples of recruitment
posters from the past and present, consider doing an
online research using an Internet search engine.
Research When you have found several Web sites
that show visual and textual elements of military
propaganda, choose one to serve as a model for your
presentation. Do not copy the material exactly. Use it
as a jumping-off point. Ideally, you will be able to
choose among four or five ideas and combine the
strongest aspects of each into your project. Look for
strong visuals that suggest ideas to the reader. You will
be creating the text that supports those ideas.
Prepare Make sketches of the models you found
during your research. Take notes on the kinds of
messages you encountered. Which ideas go together
best? Create several sample renderings and decide
which one you think is the most effective.
Gather the materials to create your graphics. You may
cut out already existing images and glue them onto
your poster board or create your own images using
pencils, markers, or poster paints.
Present Use an easel or music stand to display your
visual/media project for the class. Stand slightly to one
side of it and explain to your classmates the ideas you
explored during the process of creating the
presentation. Use a modulated tone of voice and
maintain eye contact and good posture.
222
NOVEL COMPANION: Unit 5
BEFORE YOU READ: Chapters 6–8
NOVEL NOTEBOOK
Connect to the Literature
Keep a special notebook to record
entries about the novels that you read
this year.
Does it help or hurt to talk about traumatic experiences?
Discuss
With a small group, discuss whether talking about traumatic experiences is a
good idea. Under what circumstances might communicating about trauma be
helpful? Under what circumstances might it be counterproductive? Share your
opinions with other groups.
WRITE THE CAPTION
Write a caption for the image below
using information in Build Background.
Build Background
The Sound of the Enemy
Soldiers in the trenches could recognize the different shells being fired by the
sounds they made in the air. Artillery—or cannonlike weapons—fired large
missile-shaped shells. Of these, shrapnel shells were especially deadly
because they contained both explosives and hundreds of sharp bits of metal.
The shells made different kinds of noises when they flew over the trenches.
Large shells, nicknamed “Jack Johnsons” after a famous heavyweight boxer of
the time, made a high-pitched whistle. The “whiz bang,” a lighter shell, buzzed
briefly just before it struck its target.
New War, New Weapons
The Allies, as well as the Germans, designed new weapons to try to break the
deadlock of trench warfare. Tanks were thought to be one solution with great
potential. But although they were largely indestructible, tanks were very slow,
and they often got stuck in the mud. As tank design was perfected, however,
the impact of these war machines grew.
Poison gas was another new weapon introduced during World War I. The
Germans were the first to use chlorine gas on a large scale. This gas caused
extreme pain in the nose and throat and slow suffocation. The British and
French soon followed the Germans’ lead, introducing mustard gas in 1917.
Gas attacks killed more than a million people during the war.
A l l Q ui e t on t h e Wes t e rn Front : Cha pte r s 6 – 8
223
BEFORE YOU READ: Chapters 6–8
Set Purposes for Reading
왘 BIG Idea Realism and Modernism
Realist and Modernist works share many characteristics, including a
preoccupation with such themes as uncertainty, alienation, and ambiguity—
themes that have particular resonance during wartime. As you read, consider
how author Erich Maria Remarque weaves these themes through the everyday
experiences of Paul and his fellow soldiers.
Literary Element
Description
Description is writing that creates a clear image of an appearance, feeling, or
action. Good descriptive writing appeals to the senses through imagery. The
use of figurative language and precise nouns, verbs, adjectives, and adverbs
can make description vivid.
In All Quiet on the Western Front, the author employs impressionistic
details. These details convey scenes, emotions, and characters with a
vividness that evokes subjective sensory impressions instead of objective
reality. Remarque alternates these impressionistic descriptions with reflective
passages. Notably, he provides no historical details.
As you read the next section of the novel, examine the ways in which these
elements work together to create dynamic mental pictures. Record the
descriptive elements you find in Chapter 6 in the chart on the next page.
Reading Strategy
Analyze Style
When you analyze style, you examine an author’s combination of unique
expressive qualities such as word choice, sentence length, and use of
figurative language and imagery. Looking carefully at style can give you a
greater understanding of the author, the author’s purpose, or the work itself.
The style of All Quiet on the Western Front is distinctive, not only in its use of
first-person present-tense narration and extensive dialogue, but also in its use
of short sentences and phrases, repetition, and dashes to add rhythm,
suspense, and immediacy. These stylistic elements create tension and a sense
of action, immersion, and chaos.
As you read the next section of the novel, look for language that gives you
clues about the characters’ experiences and emotional responses. You may
find it helpful to use a graphic organizer like the one at the right.
224
NOVEL COMPANION: Unit 5
Vocabulary
chasten [chā´ sən]
v. to punish or reprimand for the
purpose of correcting or improving
Adrianne feels she must chasten
her employees when they are
consistently late.
listless [list´ lis]
adj. lacking energy
The other horses took off at a
gallop, but Tina’s seemed oddly
slow and listless.
ludicrous [l¯
oo ´də krəs]
adv. ridiculous; laughable
The decorations the prom committee
put up were so cheap that they
appeared ludicrous.
obliquely [ō blēk´ lē]
adj. indirectly; in a slanting or
sloping direction
The racecourse cut through the
forest preserve and up over
Sherman Avenue.
solace [sol´ is]
n. relief; comfort
Grandmother’s kitchen was a place
we went when we needed cookies
or solace.
Ordinary
language
Expressive
language
He’s
changed.
He’s had the
bounce
knocked out
of him.
ACTIVE READING: Chapters 6–8
Chapter 6 gives a vivid account of life in the trenches
from the common soldier’s point of view. As you read
the chapter, use the cluster diagram below to note the
sights, sounds, smells, and feelings described. Try to
“long
nude tails
of rats”
Sights
find some of the most powerful impressionistic details
and figurative language that the author uses to
describe life in the trenches.
Sounds
Trench
Warfare
Smells
Feelings
A l l Q ui e t on t h e Wes t e rn Front : Cha pte r s 6 – 8
225
INTERACTIVE READING: Literar y Element
Literary Element
Description What emotional
responses does this descriptive
passage evoke in you?
226
NOVEL COMPANION: Unit 5
NOVEL EXCERPT: CHAPTER 7
I pass over the bridge, I look right and left; the water is as
full of weeds as ever, and it still shoots over in gleaming arches;
in the tower building laundresses still stand with bare arms as
they used to over the clean linen, and the heat from the ironing
pours out through the open windows. Dogs trot along the
narrow street, before the doors of the houses people stand and
follow me with their gaze as I pass by, dirty and heavy laden.
In this confectioner’s we used to eat ices, and there we
learned to smoke cigarettes. Walking down the street I know
every shop, the grocer’s, the chemist’s, the baker’s. Then at last
I stand before the brown door with its worn latch and my hand
grows heavy. I open the door and a strange coolness comes out
to meet me, my eyes are dim.
The stairs creak under my boots. Upstairs a door rattles,
someone is looking over the railing. It is the kitchen door that
was opened, they are cooking potato-cakes, the house reeks of
it, and to-day of course is Saturday; that will be my sister
leaning over. For a moment I am shy and lower my head, then I
take off my helmet and look up. Yes, it is my eldest sister.
“Paul,” she cries, “Paul—”
I nod, my pack bumps against the banisters; my rifle is so
heavy.
She pulls a door open and calls: “Mother, Mother, Paul is here.”
I can go no further—Mother, Mother, Paul is here.
I lean against the wall and grip my helmet and rifle. I hold
them as tight as I can, but I cannot take another step, the
staircase fades before my eyes, I support myself with the butt of
my rifle against my feet and clench my teeth fiercely, but I
cannot speak a word, my sister’s call has made me powerless,
I can do nothing, I struggle to make myself laugh, to speak, but
no word comes, and so I stand on the steps, miserable, helpless,
paralysed, and against my will the tears run down my cheeks.
My sister comes back and says: “Why, what is the matter?”
Then I pull myself together and stagger on to the landing.
I lean my rifle in a corner, I set my pack against the wall, place
my helmet on it and fling down my equipment and baggage.
Then I say fiercely: “Bring me a handkerchief.”
She gives me one from the cupboard and I dry my face.
Above me on the wall hangs the glass case with the coloured
butterflies that once I collected.
Now I hear my mother’s voice. It comes from the bedroom.
“Is she in bed?” I ask my sister.
“She is ill—” she replies.
INTERACTIVE READING: Literar y Element
I go in to her, give her my hand and say as calmly as I can:
“Here I am, Mother.”
She lies still in the dim light. Then she asks anxiously:
“Are you wounded?” and I feel her searching glance.
“No, I have got leave.”
My mother is very pale. I am afraid to make a light.
“Here I lie now,” says she, “and cry instead of being glad.”
“Are you sick, Mother?” I ask.
“I am going to get up a little to-day,” she says and turns to
my sister, who is continually running to the kitchen to watch
that the food does not burn: “And put out that jar of preserved
whortleberries—you like that, don’t you?” she asks me.
“Yes, Mother, I haven’t had any for a long time.”
“We might almost have known you were coming,” laughs
my sister, “there is just your favourite dish, potato-cakes, and
even whortle-berries to go with them too.”
“And it is Saturday,” I add.
“Sit here beside me,” says my mother.
She looks at me. Her hands are white and sickly and frail
compared with mine. We say very little and I am thankful that
she asks nothing. What ought I to say? Everything I could have
wished for has happened. I have come out of it safely and sit
here beside her. And in the kitchen stands my sister preparing
supper and singing.
“Dear boy,” says my mother softly.
We were never very demonstrative in our family; poor folk
who toil and are full of cares are not so. It is not their way to
protest what they already know. When my mother says to me
“dear boy,” it means much more than when another uses it. I
know well enough that the jar of whortleberries is the only one
they have had for months, and that she has kept it for me; and
the somewhat stale cakes that she gives me too. She must have
got them cheap some time and put them all by for me.
I sit by her bed, and through the window the chestnut trees
in the beer garden opposite glow in brown and gold. I breathe
deeply and say over to myself:—“You are at home, you are at
home.” But a sense of strangeness will not leave me, I cannot
feel at home amongst these things. There is my mother, there is
my sister, there my case of butterflies, and there the mahogany
piano—but I am not myself there. There is a distance, a veil
between us.
Literary Element
Description What does this
description of Paul in his mother’s
room help you understand about him?
A l l Q ui e t on t h e Wes t e rn Front : Cha pte r s 6 – 8
227
INTERACTIVE READING: Reading Strategy
Reading Strategy
Analyze Style In this passage, identify
two similes and three phrases that
appeal to the senses.
228
NOVEL COMPANION: Unit 5
NOVEL EXCERPT: CHAPTER 8
But most beautiful are the woods with their line of birch
trees. Their colour changes with every minute. Now the stems
gleam purest white, and between them airy and silken, hangs
the pastel-green of the leaves; the next moment all changes to an
opalescent blue, as the shivering breezes pass down from the
heights and touch the green lightly away; and again in one
place it deepens almost to black as a cloud passes over the sun.
And this shadow moves like a ghost through the dim trunks
and rides far out over the moor to the sky—then the birches
stand out again like gay banners on white poles, with their red
and gold patches of autumn-tinted leaves.
I often become so lost in the play of soft light and transparent
shadow, that I almost fail to hear the commands. It is when one
is alone that one begins to observe Nature and to love her. And
here I have not much companionship, and do not even desire it.
We are too little acquainted with one another to do more than
joke a bit and play poker or nap in the evenings.
Alongside our camp is the big Russian prison camp. It is
separated from us by a wire fence, but in spite of this the
prisoners come across to us. They seem nervous and fearful,
though most of them are big fellows with beards—they look like
meek, scolded, St. Bernard dogs.
They slink about our camp and pick over the garbage tins.
One can imagine what they find there. With us food is pretty
scarce and none too good at that—turnips cut into six pieces
and boiled in water, and unwashed carrot tops—mouldy
potatoes are tit-bits, and the chief luxury is a thin rice soup in
which float little bits of beef-sinew, but these are cut up so small
that they take a lot of finding.
Everything gets eaten, notwithstanding, and if ever anyone is
so well off as not to want all his share, there are a dozen others
standing by ready to relieve him of it. Only the dregs that the
ladle cannot reach are tipped out and thrown into the garbage
tins. Along with that there sometimes go a few turnip peelings,
mouldy bread crusts and all kinds of muck.
This thin, miserable, dirty garbage is the objective of the
prisoners. They pick it out of the stinking tins greedily and go
off with it under their blouses.
It is strange to see these enemies of ours so close up. They
have faces that make one think—honest peasant faces, broad
foreheads, broad noses, broad mouths, broad hands, and thick
hair.
INTERACTIVE READING: Reading Strategy
They ought to be put to threshing, reaping, and apple
picking. They look just as kindly as our own peasants in
Friesland.
It is distressing to watch their movements, to see them
begging for something to eat. They are all rather feeble, for they
only get enough nourishment to keep them from starving.
Ourselves we have not had sufficient to eat for long enough.
They have dysentery; furtively many of them display the bloodstained tails of their shirts. Their backs, their necks are bent,
their knees sag, their heads droop as they stretch out their
hands and beg in the few words of German that they know—
beg with those soft, deep, musical voices, that are like warm
stoves and cosy rooms at home.
Some men there are who give them a kick, so that they fall
over;— but those are not many. The majority do nothing to
them, just ignore them. Occasionally, when they are too
grovelling, it makes a man mad and then he kicks them. If only
they would not look at one so—What great misery can be in two
such small spots, no bigger than a man’s thumb—in their eyes!
They come over to the camp in the evenings and trade. They
exchange whatever they possess for bread. Often they have fair
success, because they have very good boots and ours are bad. The
leather of their knee boots is wonderfully soft, like suede. The
peasants among us who get tit-bits sent from home can afford to
trade. The price of a pair of boots is about two or three loaves of
army bread, or a loaf of bread and a small, tough ham sausage.
But most of the Russians have long since parted with
whatever things they had. Now they wear only the most pitiful
clothing, and try to exchange little carvings and objects that
they have made out of shell fragments and copper driving
bands. Of course, they don’t get much for such things, though
they may have taken immense pains with them—they go for a
slice or two of bread. Our peasants are hard and cunning when
they bargain. They hold the piece of bread or sausage right
under the nose of the Russian till he grows pale with greed
and his eyes bulge and then he will give anything for it. The
peasants wrap up their booty with the utmost solemnity,
and then get out their big pocket-knives, and slowly and
deliberately cut off a slice of bread for themselves from their
supply with every mouthful take a piece of the good tough
sausage and so reward themselves with a good feed. It is
distressing to watch them take their afternoon meal thus; one
would like to crack them over their thick pates. They rarely
give anything away. How little we understand one another.
Reading Strategy
Analyze Style What elements of style
do you notice in this passage? What do
you think the author’s purpose was
here?
A l l Q ui e t on t h e Wes t e rn Front : Cha pte r s 6 – 8
229
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Realism and Modernism How does
this excerpt reflect Modernist themes
of alienation and uncertainty?
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
230
NOVEL COMPANION: Unit 5
NOVEL EXCERPT: CHAPTER 7
It is pleasant to sit quietly somewhere, in the beer garden for
example, under the chestnuts by the skittle-alley. The leaves fall
down on the table and on the ground, only a few, the first. A
glass of beer stands in front of me, I’ve learned to drink in the
army. The glass is half empty, but there are a few good swigs
ahead of me, and besides I can always order a second and a
third if I wish to. There are no bugles and no bombardments, the
children of the house play in the skittle-alley, and the dog rests
his head against my knee. The sky is blue, between the leaves of
the chestnuts rises the green spire of St. Margaret’s Church.
This is good, I like it. But I cannot get on with the people. My
mother is the only one who asks no questions. Not so my father.
He wants me to tell him about the front; he is curious in a way
that I find stupid and distressing; I no longer have any real
contact with him. There is nothing he likes more than just
hearing about it. I realize he does not know that a man cannot
talk of such things; I would do it willingly, but it is too
dangerous for me to put these things into words. I am afraid
they might then become gigantic and I be no longer able to
master them. What would become of us if everything that
happens out there were quite clear to us?
So I confine myself to telling him a few amusing things. But
he wants to know whether I have ever had a hand-to-hand fight.
I say “No,” and get up and go out.
But that does not mend matters. After I have been startled a
couple of times in the street by the screaming of the tramcars,
which resembles the shriek of a shell coming straight for one,
somebody taps me on the shoulder. It is my German-master, and
he fastens on me with the usual question: “Well, how are things
out there? Terrible, terrible, eh? Yes, it is dreadful, but we must
carry on. And after all, you do at least get decent food out there,
so I hear. You look well, Paul, and fit. Naturally it’s worse here.
Naturally. The best for our soldiers every time, that goes without
saying.”
He drags me along to a table with a lot of others. They
welcome me, a head-master shakes hands with me and says:
“So you come from the front? What is the spirit like out there?
Excellent, eh? Excellent?”
I explain that no one would be sorry to be back home.
He laughs uproariously. “I can well believe it! But first you
have to give the Froggies a good hiding. Do you smoke? Here,
try one. Waiter, bring a beer as well for our young warrior.”
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
TO THE POINT
Write a few key ideas.
Recap
A l l Q ui e t on t h e Wes t e rn Front : Cha pte r s 6 – 8
231
AFTER YOU READ: Chapters 6–8
Respond and Think Critically
1. When Paul tells Kemmerich’s mother about her son’s death, why is he
surprised by her grief? [Interpret]
2. At the training camp, what sights seem to soothe Paul’s mind? What
thoughts does Paul have as he observes the Russian prisoners of war?
What does this tell you about how he has changed since becoming a
soldier? [Analyze]
3. Were you surprised that the French women were willing to spend the
evening with Paul, Kropp, and Leer? Why or why not? [Analyze]
4. How does Paul’s classmate Mittelstaedt taunt and humiliate Kantorek?
Do you think this treatment of Kantorek is justified? Explain. [Evaluate]
5. Realism and Modernism How does the news of his mother’s
upcoming operation affect Paul? What thoughts does he have about the
plight of the poor during wartime? Why? [Interpret]
232
NOVEL COMPANION: Unit 5
APPLY BACKGROUND
Reread Build Background on page
223. How did that information help
you understand or appreciate what
you read in the novel?
AFTER YOU READ: Chapters 6–8
Literary Element
Vocabulary Practice
Description
1. The author’s description of Paul’s long train ride
home on leave includes many descriptive details.
How do these details work together to convey both
the strangeness and the familiarity of Paul’s return
home? [Analyze]
A synonym is a word that has the same or nearly the
same meaning as another word. Match each
boldfaced vocabulary word below with its synonym.
Use a thesaurus or dictionary to check your answers.
1. chasten
a. purposeful
2. listless
b. absurd
3. ludicrous
c. carefully
4. obliquely
d. succor
5. solace
e. apathetic
f. indirectly
2. Compare and contrast the author’s descriptions of
life at the front with those of Paul’s experiences at
home on leave. [Evaluate]
g. reprimand
Academic Vocabulary
1. Paul and his fellow soldiers find they must exploit
every opportunity to find food at the front. To
become more familiar with the word exploit, fill out
the graphic organizer below.
definition
Reading Strategy
synonyms
Analyze Style
1. Consider the following quotation from Chapter 6:
“The onslaught has exhausted us. We lie down to
wait again. It is a marvel that our post has had no
casualties so far. It is one of the less deep dugouts.” What is the combined effect of these four
simple sentences? [Evaluate]
exploit
antonyms
2. Paul describes looking out at dead bodies in the
mist and notes that his hands are cold and his
flesh creeps even though the night is warm. What
comparison is the author making by juxtaposing
these ideas? [Infer]
sentence
2. When a young recruit has a fit and tries to go
outside during the shelling, the other soldiers must
restrain him by beating him up. Using context
clues, try to figure out the meaning of the
boldfaced word in the sentence above. Check your
guess in a dictionary.
A l l Q ui e t on t h e Wes t e rn Front : Cha pte r s 6 – 8
233
AFTER YOU READ: Chapters 6–8
Write with Style
Research and Report
Apply Description
Internet Connection
Assignment Review the battle scene in Chapter 6.
Using similar descriptive techniques, write a paragraph
about a time when you went through a chaotic time
or situation. When you have finished your paragraph,
create a contrasting paragraph that addresses the
same situation in a more reflective or contemplative
style.
Assignment When people are under severe stress,
they often fall back on certain coping strategies. These
strategies may temporarily protect a person from
painful thoughts, but they usually do not work as longterm solutions. Common coping strategies include
denial, compensation, daydreaming, displacement, and
rationalization. Research each of these psychological
terms and then write an essay about how they are
used by the soldiers in the novel to cope with the
unbearable stresses of war.
Get Ideas Your paragraph need not deal with a
situation of violence or destruction, as this novel’s
battle scenes do. It can instead address any type of
chaotic feelings you have experienced about
something that was important to you at the time. You
might want to look through your journals and think
about recent conversations with friends or family
members to decide what to write about.
Give It Structure Familiarize yourself once again with
the author’s largely unemotional tone in the battle
scenes. Recall the first-person narration, extensive use
of dialogue, short sentences, and repetition. When you
are ready to write, begin with a strong sentence that
states your main idea. Follow this with supporting
details. Use the same technique for your reflective
paragraph, but use as a text model a section of the
novel in which Paul has a quiet moment to himself. As
an experiment, you may wish to write your first
paragraph in the present tense and your second
paragraph in the past tense.
Look at Language Word choice is an integral part of
an author’s style. As you compose your first paragraph,
think about the descriptive words you use. Are they as
strong as they might be? Do they create images in
your mind’s eye? As you revise, replace weak
adjectives and verbs with more vibrant ones:
erupted
The crowd moved onto the field.
234
NOVEL COMPANION: Unit 5
Get Ideas Create a blank chart for each coping
strategy. Fill in the chart with notes as you do your
research.
Research Using an Internet search engine, locate a
definition and description for each coping strategy on
the list. Fill in your chart for each word. In row 1,
define the keyword. In row 2, write adjectives and
verbs that you find in your research. In row 3, write an
example from the novel. Using displacement as your
keyword, your chart should look like this:
Displacement
Definition
The mind redirects a
reaction from one thing
into something else.
Sample emotions/
behaviors
anger, rage, sadness,
aggression, fighting,
silence
Example from the
novel
A young recruit gets so
nervous from the
shelling that he lashes
out violently against
his fellow soldiers.
Report Write a report that draws upon your research
and correlates your findings with incidents and ideas
in the novel. Include your completed charts as visual
aids. Also include accurate and correctly formatted
citations for any Web sites from which you took
information for your report.
BEFORE YOU READ: Chapters 9–12
NOVEL NOTEBOOK
Connect to the Literature
When your life seems difficult, what keeps you going and gives you hope?
List
Think of some situations in which people might feel depressed or paralyzed
by their troubles. What thoughts, feelings, or ideas might help them see things
more positively and keep from giving up? In a chart, list some troubling
situations and some possible sources of strength that could help people
endure or see beyond their troubles.
Keep a special notebook to record
entries about the novels that you read
this year.
SUMMARIZE
Summarize in one sentence the most
important idea(s) in Build Background.
Build Background
Life at the Front
During most of the period of the novel (1916–1918), Germany was fighting
on two fronts. By late 1917, Russia had withdrawn from the war after
accepting harsh terms for peace with Germany. German troops in the east
were then sent to the Western Front to try to break the stalemate there. The
front is often thought of as a continuous trench that marked the approximately
450-mile-long battle line between the Germans and the Allied forces during
World War I; however, it was actually a string of unconnected trenches. When
they weren’t doing battle with the enemy, soldiers in the trenches spent most
of their nights doing hard labor, repairing the interior walls, positioning and
repairing barbed wire, and packing sandbags to absorb the impact of heavy
artillery. During daylight hours the soldiers slept or played card games,
although a few were assigned duty as sentries. There were often long periods
without fighting, but life at the front was full of other perils. There was little in
the way of fresh food, and health conditions were terrible. The trenches were
nearly always wet and filthy, bringing on illnesses such as trench foot, a painful
condition that caused the soldiers’ feet to swell up and turn green. Nearly all
the men suffered from head lice, which transmitted fevers and other ailments.
The United States entered the war on the side of the Allies in April 1917. By
October of that year, the Allies had driven the German army back and crushed
its morale. The German forces were exhausted and the replacement recruits,
many younger than fourteen years old, were too inexperienced to be of much
use in the fighting. The armistice that ended World War I was signed on
November 11, 1918.
A l l Q ui e t on t h e Wes t e rn Front : Chapters 9–12
235
BEFORE YOU READ: Chapters 9–12
Set Purposes for Reading
왘 BIG Idea Postwar Europe
What are the costs of wars to the soldiers who fight and survive them? To the
societies that must rebuild in the wake of war? All Quiet on the Western Front
was published in 1929, a little more than ten years after the end of World War
I, which had become known as “the war to end all wars.” Unbeknownst to the
author, a second world war would break out just ten years after his novel’s
publication. Europe was still struggling to rebuild and to overcome the social
problems left over from the bloodshed of long years of war. Existentialism, a
philosophy that investigates the meaning of life, reflected these anxieties, as
many people came to conclude that life was essentially meaningless. As you
read the final chapters of the novel, consider the author’s larger statements for
a postwar audience regarding the costs of war.
Literary Element
Text Structure
Vocabulary
banal [bə nal´]
adj. ordinary; lacking originality
We wanted to leave after three
minutes because the comedian’s
jokes were so banal.
idyll [¯d´ əl]
n. a carefree episode
That long, hot summer at the beach
was an idyll of my childhood.
invulnerable [in vul´ nər ə bəl]
adj. unable to be harmed or
wounded
In medieval times, a knight’s armor
made him nearly invulnerable.
Text structure is the pattern of organization an author uses to present his or
her ideas. The most common structure for a narrative is chronological order, in
which events are told in the order they happen. Some types of writing,
however, especially persuasive or expository works, may use a cause-andeffect or problem-solution structure.
repulse [ri puls´]
v. to fight off an attacker
All Quiet on the Western Front uses an episodic structure, a series of episodes
or incidents that are only loosely tied together. A series of brief episodes can
create journal-like emotional realism. In All Quiet on the Western Front, this type of
structure also creates both contrast and relief, as when the author changes the
setting from the camp, to the front, to Paul’s hometown, and back to the front.
surreptitiously [sur´ əp tish´ əs lē]
adj. sneakily; secretly
As you read these last several chapters, take note of the stark contrasts among
the shifting locations, times, and characters’ attitudes. Use the chart on the
next page to record your impressions.
Reading Strategy
Make Inferences About Theme
When you make inferences about theme, you look for clues that suggest
the message about life the author wants to get across. Those clues can be
found in the events, dialogue, and descriptions that make up the story.
Making inferences about theme allows you to read at a deeper and more
interactive level—a level that in effect reveals the story underneath the story.
Remember that it is possible for a literary work to have more than one theme.
All Quiet on the Western Front contains many messages, including statements
about the brotherhood of fighting men, the alienation of the soldier from his
life at home, the weakness of the individual in the face of the machines of
war, the distance between those who promote war and those who are
expected to fight it. As you read the final chapters, ask yourself which details
point up clues about the author’s central message. You may find it helpful to
use a graphic organizer like the one at the right.
236
NOVEL COMPANION: Unit 5
The two dogs circled and snapped
at each other, but at last one was
able to repulse the other.
I surreptitiously hid an Easter egg
under the bush.
Detail
Kat is always
coming up with
things that the
soldiers need.
Theme
Comradeship is
the only good
thing to come
out of the war.
ACTIVE READING: Chapters 9–12
All Quiet on the Western Front uses an episodic
structure to create some of the novel’s most powerful
emotional effects. As you read these last several
Episode
chapters, see how the author uses this text structure to
reflect the characters’ shifting emotional states.
Dominant Emotions
Paul returns to the camp from
leave.
The Kaiser visits the camp.
Paul stabs the French soldier in the
shell hole.
Paul carries Kat to the dressing
station.
A l l Q ui e t on t h e Wes t e rn Front : Chapters 9–12
237
INTERACTIVE READING: Literar y Element
Literary Element
Text Structure How is the
conversation with the sergeant major
part of the episodic structure of the
novel? What contrast with a previous
episode is evoked?
238
NOVEL COMPANION: Unit 3
NOVEL EXCERPT: CHAPTER 9
We travel for several days. The first aeroplanes appear in the
sky. We roll on past transport lines. Guns, guns. The light railway
picks us up. I search for my regiment. No one knows exactly where
it lies. Somewhere or other I put up for the night, somewhere or
other I receive provisions and a few vague instructions. And so
with my pack and my rifle I set out again on the way.
By the time I come up they are no longer in the devastated
place. I hear we have become one of the flying divisions that are
pushed in wherever it is hottest. That does not sound cheerful
to me. They tell me of heavy losses that we have been having.
I inquire after Kat and Albert. No one knows anything of them.
I search farther and wander about here and there; it is a
strange feeling. One night more and then another I camp out
like a Red Indian. Then at last I get some definite information,
and by the afternoon I am able to report to the Orderly Room.
The sergeant-major detains me there. The company comes
back in two days’ time. There is no object in sending me up now.
“What was it like on leave?” he asks, “pretty good, eh?”
“In parts,” I say.
“Yes,” he sighs, “yes, if a man didn’t have to come away
again. The second half is always rather messed up by that.”
I loaf around until the company comes back in the early
morning, grey, dirty, soured, and gloomy. Then I jump up, push
in amongst them, my eyes searching. There is Tjaden, there is
Müller blowing his nose, and there are Kat and Kropp. We
arrange our sacks of straw side by side. I have an uneasy
conscience when I look at them, and yet without any good
reason. Before we turn in I bring out the rest of the potato-cakes
and jam so that they can have some too.
The outer cakes are mouldy, still it is possible to eat them. I
keep those for myself and give the fresh one to Kat and Kropp.
Kat chews and says: “These are from your mother?”
I nod.
“Good,” says he, “I can tell by the taste.”
I could almost weep. I can hardly control myself any longer.
But it will soon be all right again back here with Kat and Albert.
This is where I belong.
INTERACTIVE READING: Literar y Element
In the trenches we were told there were black troops in front of
us. That is nasty, it is hard to see them; they are very good at
patrolling, too. And oddly enough they are often quite stupid; for
instance, both Kat and Kropp were once able to shoot down a
black enemy patrol because the fellows in their enthusiasm for
cigarettes smoked while they were creeping about. Kat and Albert
had simply to aim at the glowing ends of the cigarettes.
A bomb or something lands close beside me. I have not heard it
coming and am terrified. At the same moment a senseless fear
takes hold of me. Here I am alone and almost helpless in the
dark—perhaps two other eyes have been watching me for a long
while from another shell-hole in front of me, and a bomb lies ready
to blow me to pieces. I try to pull myself together. It is not my first
patrol and not a particularly risky one. But it is the first since my
leave, and besides, the lie of the land is still rather strange to me.
I tell myself that my alarm is absurd, that there is probably
nothing at all there in the darkness watching me, otherwise they
would not be firing so low.
It is in vain. In whirling confusion my thoughts hum in my
brain—I hear the warning voice of my mother, I see the
Russians with the flowing beards leaning against the wire fence,
I have a bright picture of a canteen with stools, of a cinema in
Valenciennes; tormented, terrified, in my imagination I see the
grey, implacable muzzle of a rifle which moves noiselessly
before me whichever way I try to turn my head. The sweat
breaks out from every pore.
I still continue to lie in the shallow bowl. I look at the time;
only a few minutes have passed. My forehead is wet, the
sockets of my eyes are damp, my hands tremble, and I am
panting softly. It is nothing but an awful spasm of fear, a simple
animal fear of poking out my head and crawling on farther.
All my efforts subside like froth into the one desire to be able
just to stay lying there. My limbs are glued to the earth. I make
a vain attempt; they refuse to come away. I press myself down
on the earth, I cannot go forward, I make up my mind to stay
lying there.
But immediately the wave floods over me anew, a mingled
sense of shame, of remorse, and yet at the same time of security.
I raise myself up a little to take a look round.
My eyes burn with staring into the dark. A star-shell goes
up;—I duck down again.
I wage a wild and senseless fight, I want to get out of the
hollow and yet slide back into it again; I say “You must, it is
your comrades, it is not an idiotic command,” and again: “What
does it matter to me, I have only one life to lose—”
Literary Element
Text Structure What is the cumulative
effect of the brief episodes that are
related in this section? Does this
structure add to or detract from the
overall effect?
A l l Q ui e t on t h e Wes t e rn Front : Chapters 9–12
239
INTERACTIVE READING: Reading Strategy
Reading Strategy
Make Inferences About Theme What
overarching theme is expressed in the
highlighted passage on this page?
NOVEL EXCERPT: CHAPTER 9
For a moment the face seems almost healthy;—then it
collapses suddenly into the strange face of the dead that I have
so often seen, strange faces, all alike.
No doubt his wife still thinks of him; she does not know
what happened. He looks as if he would have often written to
her;—she will still be getting mail from him—To-morrow, in a
week’s time—perhaps even a stray letter a month hence. She
will read it, and in it he will be speaking to her.
My state is getting worse, I can no longer control my
thoughts. What would his wife look like? Like the little brunette
on the other side of the canal? Does she belong to me now?
Perhaps by this act she becomes mine. I wish Kantorek were
sitting here beside me. If my mother could see me—. The dead
man might have had thirty more years of life if only I had
impressed the way back to our trench more sharply on my
memory. If only he had run two yards farther to the left, he
might now be sitting in the trench over there and writing a fresh
letter to his wife.
But I will get no further that way; for that is the fate of all of
us: if Kemmerich’s leg had been six inches to the right: if Haie
Westhus had bent his back three inches further forward—
The silence spreads. I talk and must talk. So I speak to him
and say to him: “Comrade, I did not want to kill you. If you
jumped in here again, I would not do it, if you would be sensible
too. But you were only an idea to me before, an abstraction that
lived in my mind and called forth its appropriate response. It
was that abstraction I stabbed. But now, for the first time, I see
you are a man like me. I thought of your hand-grenades, of your
bayonet, of your rifle; now I see your wife and your face and our
fellowship. Forgive me, comrade. We always see it too late. Why
do they never tell us that you are poor devils like us, that your
mothers are just as anxious as ours, and that we have the same
fear of death, and the same dying and the same agony—Forgive
me, comrade; how could you be my enemy? If we threw away
these rifles and this uniform you could be my brother just like
Kat and Albert. Take twenty years of my life, comrade, and stand
up—take more, for I do not know what I can even attempt to do
with it now.”
It is quiet, the front is still except for the crackle of rifle fire.
The bullets rain over, they are not fired haphazard, but
shrewdly aimed from all sides. I cannot get out.
“I will write to your wife,” I say hastily to the dead man,
“I will write to her, she must hear it from me, I will tell her
240
NOVEL COMPANION: Unit 5
INTERACTIVE READING: Reading Strategy
everything I have told you, she shall not suffer, I will help her,
and your parents too, and your child—”
His tunic is half open. The pocket-book is easy to find. But I
hesitate to open it. In it is the book with his name. So long as I do
not know his name perhaps I may still forget him, time will
obliterate it, this picture. But his name, it is a nail that will be
hammered into me and never come out again. It has the power to
recall this forever, it will always come back and stand before me.
Irresolutely I take the wallet in my hand. It slips out of my
hand and falls open. Some pictures and letters drop out. I gather
them up and want to put them back again, but the strain I am
under, the uncertainty, the hunger, the danger, these hours with
the dead man have made me desperate, I want to hasten the
relief, to intensify and to end the torture, as one strikes an
unendurably painful hand against the trunk of a tree, regardless
of everything.
There are portraits of a woman and a little girl, small
amateur photographs taken against an ivy-clad wall. Along
with them are letters. I take them out and try to read them. Most
of it I do not understand, it is so hard to decipher and I scarcely
know any French. But each word I translate pierces me like a
shot in the chest;—like a stab in the chest.
My brain is taxed beyond endurance. But I realize this much,
that I will never dare to write to these people as I intended.
Impossible. I look at the portraits once more; they are clearly not
rich people. I might send them money anonymously if I earn
anything later on. I seize upon that, it is at least something to
hold on to. This dead man is bound up with my life, therefore I
must do everything, promise everything in order to save myself;
I swear blindly that I mean to live only for his sake and his
family, with wet lips I try to placate him—and deep down in me
lies the hope that I may buy myself off in this way and perhaps
even get out of this; it is a little stratagem: if only I am allowed
to escape, then I will see to it. So I open the book and read
slowly:—Gérard Duval, compositor.
With the dead man’s pencil I write the address on an
envelope, then swiftly thrust everything back into his tunic.
I have killed the printer, Gérard Duval. I must be a printer,
I think confusedly, be a printer, printer—
Reading Strategy
Make Inferences About Theme
What does the highlighted passage on
this page tell you about the author’s
overall message in this novel?
By afternoon I am calmer. My fear was groundless. The name
troubles me no more. The madness passes. “Comrade,” I say to
the dead man, but I say it calmly, “to-day you, to-morrow me.
But if I come out of it, comrade, I will fight against this, that has
struck us both down; from you, taken life—and from me—? Life
also. I promise you, comrade. It shall never happen again.”
A l l Q ui e t on t h e Wes t e rn Front : Chapters 9–12
241
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Postwar Europe Erich Maria
Remarque published All Quiet on the
Western Front ten years after World
War I ended. Based on this novel, what
would you say he wanted to share
with postwar Europe and the world
about human nature and the
phenomenon of war? What double
meaning do you find in the title?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Question/Idea.
242
NOVEL COMPANION: Unit 5
NOVEL EXCERPT: CHAPTER 12
It is autumn. There are not many of the old hands left. I am
the last of the seven fellows from our class.
Everyone talks of peace and armistice. All wait. If it again
proves an illusion, then they will break up; hope is high, it
cannot be taken away again without an upheaval. If there is not
peace, then there will be revolution.
I have fourteen days rest, because I have swallowed a bit of gas;
in the little garden I sit the whole day long in the sun. The armistice
is coming soon, I believe it now too. Then we will go home.
Here my thoughts stop and will not go any farther. All that
meets me, all that floods over me are but feelings—greed of life,
love of home, yearning for the blood, intoxication of deliverance.
But no aims.
Had we returned home in 1916, out of the suffering and the
strength of our experience we might have unleashed a storm.
Now if we go back we will be weary, broken, burnt out, rootless,
and without hope. We will not be able to find our way any more.
And men will not understand us—for the generation that
grew up before us, though it has passed these years with us
already had a home and a calling; now it will return to its old
occupations, and the war will be forgotten—and the generation
that has grown up after us will be strange to us and push us
aside. We will be superfluous even to ourselves, we will grow
older, a few will adapt themselves, some others will merely
submit, and most will be bewildered;—the years will pass by
and in the end we shall fall into ruin.
But perhaps all this that I think is mere melancholy and
dismay, which will fly away as the dust, when I stand once again
beneath the poplars and listen to the rustling of their leaves. It
cannot be that it has gone, the yearning that made our blood
unquiet, the unknown, the perplexing, the oncoming things, the
thousand faces of the future, the melodies from dreams and from
books, the whispers and divinations of women; it cannot be that
this has vanished in bombardment, in despair, in brothels.
Here the trees show gay and golden, the berries of the rowan
stand red among the leaves, country roads run white out to the sky
line, and the canteens hum like beehives with rumours of peace.
I stand up.
I am very quiet. Let the months and years come, they can
take nothing from me, they can take nothing more. I am so
alone, and so without hope that I can confront them without
fear. The life that has borne me through these years is still in my
hands and my eyes. Whether I have subdued it, I know not. But
so long as it is there it will seek its own way out, heedless of the
will that is within me.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
ASK QUESTIONS
Write down your thoughts on the
excerpt.
Recap
A l l Q ui e t on t h e Wes t e rn Front : Chapters 9–12
243
AFTER YOU READ: Chapters 9–12
Respond and Think Critically
1. Why doesn’t Paul flee from the foxhole after he stabs the French soldier?
How does the incident affect Paul? How do you interpret his comment
afterward: “After all, war is war”? [Interpret]
2. After Paul returns to the front, what happens to his comrades? What does
Paul learn about the progress of the war? [Infer]
3. What incidents in Chapter 11 show that the men’s nerves are frayed? What
metaphor does Remarque use to make this same point? [Interpret]
4. What is ironic, or dramatic, about the book’s ending? How did you feel after
you finished reading? [Evaluate]
5. Postwar Europe How is the existentialist philosophy embodied in this
section of the novel? [Analyze]
244
NOVEL COMPANION: Unit 5
APPLY BACKGROUND
Reread Meet the Author on page
210. How did that information help
you understand or appreciate what
you read in the novel?
AFTER YOU READ: Chapters 9–12
Literary Element
Text Structure
1. How does Remarque use text structure to redefine
ideas about home and family during wartime?
[Interpret]
Vocabulary Practice
Identify whether the words in each pair have the
same or the opposite meaning.
1. banal and prosaic
2. idyll and tantrum
3. invulnerable and impervious
4. repulse and yield
5. surreptitiously and obviously
2. In what ways does Paul’s experience with the
soldier he kills in the shell-hole counterpoint the
absurdity of life at the front? [Analyze]
Academic Vocabulary
1. The time he spends at the front begins to wear
down and distort Paul’s feelings about the
possibility of ever attaining happiness in life. Have
you ever found a perception of your own to be
distorted by circumstances beyond your control?
Describe your experience.
Reading Strategy
Make Inferences
About Theme
1. After Kat is killed, an orderly asks Paul whether he
and Kat are related. In response, the author writes
the same line twice: “No, we are not related.” What
inference can you make about Paul’s response, and
how is it related to a theme of the novel? [Infer]
2. Over the course of their tour of duty, the soldiers
on both sides of the World War I conflict had to
adapt to the most wretched conditions. Using
context clues, try to figure out the meaning of the
boldfaced word in the sentence above. Check your
guess in a dictionary.
2. In the final two paragraphs of the novel, the author
suddenly switches from first-person (I) to thirdperson (he) narrative. What inference can you
make about one of the novel’s themes based on
this switch? [Infer]
A l l Q ui e t on t h e Wes t e rn Front : Chapters 9–12
245
AFTER YOU READ: Chapters 24–30
Writing
Research and Report
Write a Letter Although Paul feels detached from his
Literary Criticism
family since going off to war, he cares for his mother
and knows that she is close to death. Imagine that
Paul decides to write her a letter from the front. Put
yourself in his place and write this letter. Incorporate
some of the specific experiences and thoughts that
Paul has in Chapters 9 through 12 of the novel. At the
same time, think about what Paul might want to tell
his mother about his youth, his family, society, his
future, or the war in general.
Jot down a few notes here first.
Assignment Adolf Hitler banned All Quiet on the
Western Front as unpatriotic, but many critics hailed it
as the best antiwar novel ever. Evaluate literary
criticism about Remarque’s work and write a short
response in which you explain whether you agree or
disagree with the criticism. Present your response to
the class.
Prepare Read the following quotations from critical
writings about All Quiet on the Western Front:
“Here at last is the great war novel for which the
world has been waiting. Herr [Mr.] Remarque speaks
for a whole generation—that generation of the
combatant nations whose life was destroyed in the
springtime—even if it escaped actual death.” –ad in
New York Times Book Review, June 2, 1929
“Despite Remarque’s words and the millions of
readers who have read his novel through the years,
the modern era has seen great cataclysms that
redefine the inhumanity of war with technological
innovations that Remarque’s generation could never
have imagined.”— Susan Van Kirk
Briefly compare and contrast the two critical responses.
Then think about your own response to the novel as it
relates to the two quotations. Determine whether you
agree or disagree with each quote—and why. Create a
guiding statement based on your position, and gather
details from the novel to support it.
Report When you present your report, make eye
contact, speak clearly, and make sure that you can be
heard by everyone in the room. As always when
speaking publicly, maintain good posture. This will help
you look and feel confident. Use an appropriate tone
of voice to enhance emotional and logical appeals;
however, avoid browbeating your audience.
Remember that a person’s reaction to a literary work is
subjective, meaning it will be based to some extent on
the person’s own experiences and deeply held beliefs.
Make your points and move on.
Evaluate After your presentation, evaluate your report
in a brief paragraph. When your classmates make their
presentations, offer constructive oral feedback on their
performances.
246
NOVEL COMPANION: Unit 5
WORK WITH RELATED READINGS
All Quiet on the Western Front
The following questions refer to the Related Readings in Glencoe’s
Literature Library edition of this novel. Support your answers with details
from the texts. Write your answers on a separate sheet of paper, but jot
down some notes first on the lines provided.
Käthe Kollwitz and Vladslo
Jay Winter
Do Erich Maria Remarque and Käthe Kollwitz share
similar ideas about who was responsible for the war?
In Winter’s opinion, why is the memorial so effective?
The Somme, 1 July 1916:
Infantry versus Infantry
John Keegan
In general, how do the accounts of battle in All Quiet
on the Western Front differ from the historical account
Keegan gives?
Battlefield
Stab in the Back
August Stramm
John Toland
If Paul Bäumer had survived, how do you think he
might have reacted to Germany’s surrender? How do
you think he might have felt about Hitler’s rise to
power?
Postcard
Guillaume Apollinaire
The Dug-out
Siegfried Sassoon
Vigil
Giuseppe Ungaretti
What parallels can you find between the experiences
of the soldiers described in the four poems and those
of Paul Bäumer in All Quiet on the Western Front?
Anthem for Doomed Youth
Wilfred Owen
How does the tone, or attitude, of the poem shift in
the last six lines? How do the tone and focus of
Owen’s poem compare with the tone of Remarque’s
novel?
A l l Q ui e t on t h e Wes t e r n Fr o n t
247
CONNECT TO OTHER LITERATURE
LITERATURE EXCERPT: War
“What about me? I have two sons and
three nephews at the front,” said another
passenger.
“Maybe, but in our case it is our only
son,” ventured the husband.
“What difference can it make? You may
spoil your only son with excessive attentions, but you cannot love him more than
you would all your other children if you had
any. Paternal love is not like bread that can
be broken into pieces and split amongst the
children in equal shares. A father gives all
his love to each one of his children without
discrimination, whether it be one or ten, and
if I am suffering now for my two sons, I am
not suffering half for each of them but
double. . . .”
“True . . . true . . .” sighed the
embarrassed husband, “but suppose (of
course we all hope it will never be your case)
a father has two sons at the front and he
loses one of them, there is still one left to
console him . . . while . . .”
“Yes,” answered the other, getting cross,
“a son left to console him but also a son left
for whom he must survive, while in the case
of the father of an only son if the son dies
the father can die too and put an end to his
distress. Which of the two positions is the
worse? Don’t you see how my case would be
worse than yours?”
“Nonsense,” interrupted another traveler,
a fat, red-faced man with bloodshot eyes of
the palest gray.
He was panting. From his bulging eyes
seemed to spurt inner violence of an
uncontrolled vitality which his weakened
body could hardly contain.
“Nonsense,” he repeated, trying to cover
his mouth with his hand so as to hide the two
missing front teeth. “Nonsense. Do we give
life to our children for our own benefit?”
248
NOVEL COMPANION: Unit 5
The other travelers stared at him in
distress. The one who had had his son at the
front since the first day of the war sighed:
“You are right. Our children do not belong
to us, they belong to the Country. . . .”
“Bosh,” retorted the fat traveler. “Do we
think of the Country when we give life to
our children? Our sons are born because . . .
well, because they must be born and when
they come to life they take our own life with
them. This is the truth. We belong to them
but they never belong to us. And when they
reach twenty they are exactly what we were at
their age. We too had a father and mother, but
there were so many other things as well . . .
girls, cigarettes, illusions, new ties . . . and
the Country, of course, whose call we would
have answered—when we were twenty—
even if father and mother had said no. . . .
And our sons go, when they are twenty, and
they don’t want tears, because if they die,
they die inflamed and happy (I am speaking,
of course, of decent boys). Now, if one dies
young and happy, without having the ugly
sides of life, the boredom of it, the pettiness,
the bitterness of disillusion . . . what more
can we ask for him? Everyone should stop
crying: everyone should laugh, as I do . . . or
at least thank God—as I do— because my
son, before dying, sent me a message saying
that he was dying satisfied at having ended
his life in the best way he could have
wished. That is why, as you see, I do not
even wear mourning. . . .”
He shook his light fawn coat as to show
it; his livid lip over his missing teeth was
trembling, his eyes were watery and
motionless and soon after he ended with a
shrill laugh which might well have been a
sob. “Quite so . . . quite so . . .” agreed the
others.
CONNECT TO OTHER LITERATURE
Compare the novel you have just read with the literature selection at the left,
“War” by Luigi Pirandello, in Glencoe Literature. Then answer the questions
below. Support your answers with details from the texts.
Compare & Contrast
WRITE ABOUT IT
Both Pirandello’s short story and
Remarque’s novel take a hard look at
the tragedy of war. What is your own
philosophy on the subject of war? Do
you think most wars are justified? Why
or why not?
1. Dialogue Compare and contrast the dialogue among the passengers in
“War” to that among the soldiers and between Paul and his family in All
Quiet on the Western Front.
2. Theme What thematic similarities do you find between “War” and All Quiet
on the Western Front?
3. Style What major difference do you find between the narrative styles of
these pieces?
A l l Q ui e t on t h e Wes t e r n Fr o n t
249
RESPOND THROUGH WRITING
Expository Essay
Compare and Contrast Theme Since the beginning of recorded time, the
terrible cost of war has been a dominant subject in human discourse. In All
Quiet on the Western Front, readers witness World War I through the eyes of
one bewildered and beleaguered soldier as his life and future gradually
become unrecognizable to him. In an expository essay, compare and contrast
the themes of Remarque’s novel with another example from literature, film, or
another medium. Support your ideas with details from each work.
Prewrite Read or view the work you plan to compare and contrast with All
Quiet on the Western Front. In a compare-and-contrast essay, you may choose
to order your ideas in one of two common patterns. You can compare and
contrast the items point by point.
UNDERSTAND THE TASK
• Theme is the central message in a
work of literature, often expressed as
an overall general statement about
life.
• Comparison and contrast are used
to show similarities and differences.
The key questions when comparing
and contrasting are: What two or
more things are being compared?
How are they alike? How are they
different?
Grammar Tip
Point 1: All Quiet is like/unlike ________ because ________.
Point 2: All Quiet is like/unlike ________ because ________.
Or you can compare and contrast the points item by item.
All Quiet: Point 1
All Quiet: Point 2
__________ compared and contrasted with All Quiet on Point 1
__________ compared and contrasted with All Quiet on Point 2
Draft When you have organized your notes and decided on the compareand-contrast format you will use, create your thesis statement. The topic
sentences of each of your body paragraphs should relate to your thesis. Use
evidence from your format chart to support your statements. To complete your
essay, restate your thesis.
Revise Reread your essay actively, looking for places where your reasoning
may be faulty or your examples unclear. When you have finished, exchange
papers with a partner and evaluate each other’s essays. Revise your essay
based on the feedback you receive.
Edit and Proofread Edit your writing so that it expresses your thoughts
effectively and is well organized. Carefully proofread for grammar, punctuation,
and spelling errors.
250
NOVEL COMPANION: Unit 5
Introductory Phrases
Introductory phrases set up and
introduce the main part of a
sentence. These phrases can
be very useful in compare-andcontrast statements and are
usually followed by a comma.
In the following examples, the
introductory phrases are
underlined:
Unlike Remarque’s novel, this work
glorifies war.
Compared with Paul’s comrades in
All Quiet on the Western Front, the
characters in Top Gun seem thrilled
to go into battle.
In contrast to Himmelstoss, the drill
sergeant in this novel is more of a
teacher than a dictator.
Death Comes
for the Archbishop
Willa Cather
Death Comes for the Archbishop
251
INTRODUCTION TO THE NOVEL
Death Comes for the Archbishop
Willa Cather
“
Art and religion (they are the same
thing, in the end, of course) have given
man the only happiness he has ever had.
”
—Willa Cather
When Cather first visited the American
Southwest in 1912, she fell in love with the
area’s natural beauty and spiritual quality.
Her feelings deepened with subsequent
trips she made from 1914 to 1926. It was not
a visit, however, but a book that finally
compelled her to write about the region.
During a trip there in the summer of 1925,
she read the biography The Life of the Right
Reverend Joseph P. Machebeuf by William
Joseph Howlett. “There,” explained her
friend Edith Lewis, “in a single evening . . .
the idea of Death Comes for the Archbishop
came to her, essentially as she afterwards
wrote it.” The book described Machebeuf’s
missionary experience in New Mexico and
his friendship with Jean Baptist Lamy. In
Cather’s novel, Machebeuf was transformed
into Father Vaillant and Lamy into Latour.
A Churchman on the Frontier Cather had
long felt that the story of the Catholic Church
in the Southwest was the region’s most
interesting story but “hadn’t the most remote
idea of trying to write about it.” She had also
long been intrigued with Bishop Lamy by
stories about him and from seeing a life-size
bronze statue of him in front of St. Francis
Cathedral in Santa Fe. “I wanted,” she wrote,
“to learn more about [this] pioneer churchman
who looked so well-bred and distinguished.
In his pictures, one felt the same thing,
something fearless and fine and very, very
well-bred. . . . What I felt curious about was
the daily life of such a man in a crude frontier
society.”
252
NOVEL COMPANION: Unit 6
In Howlett’s book Cather was able to find
some answers to her questions. “At last,” she
explained, “I found out what I wanted to
know about how the country and the people
of New Mexico seemed to those first
missionary priests from France. Without
those letters in Father Howlett’s book to
guide me, I would certainly never have
dared to write my book.”
On-Site Research Cather researched Death
Comes for the Archbishop during her 1925 trip
to the Southwest and a subsequent visit she
made in 1926. In 1925 she visited the Indian
pueblo located on a mesa in Ácoma, as well
as remote Mexican villages tucked in the
Cimarron Mountains. During her 1926 trip,
she went to see the pueblo of the Zuni
people and Canyon de Chelly, a place sacred
to the Navajo. While she drew upon the
knowledge she gained from these trips and
from Howlett’s biography, Cather
fictionalized certain aspects of Latour’s life
and the lives of other historical figures.
A Region of Conflicts The story is set in
New Mexico following the MexicanAmerican War (1846–1848). On February 2,
1848, under the Treaty of Guadalupe
Hidalgo, Mexico ceded to the United States a
vast area that included California and New
Mexico. In the years that followed, a number
of Anglo Americans settled in the New
Mexico Territory. Their efforts to grab land
antagonized Native Americans and
Mexicans alike and at times resulted in
violence. Conflict over land and over the
imposition of Anglo American beliefs and
customs is a theme developed in Cather’s
novel.
INTRODUCTION TO THE NOVEL
Catholic Officials, Dioceses, and Missions
The Roman Catholic Church traces
its history to the apostles of Jesus
Christ in the first century A.D. The
first pope, or religious head of the
church, is said to be St. Peter the
Apostle, because of his role in
organizing the church. The College
of Cardinals elects the pope.
Cardinals, who are generally priests,
live either as bishops in their own
dioceses or at the Vatican in Rome,
where they serve as advisers to the
pope as members of the Roman
Curia, the administrative arm of the
church. Among the pope’s
responsibilities is the appointment
of bishops. Bishops govern a
diocese, or territorial district of the
church. (An archbishop governs
a metropolitan diocese.) A vicariate,
sometimes called a vicarate, is a
territory within a diocese; it is
headed by a vicar, also called a
bishop. Below the vicariate is the
local parish, led by a priest.
In missionary regions where
a diocese has not yet been
established, the pope sends
a delegate called a Vicar Apostolic
to govern. Missionaries often aid
him in this work. In New Mexico,
the first missionaries to arrive were
Franciscan friars who came in the
mid-sixteenth century. They traveled
throughout Pueblo country to
spread Christianity among the
area’s Indian peoples. Indian
converts, sometimes in exchange
for food, clothing, and shelter,
agreed to learn about Christian
beliefs and practices, to labor in the
missions, and to adopt certain
Spanish customs.
Death Comes for the Archbishop
253
MEET THE AUTHOR
Willa Cather (1873–1947)
“
Willa Cather is a splendid example of a
writer whose work is deeply rooted in a
sense of place and at the same time universal
in its treatment of theme and character.
”
—James Woodress
Willa Cather was born into an Irish
American family on December 7, 1873, in
the Shenandoah region of Virginia. In 1883
she and her family moved to Nebraska,
to a part of the state populated largely by
Scandinavians, Bohemians, and Germans.
For Cather, the move was both traumatic
and exhilarating: “I was little and homesick
and nobody paid attention to us. So the
country and I had it out together and by the
end of the first autumn, that shaggy grass
country had gripped me with a passion I
have never been able to shake.”
A Future Vocation Cather and her family
eventually settled in Red Cloud, a frontier
town that offered her both freedom and
intellectual stimulation. There she learned
Greek and Latin, participated in amateur
theatricals, and enjoyed the performances of
traveling companies at the local opera house.
After graduating from high school at sixteen,
Cather enrolled at the University of
Nebraska. In her freshman year, when a
newspaper published an essay she wrote,
Cather settled on her future vocation.
Beginning in her junior year, she supported
herself by writing reviews for a local
newspaper. After graduation she worked for
a paper in Pittsburgh. While there, she also
taught high school English and Latin, which
freed up her summers for her writing. Her
hard work paid off; in 1905 her first
collection of stories was published to critical
acclaim.
254
NOVEL COMPANION: Unit 6
Life as a Writer In 1906 Cather became an
editor at McClure’s magazine in New York
City, where she would live for the rest of her
life. Though she enjoyed her job, she left the
magazine in 1911 to devote all of her energy
to writing fiction. In her early stories, Cather
drew upon her childhood memories of
Nebraska and its European inhabitants. At
first, she focused on the desolation of their
lives—lives that often were devoid of art,
music, and other pleasures of civilization. In
later works, however, she began to celebrate
the freedom and simplicity of pioneer life
and the haunting beauty of the prairie
landscape. Between 1912 and 1923, Cather
wrote five novels set in frontier Nebraska:
O Pioneers!, The Song of the Lark, My Ántonia,
One of Ours, and A Lost Lady.
An Attraction to the Past In later years,
Cather turned her attention from the
Nebraska of her youth to other historical time
periods and places. Three of her four final
novels are set in the past—in the American
Southwest, Quebec, and Virginia,
respectively—and the novel she was working
on when she died in 1947 is set in medieval
France. Cather was attracted to the past
because it seemed both more heroic and more
secure than the present. She once said that the
world split in two after 1922 and she
“belonged to the earlier half.”
Cather’s Craft Whether Cather was writing
about the prairie or about the Southwest, she
always paid careful attention to craft. No
word is superfluous or pedestrian in a
Cather story. “Her fiction,” observes James
Woodress, “is written in a language that is
disarmingly clear and simple but at the same
time richly allusive and subtle.”
BEFORE YOU READ: Prologue, Books One and Two
NOVEL NOTEBOOK
Connect to the Literature
Recall an instance in your life when you had an experience or witnessed
something that cannot be explained scientifically. What were the circumstances?
Could this amazing event be described as a miracle? Why or why not?
Keep a special notebook to record
entries about the novels that you read
this year.
SUMMARIZE
Share Ideas
Describe the experience that you had or witnessed to a partner. Explain why
you were deeply affected by it and whether it might or might not be
considered a miracle.
Summarize in one sentence the most
important idea(s) in Build Background.
Build Background
A Mix of Cultures
In the novel, Father Jean Marie Latour begins his journey to Santa Fé in 1851,
just three years after the Treaty of Guadalupe Hidalgo ceded to the United
States the huge tract of land that today makes up all or parts of the states of
California, Utah, Nevada, New Mexico, Arizona, Colorado, and Wyoming.
Despite the legal effect of the treaty, this large portion of the United States
was by no means culturally American yet. The people of the New Mexico
Territory included Mexicans, people who considered themselves Spanish or
Spanish descendants, and Native Americans, as well as a few Anglo
Americans. Only a few trails had been carved out of the wilderness, languages
and customs varied widely, and there was no single currency. The aims and
interests of each group also varied widely, ranging from survival to profit to
religious conversion.
In her novel, Cather populates the beautiful, changing, and often forbidding
landscape of the American Southwest with all of these groups. Into the mix
she adds actual historical figures, including scout, trapper, and soldier
Christopher “Kit” Carson, one of America’s legendary heroes. Born in Kentucky
on December 24, 1809, Carson received little formal schooling and at
fourteen was apprenticed to a saddler. In 1826 he ran away to Taos, in what
is now New Mexico. It would become the place to which he would return
after his journeys throughout the American West. During his trips to Colorado,
Wyoming, Utah, Idaho, and Montana, Carson fought bears, fellow trappers,
and Indians. Although he was often brutal to Indians and distrusted them, he
respected their customs and could speak many Indian languages. His first two
wives were Indian women; his third was a Mexican woman. Despite Carson’s
reputation as a fighter, U.S. general and explorer John C. Frémont, who was
Carson’s friend, described him as “broad-shouldered and deep-chested, with a
clear steady blue eye and frank speech and address; quiet and unassuming.”
Death Comes for the Archbishop: Prologue, Books One and Two
255
BEFORE YOU READ: Prologue, Books One and Two
Set Purposes for Reading
왘 BIG Idea Cultures in Conflict
Most people’s values and goals are formed by the family, cultural, and
religious groups of which they are members. When new cultures explore an
area, settle in an area, or conquer it, a clash of cultures is almost inevitable.
As you read Death Comes for the Archbishop, think about how the European
settlers helped create conflict through attitudes that categorized native peoples
and those with different beliefs and cultures as inferior and ignorant.
Literary Element
Setting
Setting is the time and place in which the events of a literary work occur.
The elements of setting may include geographical location, historical period,
season of the year, time of day, and the beliefs and customs of a society. The
atmosphere of a story refers to the emotional reaction readers—and often
the characters—have to the setting. Sometimes, the atmosphere can be
difficult to define, but it is usually felt in the sensory details of the setting.
Vocabulary
dissolute [dis´ə l¯
oot´]
adj. exhibiting lack of moral restraint
The dissolute man had no regard
for those he hurt.
harangue [hə ran´]
v. to talk in a vehement manner
The coach will harangue the girls for
missing practice yesterday.
impetuous [im pech´¯
oo əs]
adj. rushing headlong into things;
impulsive
Carla, who thinks carefully before
acting, is just the opposite of her
impetuous sister.
inveterate [in vet´ər it]
adj. confirmed in habit or practice;
habitual
Identifying the setting and atmosphere can help deepen your appreciation and
understanding of a work because characters sometimes act in response to,
or in conflict with, the setting. The setting may even be symbolic. That is, it
may represent something on a figurative level.
We never trusted a word Phil said
because we considered him an
inveterate liar.
As you read the first section of the novel, focus on the various scenes that are
part of the setting. Pay special attention to the atmosphere Cather creates
through details such as the desert’s red sandstone. Use the graphic organizer
on the next page to help you.
After twirling around several times,
the child experienced vertigo.
Reading Strategy
Draw Conclusions About Culture
When you draw conclusions, you reach a decision or arrive at a judgment
based on the content of the text as well as on your own relevant life
experiences and knowledge. When you draw conclusions about culture,
you make broad statements about the culture the work reflects, using clues
found in the dialogue, the narrator’s commentary, and the details of the plot.
Drawing conclusions about culture can help you understand characters’
motivations and traits. The process of drawing conclusions sometimes
deepens your understanding of conflict and may help you identify themes.
vertigo [vur´ tə ō´]
n. dizziness
Detail
The French cardinals believe the
French accomplish more as
missionaries than the Spanish do.
Detail
Detail
As you read, combine details about characters and events to draw conclusions
about the culture being depicted. Use a graphic organizer like the one to the
right to help you.
Conclusion About Culture
256
NOVEL COMPANION: Unit 6
ACTIVE READING: Prologue, Books One and Two
Mood is the dominant emotional feeling of a literary
work, or a portion of a literary work. Atmosphere,
which is related to a work’s setting, can contribute to
the mood. Authors create atmosphere primarily
through details, such as time, place, and weather. In
this section of the narrative, Cather makes masterful
Sabine Hills
use of details that create atmosphere. In the chart
below, record the details of place, weather, and
emotions from this section of the novel. Then sum up
the details with one-word descriptions that indicate the
three distinct moods that are created.
Central New Mexico
Truchas Mountains
gardens of a villa
overlooking Rome
crowded with features
exactly alike
heavy, lead-coloured drops
Mood : ____________
Mood : ____________
Mood : ____________
Death Comes for the Archbishop: Prologue, Books One and Two
257
INTERACTIVE READING: Literar y Element
Literary Element
Setting Which detail of the setting on
this page is symbolic? Why?
258
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK ONE
One afternoon in the autumn of 1851 a solitary horseman,
followed by a pack-mule, was pushing through an arid stretch of
country somewhere in central New Mexico. He had lost his way,
and was trying to get back to the trail, with only his compass and
his sense of direction for guides. The difficulty was that the
country in which he found himself was so featureless—or rather,
that it was crowded with features, all exactly alike. As far as he
could see, on every side, the landscape was heaped up into
monotonous red sand-hills, not much larger than haycocks, and
very much the shape of haycocks. One could not have believed
that in the number of square miles a man is able to sweep with
the eye there could be so many uniform red hills. He had been
riding among them since early morning, and the look of the
country had no more changed than if he had stood still. He must
have travelled through thirty miles of these conical red hills,
winding his way in the narrow cracks between them, and he had
begun to think that he would never see anything else. They were
so exactly like one another that he seemed to be wandering in
some geometrical nightmare; flattened cones, they were, more the
shape of Mexican ovens than haycocks—yes, exactly the shape of
Mexican ovens, red as brick-dust, and naked of vegetation except
for small juniper trees. And the junipers, too, were the shape of
Mexican ovens. Every conical hill was spotted with smaller cones
of juniper, a uniform yellowish green, as the hills were a uniform
red. The hills thrust out of the ground so thickly that they seemed
to be pushing each other, elbowing each other aside, tipping each
other over.
The blunted pyramid, repeated so many hundred times upon
his retina and crowding down upon him in the heat, had
confused the traveller, who was sensitive to the shape of things.
“Mais, c’est fantastique!” he muttered, closing his eyes to rest
them from the intrusive omnipresence of the triangle.
When he opened his eyes again, his glance immediately fell
upon one juniper which differed in shape from the others. It
was not a thick-growing cone, but a naked, twisted trunk,
perhaps ten feet high, and at the top it parted into two lateral,
flat-lying branches, with a little crest of green in the centre, just
above the cleavage. Living vegetation could not present more
faithfully the form of the Cross.
The traveller dismounted, drew from his pocket a much
worn book, and baring his head, knelt at the foot of the
cruciform tree. . . .
INTERACTIVE READING: Literar y Element
The traveller was Jean Marie Latour, consecrated Vicar
Apostolic of New Mexico and Bishop of Agathonica in partibus
at Cincinnati a year ago—and ever since then he had been
trying to reach his Vicarate. No one in Cincinnati could tell him
how to get to New Mexico—no one had ever been there. Since
young Father Latour’s arrival in America, a railroad had been
built through from New York to Cincinnati; but there it ended.
New Mexico lay in the middle of a dark continent. The Ohio
merchants knew of two routes only. One was the Santa Fé trail
from St. Louis, but at that time it was very dangerous because of
Comanche Indian raids. His friends advised Father Latour to go
down the river to New Orleans, thence by boat to Galveston,
across Texas to San Antonio, and to wind up into New Mexico
along the Rio Grande valley. This he had done, but with what
misadventures!
His steamer was wrecked and sunk in the Galveston harbour,
and he had lost all his worldly possessions except his books,
which he saved at the risk of his life. He crossed Texas with a
traders’ caravan, and approaching San Antonio he was hurt in
jumping from an overturning wagon, and had to lie for three
months in the crowded house of a poor Irish family, waiting for
his injured leg to get strong.
It was nearly a year after he had embarked upon the
Mississippi that the young Bishop, at about the sunset hour of
a summer afternoon, at last beheld the old settlement toward
which he had been journeying so long. . . .
As the wagons went forward and the sun sank lower, a
sweep of red carnelian-coloured hills lying at the foot of the
mountains came into view; they curved like two arms about a
depression in the plain; and in that depression was Santa Fé, at
last! A thin, wavering adobe town . . . a green plaza . . . at one
end a church with two earthen towers that rose high above the
flatness. The long main street began at the church, the town
seemed to flow from it like a stream from a spring. The church
towers, and all the low adobe houses, were rose colour in that
light,—a little darker in tone than the amphitheatre of red hills
behind; and periodically the plumes of poplars flashed like
gracious accent marks,—inclining and recovering themselves
in the wind.
The young Bishop was not alone in the exaltation of that
hour; beside him rode Father Joseph Vaillant, his boyhood
friend, who had made this long pilgrimage with him and shared
his dangers. The two rode into Santa Fé together, claiming it for
the glory of God.
Literary Element
Setting How do details of the setting,
including details about the Fathers’
journey from Cincinnati, represent
Santa Fé as a symbol of God’s glory?
Death Comes for the Archbishop: Book One
259
INTERACTIVE READING: Reading Strategy
Reading Strategy
Draw Conclusions About Culture
Based on the excerpt on this page,
what can you conclude about how
prevailing European attitudes
contribute to the clash of cultures?
260
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: PROLOGUE
The missionary turned to him patiently. “Your Eminence, I
beg you to follow me. This country was evangelized in fifteen
hundred, by the Franciscan Fathers. It has been allowed to drift
for nearly three hundred years and is not yet dead. It still
pitifully calls itself a Catholic country, and tries to keep the
forms of religion without instruction. The old mission churches
are in ruins. The few priests are without guidance or discipline.
They are lax in religious observance, and some of them live in
open concubinage. If this Augean stable is not cleansed, now
that the territory has been taken over by a progressive
government, it will prejudice the interests of the Church in the
whole of North America.”
“But these missions are still under the jurisdiction of Mexico,
are they not?” inquired the Frenchman.
“In the See of the Bishop of Durango?” added María de
Allande.
The missionary sighed. “Your Eminence, the Bishop of
Durango is an old man; and from his seat to Sante Fé is a
distance of fifteen hundred English miles. There are no wagon
roads, no canals, no navigable rivers. Trade is carried on by
means of pack-mules, over treacherous trails. The desert down
there has a peculiar horror; I do not mean thirst, nor Indian
massacres, which are frequent. The very floor of the world is
cracked open into countless canyons and arroyos, fissures in the
earth which are sometimes ten feet deep, sometimes a thousand.
Up and down these stony chasms the traveller and his mules
clamber as best they can. It is impossible to go far in any
direction without crossing them. If the Bishop of Durango
should summon a disobedient priest by letter, who shall bring
the Padre to him? Who can prove that he ever received the
summons? The post is carried by hunters, fur trappers, gold
seekers, whoever happens to be moving on the trails.”
The Norman Cardinal emptied his glass and wiped his lips.
“And the inhabitants, Father Ferrand? If these are the
travellers, who stays at home?”
“Some thirty Indian nations, Monsignor, each with its own
customs and language, many of them fiercely hostile to each
other. And the Mexicans, a naturally devout people. Untaught
and unshepherded, they cling to the faith of their fathers.”
“I have a letter from the Bishop of Durango, recommending
his Vicar for this new post,” remarked María de Allande.
“Your Eminence, it would be a great misfortune if a native
priest were appointed; they have never done well in that field.
Besides, this Vicar is old. The new Vicar must be a young man,
INTERACTIVE READING: Reading Strategy
of strong constitution, full of zeal, and above all, intelligent. He
will have to deal with savagery and ignorance, with dissolute
priests and political intrigue. He must be a man to whom order
is necessary—as dear as life.”
The Spaniard’s coffee-coloured eyes showed a glint of yellow
as he glanced sidewise at his guest. “I suspect, from your
exordium, that you have a candidate—and that he is a French
priest, perhaps?”
“You guess rightly, Monsignor. I am glad to see that we have
the same opinion of French missionaries.”
“Yes,” said the Cardinal lightly, “they are the best
missionaries. Our Spanish fathers made good martyrs, but the
French Jesuits accomplish more. They are the great organizers.”
“Better than the Germans?” asked the Venetian, who had
Austrian sympathies.
“Oh, the Germans classify, but the French arrange! The
French missionaries have a sense of proportion and rational
adjustment. They are always trying to discover the logical
relation of things. It is a passion with them.” Here the host
turned to the old Bishop again. “But your Grace, why do you
neglect this Burgundy? I had this wine brought up from my
cellar especially to warm away the chill of your twenty
Canadian winters. Surely, you do not gather vintages like this
on the shores of the Great Lake Huron?”
The missionary smiled as he took up his untouched glass. “It
is superb, your Eminence, but I fear I have lost my palate for
vintages. Out there, a little whisky, or Hudson Bay Company
rum, does better for us. I must confess I enjoyed the champagne
in Paris. We had been forty days at sea, and I am a poor sailor.”
“Then we must have some for you.” He made a sign to his
major-domo. “You like it very cold? And your new Vicar
Apostolic, what will he drink in the country of bison and
serpents à sonnettes? And what will he eat?”
“He will eat dried buffalo meat and frijoles with chili, and he
will be glad to drink water when he can get it. He will have no
easy life, your Eminence. That country will drink up his youth
and strength as it does the rain. He will be called upon for every
sacrifice, quite possibly for martyrdom. Only last year the
Indian pueblo of San Fernandez de Taos murdered and scalped
the American Governor and some dozen other whites. The
reason they did not scalp their Padre, was that their Padre was
one of the leaders of the rebellion and himself planned the
massacre. That is how things stand in New Mexico!”
Reading Strategy
Draw Conclusions About Culture
Based on this excerpt, how do the
various European views of the situation
differ? What does this seem to suggest
about how far-seeing or wise these
decision-makers might be?
D e a t h C o m e s f or t he A rchbi s h o p : Prologue
261
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were
looking for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Cultures in Conflict What problems
does Father Vaillant encounter? In
what ways are these cultural conflicts?
Mark up the excerpt, looking for
evidence of how it expresses the Big
Idea.
262
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK TWO
In mid-March, Father Vaillant was on the road, returning
from a missionary journey to Albuquerque. He was to stop at
the rancho of a rich Mexican, Manuel Lujon, to marry his men
and maid servants who were living in concubinage, and to
baptize the children. There he would spend the night. Tomorrow or the day after he would go on to Santa Fé, halting by
the way at the Indian pueblo of Santo Domingo to hold service.
There was a fine old mission church at Santo Domingo, but the
Indians were of a haughty and suspicious disposition. He had
said Mass there on his way to Albuquerque, nearly a week ago.
By dint of canvassing from house to house, and offering medals
and religious colour prints to all who came to church, he had got
together a considerable congregation. It was a large and
prosperous pueblo, set among clean sand-hills, with its rich
irrigated farm lands lying just below, in the valley of the Rio
Grande. His congregation was quiet, dignified, attentive. They
sat on the earth floor, wrapped in their best blankets, repose in
every line of their strong, stubborn backs. He harangued them in
such Spanish as he could command, and they listened with
respect. But bring their children to be baptized, they would not.
The Spaniards had treated them very badly long ago, and they
had been meditating upon their grievance for many generations.
Father Vaillant had not baptized one infant there, but he meant
to stop to-morrow and try again. Then back to his Bishop,
provided he could get his horse up La Bajada Hill.
He had bought his horse from a Yankee trader and had been
woefully deceived. One week’s journey of from twenty to thirty
miles a day had shown the beast up for a wind-broken wreck.
Father Vaillant’s mind was full of material cares as he approached
Manuel Lujon’s place beyond Bernalillo. The rancho was like a
little town, with all its stables, corrals, and stake fences. . . .
When Father Vaillant rode in through the gateway, children
came running from every direction, some with no clothing but a
little shirt, and women with no shawls over their black hair
came running after the children. They all disappeared when
Manuel Lujon walked out of the great house, hat in hand,
smiling and hospitable. He was a man of thirty-five, settled in
figure and somewhat full under the chin. He greeted the priest
in the name of God and put out a hand to help him alight, but
Father Vaillant sprang quickly to the ground.
“God be with you, Manuel, and with your house. But where
are those who are to be married?”
“The men are all in the field, Padre. There is no hurry. A little
wine, a little bread, coffee, repose—and then the ceremonies.”
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
ASK QUESTIONS
Write any questions you have about
the novel. Do you have to go to an
outside source to find the answers?
Recap
D e a t h Com e s f o r t h e A rch b i s hop: Book Two
263
AFTER YOU READ: Prologue, Books One and Two
Respond and Think Critically
1. How is Latour received when he arrives in Santa Fé, and how does he
respond? What does his response reveal about his character? [Infer]
2. What miracle occurs in Agua Secreta? How does Latour perceive the people
in the settlement? [Interpret]
3. How does Latour help Magdalena? In what way do you think she
represents the biblical figure Mary Magdalene, a sinner who is redeemed
by Christ? [Synthesize]
4. Cather employs the two mules, Contento and Angelica, as symbols in this
novel. What do you think they symbolize? How does Vaillant’s special
request to Lujon show this? [Analyze]
5. Cultures in Conflict Identify two sources of conflict between cultures in
the novel so far by combining historical fact with references to the people,
places, and events of the novel. [Synthesize]
264
NOVEL COMPANION: Unit 6
APPLY BACKGROUND
Reread Introduction to the Novel on
pages 252–253. How did that
information help you understand or
appreciate what you read in the
novel?
AFTER AFTER
YOU READ:
YOU READ:
Prologue,
Chapters
Books 00-00
One and Two
Literary Element
Vocabulary Practice
Setting
1. Which sensory details about the desert landscape
help create a hostile atmosphere? What possible
conflict is implied by this atmosphere? [Analyze]
Respond to these questions.
1. Which action would you call dissolute—robbing a
store or contributing to a charity?
2. When would you be more likely to harangue
someone—when the person has just given you a
gift or when the person has greatly displeased
you?
2. Cather sets both the meeting in Italy and Latour’s
arrival in Santa Fé at sunset. In what way is the
setting sun symbolic? [Synthesize]
3. Who would you be more likely to describe as
impetuous—someone who takes great risks or
someone who always thinks before acting?
4. Which action would you be more likely to call
inveterate—snacking every night in front of the
television or breaking a world record in a sport?
5. Where would you be more likely to experience
vertigo—while riding on a bus or while standing
at the top of a cliff?
Reading Strategy
Draw Conclusions About
Culture
1. Does a belief in miracles separate or unite the
various groups portrayed in the novel so far?
Explain your answer by citing details from the
novel. [Analyze]
Academic Vocabulary
The opening pages of the novel and the Introduction
to the Novel help explain the hierarchy of the
Catholic Church. In the preceding sentence, hierarchy
means “organization by order or ranks.” Think about
what you learned about the organization of the
Catholic Church and then fill in the blank for this
statement: The Catholic Church hierarchy consists of
2. How well suited are Fathers Vaillant and Latour to
dealing with the new cultures in which they find
themselves? Why? [Evaluate]
Death Comes for the Archbishop: Prologue, Books One and Two
265
AFTER AFTER
YOU READ:
YOU READ:
Prologue,
Chapters
Books 00-00
One and Two
Write with Style
Connect to Content Areas
Apply Figurative Language
Art
Assignment In this novel, Cather turns aspects of the
setting, such as the cruciform tree and the setting sun,
into symbols that help create the atmosphere of
various scenes. Review the use of symbols in the
setting and how they help create the atmosphere in
this section of the novel. Then write a description of a
setting in which you use aspects of the setting as
symbols to help create a certain atmosphere.
Assignment In the Prologue, Cather mentions a
painting by the Spanish painter El Greco. Identify other
Spanish, Mexican, and Native American artists, and
create a report that describes their style and their
influences.
Get Ideas Begin by identifying your setting and a
single dominant impression you wish to create of the
place. To achieve this atmosphere, think in emotional
terms about that dominant impression. For example,
do you want to create an overwhelming sense of fear,
loneliness, enchantment, confusion, or joy? List details
that will create that dominant impression for the
reader. Then study the list for one or more details that
you might turn into symbols. For example, a burnedout building might symbolize hopelessness and
despair.
Give It Structure For describing a place, try using
spatial order, the arrangement of the details of a
setting according to their location. You might describe
your details in order from top to bottom, near to far,
front to back, left to right, or around a perimeter. How
you use spatial order may affect the atmosphere: For
example, you might describe a burned-out building
from the rafters down to the cellar and enhance the
sense of despair by the downward approach.
Look at Language As you draft and revise, recall that
for an object to be symbolic, it has to have a
resonance and meaning beyond itself. Add sensory
and other details, or apply similes or metaphors, to
broaden the meanings of nouns you wish to use as
symbols.
Example:
The road stretched into the distance.
Improved Example:
Like a line on graph, the road stretched into the
seemingly infinite distance, a path of possibility.
266
NOVEL COMPANION: Unit 6
Investigate Using search engines or art databases,
locate at least one additional Spanish, Mexican, and
Native American artist who created works that may
have found their way to the New Mexico Territory by
1851. You might wish to print out, download, or
photocopy examples of the work to include in your
report. Take careful notes on each artist, being sure
to paraphrase and summarize the information. Keep
track of your sources in a bibliography. Note any
discrepancies in the information, and reflect on the
different perspectives you find.
Create Write an introduction to your report and use
subheadings to identify each artist. If you import art,
be sure to include a source line that accurately
identifies and credits each of your sources. Your
report should include a Works Cited list as well as
in-text citations for each bit of information you
paraphrase, summarize, or quote.
Report As you share your work with the class, make
sure you explain any unfamiliar terms, such as
schools, techniques, or styles of art, to your listeners.
Remember to make eye contact with your audience
and to use body language that expresses your
interest in your topic and is appropriate to your
content.
BEFORE YOU READ: Books Three–Six
NOVEL NOTEBOOK
Connect to the Literature
Which of the seven deadly sins—pride, covetousness, lust, anger, gluttony,
envy, and sloth—do you think is the worst? Why do you think so?
Keep a special notebook to record
entries about the novels that you read
this year.
Quickwrite
Write a brief response to this question, explaining your choice of the worst sin.
WRITE THE CAPTION
Write a caption for the image below
using information in Build Background.
Build Background
Located sixty miles west of Albuquerque, New Mexico, the Ácoma pueblo has
been occupied for at least a thousand years. Perched atop a high mesa, the
original village is reachable only via a stairway built by hand. The Spanish first
explored the village in 1540. In 1599 they destroyed it in retaliation for the
killing of a Spaniard. In 1680, after suffering years of Spanish oppression, the
Ácomas joined the Pueblo Revolt and killed their Franciscan padre Lucas
Maldonado, it is believed, by throwing him from the mesa.
Situated about eighteen miles southeast of Santa Fe, the Pecos pueblo in
1821 comprised numerous houses that stood three stories high. Ground-floor
rooms were used for storage, and rooms on the upper two floors were used
as living quarters. The higher rooms were reached by climbing a ladder. The
pueblo included subterranean circular rooms called kivas, where the Pecos
people conducted religious rituals. In the late 1700s, smallpox epidemics and
attacks by Apaches reduced the Pecos’s numbers. In 1838 the pueblo was
abandoned. In later years, traditions emerged about an eternal fire and a
mythical snake to which human sacrifices were made.
D e a t h C o m e s f or t he A rchbi s h o p : Books Three–Six
267
BEFORE
BEFORE YOU
YOU READ:
READ: Books
Chapters
Three–Six
00-00
Set Purposes for Reading
왘 BIG Idea Cultures in Conflict
As you read this section of the novel, note how Latour and Vaillant are in
conflict with aspects of their own church culture that have become corrupt.
Also notice how choices made by the characters intensify or alleviate cultural
conflicts.
Literary Element
Voice
Voice is the distinctive use of language that conveys the author’s or narrator’s
personality to the reader. Voice is determined by elements of style such as
word choice and tone. Voice can be expressed in dialogue, but just as often it
is conveyed in description, exposition, and narration.
Focusing on voice helps you understand the subtleties and nuances of plot,
characterization, and theme, as well as appreciate the author’s style.
As you read this section of Death Comes for the Archbishop, think about how
the author’s attitude toward her characters is revealed through her choice of
words, as well as how descriptive details help create the voice of the novel.
Vocabulary
austere [ôs tēr´]
adj. severe or stern, as in manner or
appearance
Based on the austere appearance of
the hut, we believed we would find
no comfort inside.
indigenous [in dij´ə nəs]
adj. originating in a particular place;
native
The indigenous people did not
understand the ways of the
newcomers.
malediction [mal´ə dik´ shən]
n. utterance of a curse against
someone
Angered by the workers’ laziness,
the woman spat out a malediction
on all idle people.
noxious [nok´shəs]
adj. very harmful to the health
Reading Strategy
Evaluate Characterization
When you evaluate, you judge the logic, worth, skillfulness, or accuracy of
certain information. When you evaluate characterization, you judge how
well the author has revealed the characters’ personalities—either through
direct characterization, in which the author makes explicit statements about
the characters, or indirect characterization, which includes the characters’
own words and actions, as well as other characters’ thoughts about them.
Evaluating characterization will cause you to look more closely at the author’s
style and craft and may help you participate more deeply in the novel’s plot
and themes.
As you read, focus on how well Cather expresses themes and other ideas
through characterization. Use the chart on the next page to help you.
268
NOVEL COMPANION: Unit 6
The mother worried about her
child’s exposure to noxious fumes
and chemicals.
recluse [rek´ l¯
oos]
n. one who lives in solitude or
seclusion
The recluse had not ventured
beyond the gate for thirty years.
ACTIVE READING: Books Three–Six
Many of the priests described in this section are guilty
of one or more of the seven deadly sins: pride,
covetousness, lust, anger, gluttony, envy, and sloth. As
you read this section, note the deadly sin(s) each
priest is guilty of, the details that support your
Padre Gallegos
conclusions, and the other characters’ responses to
each priest as a result of his corrupt ways. Finally,
comment on how effectively or economically Cather
expresses a point of view about corrupt priests through
characterization.
Friar Baltazar Montoya
Sins(s):
Sins(s):
Details That Show This: doesn’t
hold confirmation classes
Details That Show This:
Others’ Responses:
Others’ Responses:
Evaluation:
Evaluation:
Padre Martínez
Father Lucero
Sins(s):
Sins(s):
Details That Show This:
Details That Show This:
Others’ Responses:
Others’ Responses:
Evaluation:
Evaluation:
D e a t h C o m e s f or t he A rchbi s h o p : Books Three–Six
269
INTERACTIVE READING: Literar y Element
Literary Element
Voice Read the description of Jacinto’s
home and its occupants. Identify the
qualities of the narrator’s voice on
this page.
270
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK FOUR, CHAPTER 1
The young Indian said that supper was ready, and the Bishop
followed him to his particular lair in those rows of little houses
all alike and all built together. There was a ladder before
Jacinto’s door which led up to a second storey, but that was the
dwelling of another family; the roof of Jacinto’s house made a
veranda for the family above him. The Bishop bent his head
under the low doorway and stepped down; the floor of the
room was a long step below the door-sill—the Indian way of
preventing drafts. The room into which he descended was long
and narrow, smoothly whitewashed, and clean, to the eye, at
least, because of its very bareness. There was nothing
on the walls but a few fox pelts and strings of gourds and red
peppers. The richly coloured blankets of which Jacinto was very
proud were folded in piles on the earth settle,—it was there he
and his wife slept, near the fireplace. The earth of that settle
became warm during the day and held its heat until morning,
like the Russian peasants’ stove-bed. Over the fire a pot of beans
and dried meat was simmering. The burning piñon logs filled
the room with sweet-smelling smoke. Clara, Jacinto’s wife,
smiled at the priest as he entered. She ladled out the stew, and
the Bishop and Jacinto sat down on the floor beside the fire,
each with his bowl. Between them Clara put a basin full of hot
corn-bread baked with squash seeds,—an Indian delicacy
comparable to raisin bread among the whites. The Bishop said a
blessing and broke the bread with his hands. While the two men
ate, the young woman watched them and stirred a tiny cradle of
deerskin which hung by thongs from the roof poles. Jacinto,
when questioned, said sadly that the baby was ailing. Father
Latour did not ask to see it; it would be swathed in layers of
wrappings, he knew; even its face and head would be covered
against drafts. Indian babies were never bathed in winter, and it
was useless to suggest treatment for the sick ones. On that
subject the Indian ear was closed to advice.
It was a pity, too, that he could do nothing for Jacinto’s baby.
Cradles were not many in the pueblo of Pecos. The tribe was
dying out; infant mortality was heavy, and the young couples
did not reproduce freely,—the life-force seemed low. Smallpox
and measles had taken heavy toll here time and again.
Of course there were other explanations, credited by many
good people in Santa Fé. Pecos had more than its share of dark
legends,—perhaps that was because it had been too tempting to
white men, and had had more than its share of history. It was
said that this people had from time immemorial kept a
ceremonial fire burning in some cave in the mountain, a fire that
INTERACTIVE READING: Literar y Element
had never been allowed to go out, and had never been revealed
to white men. The story was that the service of this fire sapped
the strength of the young men appointed to serve it,—always
the best of the tribe. Father Latour thought this hardly probable.
Why should it be very arduous, in a mountain full of timber, to
feed a fire so small that its whereabouts had been concealed for
centuries?
There was also the snake story, reported by the early
explorers, both Spanish and American, and believed ever since:
that this tribe was peculiarly addicted to snake worship, that
they kept rattlesnakes concealed in their houses, and
somewhere in the mountain guarded an enormous serpent
which they brought to the pueblo for certain feasts. It was said
that they sacrificed young babies to the great snake, and thus
diminished their numbers.
It seemed much more likely that the contagious diseases
brought by white men were the real cause of the shrinkage of
the tribe. Among the Indians, measles, scarlatina and whoopingcough were as deadly as typhus or cholera. Certainly, the tribe
was decreasing every year. Jacinto’s house was at one end of the
living pueblo; behind it were long rock ridges of dead pueblo,—
empty houses ruined by weather and now scarcely more than
piles of earth and stone. The population of the living streets was
less than one hundred adults. This was all that was left of the
rich and populous Cicuyè of Coronado’s expedition. Then, by
his report, there were six thousand souls in the Indian town.
They had rich fields irrigated from the Pecos River. The streams
were full of fish, the mountain was full of game. The pueblo,
indeed, seemed to lie upon the knees of these verdant
mountains, like a favoured child. Out yonder, on the juniperspotted plateau in front of the village, the Spaniards had
camped, exacting a heavy tribute of corn and furs and cotton
garments from their hapless hosts. It was from here, the story
went, that they set forth in the spring on their ill-fated search for
the seven golden cities of Quivera, taking with them slaves and
concubines ravished from the Pecos people.
As Father Latour sat by the fire and listened to the wind
sweeping down from the mountains and howling over the
plateau, he thought of these things; and he could not help
wondering whether Jacinto, sitting silent by the same fire, was
thinking of them, too. The wind, he knew, was blowing out of
the inky cloud bank that lay behind the mountain at sunset; but
it might well be blowing out of a remote, black past. The only
human voice raised against it was the feeble wailing of the sick
child in the cradle. Clara ate noiselessly in a corner, Jacinto
looked into the fire.
Literary Element
Voice Which word choices and
descriptive phrases in this passage
contribute to your sense of the
author’s attitude toward illness?
D e a t h C o m e s f or t he A rchbi s h o p : Books Three–Six
271
INTERACTIVE READING: Reading Strategy
Reading Strategy
Evaluate Characterization Why do
you think Cather chooses direct
characterization to present the banjo
boy and Kit Carson in this passage?
Decide how well these bits of
characterization do or do not tell
readers all they need to know and give
your reasons.
272
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK SIX, CHAPTER 1
After supper was over and the toasts had been drunk, the
boy Pablo was called in to play for the company while the
gentlemen smoked. The banjo always remained a foreign
instrument to Father Latour; he found it more than a little
savage. When this strange yellow boy played it, there was
softness and languor in the wire strings—but there was also a
kind of madness; the recklessness, the call of wild countries
which all these men had felt and followed in one way or
another. Through clouds of cigar smoke, the scout and the
soldiers, the Mexican rancheros and the priests, sat silently
watching the bent head and crouching shoulders of the banjo
player, and his seesawing yellow hand, which sometimes lost all
form and became a mere whirl of matter in motion, like a patch
of sand-storm.
Observing them thus in repose, in the act of reflection, Father
Latour was thinking how each of these men not only had a
story, but seemed to have become his story. Those anxious, farseeing blue eyes of Carson’s, to whom could they belong but to
a scout and trail-breaker? Don Manuel Chavez, the handsomest
man of the company, very elegant in velvet and broadcloth,
with delicately cut, disdainful features,—one had only to see
him cross the room, or to sit next him at dinner, to feel the
electric quality under his cold reserve; the fierceness of some
embitterment, the passion for danger.
Chavez boasted his descent from two Castilian knights who
freed the city of Chavez from the Moors in 1160. He had estates
in the Pecos and in the San-Mateo mountains, and a house in
Santa Fé, where he hid himself behind his beautiful trees and
gardens. He loved the natural beauties of his country with a
passion, and he hated the Americans who were blind to them.
He was jealous of Carson’s fame as an Indian-fighter, declaring
that he had seen more Indian warfare before he was twenty
than Carson would ever see. He was easily Carson’s rival as a
pistol shot. With the bow and arrow he had no rival; he had
never been beaten. No Indian had ever been known to shoot an
arrow as far as Chavez. Every year parties of Indians came up
to the Villa to shoot with him for wagers. His house and stables
were full of trophies. He took a cool pleasure in stripping the
Indians of their horses or silver or blankets, or whatever they
had put up on their man. He was proud of his skill with Indian
weapons; he had acquired it in a hard school.
When he was a lad of sixteen Manuel Chavez had gone out
with a party of Mexican youths to hunt Navajos. In those days,
before the American occupation, “hunting Navajos” needed no
INTERACTIVE READING: Reading Strategy
pretext, it was a form of sport. A company of Mexicans would
ride west to the Navajo country, raid a few sheep camps, and
come home bringing flocks and ponies and a bunch of
prisoners, for every one of whom they received a large bounty
from the Mexican Government. It was with such a raiding party
that the boy Chavez went out for spoil and adventure.
Finding no Indians abroad, the young Mexicans pushed on
farther than they had intended. They did not know that it was
the season when all the roving Navajo bands gather at the
Canyon de Chelly for their religious ceremonies, and they rode
on impetuously until they came out upon the rim of that
mysterious and terrifying canyon itself, then swarming with
Indians. They were immediately surrounded, and retreat was
impossible. They fought on the naked sandstone ledges that
overhang that gulf. Don José Chavez, Manuel’s older brother,
was captain of the party, and was one of the first to fall. The
company of fifty were slaughtered to a man. Manuel was the
fifty-first, and he survived. With seven arrow wounds, and one
shaft clear through his body, he was left for dead in a pile of
corpses.
That night, while the Navajos were celebrating their victory,
the boy crawled along the rocks until he had high boulders
between him and the enemy, and then started eastward on foot.
It was summer, and the heat of that red sandstone country is
intense. His wounds were on fire. But he had the superb vitality
of early youth. He walked for two days and nights without
finding a drop of water, covering a distance of sixty odd miles,
across the plain, across the mountain, until he came to the
famous spring on the other side, where Fort Defiance was
afterward built. There he drank and bathed his wounds and
slept. He had had no food since the morning before the fight;
near the spring he found some large cactus plants, and slicing
away the spines with his hunting-knife, he filled his stomach
with the juicy pulp.
From here, still without meeting a human creature, he
stumbled on until he reached the San Mateo mountain, north of
Laguna. In a mountain valley he came upon a camp of Mexican
shepherds, and fell unconscious. The shepherds made a litter of
saplings and their sheepskin coats and carried him into the
village of Cebolleta, where he lay delirious for many days. Years
afterward, when Chavez came into his inheritance, he bought
that beautiful valley in the San Mateo mountain where he had
sunk unconscious under two noble oak trees. He built a house
between those twin oaks, and made a fine estate there.
Reading Strategy
Evaluate Characterization How well
does the characterization of Chavez
acquaint you with the character and
also deepen your understanding of
the mix of cultures and goals that
coexisted in the New Mexico Territory
at this time?
Death Comes for the Archbishop: Book Si x , Ch a p te r 1
273
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your
note-taking. Develop a shorthand
system, including symbols, that works
for you. Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Cultures in Conflict Identify the clash
of cultures reflected in this excerpt. Be
sure to reflect the attitudes of both
Father Ramirez or another Spanish
priest and Latour’s attitudes in your
answer.
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
2 74
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK 3, CHAPTER 3
The magnificent site, the natural grandeur of this stronghold,
might well have turned their heads a little. Powerful men they
must have been, those Spanish Fathers, to draft Indian labour
for this great work without military support. Every stone in that
structure, every handful of earth in those many thousand
pounds of adobe, was carried up the trail on the backs of men
and boys and women. And the great carved beams of the roof—
Father Latour looked at them with amazement. In all the plain
through which he had come he had seen no trees but a few
stunted piñons. He asked Jacinto where these huge timbers
could have been found.
“San Mateo mountain, I guess.”
“But the San Mateo mountains must be forty or fifty miles
away. How could they bring such timbers?”
Jacinto shrugged. “Ácomas carry.” Certainly there was no
other explanation.
Besides the church proper there was the cloister, large, thickwalled, which must have required an enormous labour of
portage from the plain. The deep cloister corridors were cool
when the rock outside was blistering; the low arches opened on
an enclosed garden which, judging from its depth of earth, must
once have been very verdant. Pacing those shady passages, with
four feet of solid, windowless adobe shutting out everything but
the green garden and the turquoise sky above, the early
missionaries might well have forgotten the poor Ácomas, that
tribe of ancient rock-turtles, and believed themselves in some
cloister hung on a spur of the Pyrenees.
In the grey dust of the enclosed garden two thin, half-dead
peach trees still struggled with the drouth, the kind of unlikely
tree that grows up from an old root and never bears. By the wall
yellow suckers put out from an old vine stump, very thick and
hard, which must once have borne its ripe clusters.
Built upon the north-east corner of the cloister the Bishop found
a loggia—roofed, but with open sides, looking down on the white
pueblo and the tawny rock, and over the wide plain below. There
he decided he would spend the night. From this loggia he watched
the sun go down; watched the desert become dark, the shadows
creep upward. Abroad in the plain the scattered mesa tops, red
with the afterglow, one by one lost their light, like candles going
out. He was on a naked rock in the desert, in the stone age, a prey
to homesickness for his own kind, his own epoch, for European
man and his glorious history of desire and dreams. Through all
the centuries that his own part of the world had been changing
like the sky at daybreak, this people had been fixed, increasing
neither in numbers nor desires, rock-turtles on their rock.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
MY VIEW
Write down your thoughts on the
excerpt.
Recap
Death Comes for the Archbishop: Book 3, Chapter 3
275
AFTER YOU READ: Books Three–Six
Respond and Think Critically
1. Why do you think the Bishop seldom questions Jacinto about his thoughts
and beliefs? [Analyze]
2. What are Friar Baltazar’s chief personality traits? How do these traits lead
to his death? How do the Indians feel about Baltazar? [Summarize]
3. Why does Madame Olivares at first refuse to admit her age in court? What
do Father Vaillant and Bishop Latour say to convince her to change her
mind? What do each priest’s words reveal about his personality? [Analyze]
4. A legend is a traditional story, usually based on real people and events,
that is handed down from one generation to the next. Why do you think
Cather incorporates the Indian legend of the snake into her narrative?
Does it serve a useful purpose? Why or why not? [Evaluate]
5. Cultures in Conflict Why do white men think the Pecos people are
dying out? What is the real reason? Why does Latour feel uncomfortable in
the cave of the Pecos people? [Infer]
2 76
NOVEL COMPANION: Unit 6
APPLY BACKGROUND
Reread Build Background on
page 267. How did that information
help you understand or appreciate
what you read in the novel?
AFTER YOU READ: Books Three–Six
Literary Element
Voice
1. Identify the primary ways in which the voice of
the narrator is heard in this novel. Consider
description, narration, exposition, and dialogue.
[Identify]
Vocabulary Practice
Identify whether each set of paired words has the
same or opposite meaning.
1. austere and severe
2. indigenous and native
3. malediction and blessing
4. recluse and extrovert
2. What tone or attitude do you hear in the voice of
the narrator toward Father Latour and Father
Vaillant? Explain. [Evaluate]
5. noxious and healthful
Academic Vocabulary
Details about Kit Carson help reveal apparent
contradictions in his character. To become more
familiar with the word reveal, fill out the graphic
organizer below.
definition
Reading Strategy
synonyms
Evaluate Characterization
1. In this section of the novel, which character(s)
does Cather tend to reveal more through direct
characterization and which through indirect
characterization? [Classify]
reveal
antonyms
sentence
2. This novel does not have a conventional plot. Does
it use conventional characterization? Explain.
[Synthesize]
D e a t h C o m e s f or t he A rchbi s h o p : Book s Th re e – S ix
277
AFTER YOU READ: Books Three–Six
Writing
Connect to Content Areas
Summarize a Legend or Myth Use a library catalog
or a search engine to find a Navajo legend or myth.
Summarize the myth. Begin by introducing the title
and your source; then supply only the most important
ideas of the story or the key events of the plot.
Sketching a story map may help you focus on key
elements such as the main characters, setting, conflict,
main events, and resolution instead of on details.
Strive for a summary that is no longer than one-third
the length of the original story. Conclude by adding a
statement analyzing how the voice of your summary
differs from the voice of the story.
Math
Jot down your story map or other notes here first.
Assignment Bishop Latour and Father Vaillant travel
great distances on their missionary journeys. Using
maps, estimate the distances they covered during each
leg of their many journeys in the book thus far.
Investigate Begin by skimming the novel up through
Book Six to find the various journeys that the priests
undertook within the boundaries of the United States
and Mexico. Use a scale of miles or a chart of
distances like those found in many atlases to find or
estimate distance from place to place. For each
journey, assume a direct route, even though the
passage may have been completely different at
the time.
Create Use one column of a chart or spreadsheet to
compile and total the distances. Use another column
of the spreadsheet to reflect on the time required to
cover those distances and on the challenges and
difficulties of the various journeys. Consider, too, how
accurate Vaillant’s and Latour’s own estimates of the
distances traveled might have been and why.
Report Submit your spreadsheet with a brief report
that explains how the distances you present, as well as
Vaillant’s and Latour’s estimates of distances covered,
might vary from the actual distances traveled and why.
278
NOVEL COMPANION: Unit 6
BEFORE YOU READ: Books Seven–Nine
NOVEL NOTEBOOK
Connect to the Literature
What scenes or images from your past stand out in your mind? Why do you
think these particular scenes and images made a lasting impression on you?
List It
Make a list of the scenes and images from your past that stand out in
your mind.
Keep a special notebook to record
entries about the novels that you read
this year.
WRITE THE CAPTION
Write a caption for the image below
using information in Build Background.
Build Background
The Navajo, who refer to themselves as the Dine, which means “the people,”
are the largest Native American group in North America. They occupy a
reservation located in northeastern Arizona, southeastern Utah, and
northwestern New Mexico.
At one time Navajo land extended farther into the northeast and was
bordered by four mountains, which the Navajo considered sacred. “They
believed,” writes one historian, “they could only be happy if they stayed within
the confines of those boundaries.” During the mid-nineteenth century, the
Navajo were engaged in continual warfare against other Indian groups,
Mexicans, and Anglo Americans. To protect its citizens, in 1855 the U.S.
government built Fort Defiance in the center of Navajo country. In 1860 the
Navajo attacked the fort but were defeated. In 1863 Kit Carson was recruited
to drive the Navajo out of their homeland. He responded by destroying their
crops and livestock. Cold and hungry, the Navajo finally surrendered in 1864
and were moved to a remote and barren reservation called Bosque Redondo.
There, thousands died from disease and starvation.
The Navajo leader Manuelito, however, refused to surrender. “My God and my
mother live in the West,” he explained, “and I will not leave them.” He finally
surrendered in 1866 and soon after traveled to Washington, D.C., to request
the return of the Navajo homeland. On June 1, 1868, a treaty was signed
giving the Navajo a reservation on their former homeland.
Death Comes for the Archbishop: B o o k s S e ven – N in e
279
BEFORE YOU READ: Books Seven–Nine
Set Purposes for Reading
Vocabulary
왘 BIG Idea Cultures in Conflict
This part of Death Comes for the Archbishop continues to mix fictional events
with the actual historical fact of the American Southwest in the second half of
the nineteenth century. As you read, continue to focus on how the clash of
cultures in history is reflected in the novel.
Literary Element
Death Comes for the Archbishop is one of the earliest works in American
literature that exhibited some features of modernism in its lack of a
straightforward plot. Modernism was an early twentieth century artistic
movement that sought to break with the styles of the past and to change the
very structure of literature.
As you read this unusual and often nonchronological narrative, think about
how its plot varies from the plots of most novels. Use the graphic organizer
on the next page to record episodes in Book Seven and to reflect on the
novel’s structure.
The benign woman never refused a
request for help.
parable [par´ə bəl]
n. a short allegorical story illustrating
some truth or moral lesson
After listening to the parable, Fiona
resolved to be kinder to her parents
and sister.
propagate [prop´ə āt´]
v. to multiply by reproduction; breed
The growers hoped to propagate a
new strain of potato.
superficial [s¯
oo pər fish´əl]
adj. lacking depth or thoroughness;
shallow
Because the job seemed to involve
so many meaningless tasks, Ted
regarded it as superficial.
Recognize Bias
When you recognize bias, you discover an inclination
toward an opinion or a position, possibly stemming from
prejudice. To detect bias, you must read carefully to separate
facts from opinions and to identify statements that are
prejudiced, or that strongly support only one side of an issue.
You can sometimes detect bias by identifying statements
with emotionally charged words or words that suggest
oversimplification.
Recognizing bias in a historical novel can broaden your
understanding of the time and place in which the work is set
or of the prevailing values at the time when the author wrote.
As you read, pay close attention to judgments about cultural
groups, especially judgments that appear to be overstated or
oversimplified. You may find it helpful to use a graphic
organizer like the one at the right.
280
The plants had not had water for
more than a week and were in a
state of atrophy.
benign [bi n¯n´]
adj. of a kindly or gentle disposition
Plot
Plot is the sequence of events in a narrative work. Most plots develop around
one central conflict, or a struggle between opposing forces, and include
exposition, rising action, a climax, falling action, and a resolution. Some plots,
however, have an episodic structure: episodes, or scenes, are melded together
and may take the place of chronological order, rising action, or other elements
of traditional plot structure.
Reading Strategy
atrophy [at´ rə fē]
n. withering away, decay,
degeneration
NOVEL COMPANION: Unit 6
Detail
Bias
“His great diocese
was still a heathen
country. The Indians
traveled their old
road of fear and
darkness, battling
with evil omens and
ancient shadows.”
Indians are seen as
people without
religion, as people
of fear and
darkness. Their
beliefs are viewed
as based on fear.
ACTIVE READING: Books Seven–Nine
Although Death Comes for the Archbishop tells a life
story, it departs from traditional narrative conventions
and, instead, combines episodes and flashbacks in
order to provide insight into a broad spectrum of both
fictional and historical characters and events. Use the
chart below to record the numerous episodes and
flashbacks in the four chapters of Book Seven. A few
have been written below. Where possible, also insert
the date.
1. The Month of
Mary
1858—Father Vaillant sent to arrange boundaries
(episode)
2. December Night
May 1859—Father Vaillant recalls event when he
was a curate in Puy-de-Dome (flashback)
3. Spring in the
Navajo Country
4. Eusabio
Death Comes for the Archbishop: B o o k s S e ven – N in e
281
INTERACTIVE READING: Literar y Element
Literary Element
Plot Explain how the events described
on this page are the same as or
different from traditional rising action.
282
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK EIGHT, CHAPTER 2
That congested heaping up of the Rocky Mountain chain
about Pike’s Peak was a blank space on the continent at this
time. Even the fur trappers, coming down from Wyoming to
Taos with their pelts, avoided that humped granite backbone.
Only a few years before, Frémont had tried to penetrate
the Colorado Rockies, and his party had come half-starved into
Taos at last, having eaten most of their mules. But within twelve
months everything had changed. Wandering prospectors had
found large deposits of gold along Cherry Creek, and the
mountains that were solitary a year ago were now full of
people. Wagon trains were streaming westward across the
prairies from the Missouri River.
The Bishop of Leavenworth wrote Father Latour that he
himself had just returned from a visit to Colorado. He had
found the slopes under Pike’s Peak dotted with camps, the
gorges black with placer miners; thousands of people were
living in tents and shacks, Denver City was full of saloons and
gambling-rooms; and among all the wanderers and wastrels
were many honest men, hundreds of good Catholics, and not
one priest. The young men were adrift in a lawless society
without spiritual guidance. The old men died from exposure
and mountain pneumonia, with no one to give them the last
rites of the Church.
This new and populous community must, for the present, the
Kansas Bishop wrote, be accounted under Father Latour’s
jurisdiction. His great diocese, already enlarged by thousands of
square miles to the south and west, must now, on the north,
take in the still undefined but suddenly important region of the
Colorado Rockies. The Bishop of Leavenworth begged him to
send a priest there as soon as possible,—an able one, by all
means, not only devoted, but resourceful and intelligent, one
who would be at his ease with all sorts of men. He must take
his bedding and camp outfit, medicines and provisions, and
clothing for the severe winter. At Camp Denver there was
nothing to be bought but tobacco and whisky. There were no
women there, and no cook stoves. The miners lived on halfbaked dough and alcohol. They did not even keep the mountain
water pure, and so died of fever. All the living conditions were
abominable.
In the evening, after dinner, Father Latour read this letter
aloud to Father Vaillant in his study. When he had finished, he
put down the closely written pages.
“You have been complaining of inactivity, Father Joseph; here
is your opportunity.” . . .
INTERACTIVE READING: Literar y Element
Before he went to bed that night Father Joseph greased his
boots and trimmed the calloused spots on his feet with an old
razor. At the Mexican village of Chimayo, over toward the
Truchas mountains, the good people were especially devoted to
a little equestrian image of Santiago in their church, and they
made him a new pair of boots every few months, insisting that
he went abroad at night and wore out his shoes, even on
horseback. When Father Joseph stayed there, he used to tell
them he wished that, in addition to the consecration of the
hands, God had provided some special blessing for the
missionary’s feet.
He recalled affectionately an incident which concerned this
Santiago of Chimayo. Some years ago Father Joseph was asked
to go to the calabozo at Santa Fé to see a murderer from
Chimayo. The prisoner proved to be a boy of twenty, very
gentle in face and manner. His name was Ramón Armajillo. He
had been passionately fond of cock-fighting, and it was his
undoing. He had bred a rooster that never lost a battle, but had
slit the necks of cocks in all the little towns about. At last Ramón
brought the bird to Santa Fé to match him with a famous cock
there, and half a dozen Chimayo boys came along and put up
everything they had on Ramón’s rooster. The betting was heavy
on both sides, and the gate receipts also were to go to the
winner. After a somewhat doubtful beginning, Ramón’s cock
neatly ripped the jugular vein of his opponent; but the owner of
the defeated bird, before anyone could stop him, reached into
the ring and wrung the victor’s neck. Before he had dropped
the limp bunch of feathers from his hand, Ramón’s knife was in
his heart. It all happened in a flash—some of the witnesses even
insisted that the death of the man and the death of the cock
were simultaneous. All agreed that there was not time for a man
to catch his breath between the whirl of the wrist and the gleam
of the knife. Unfortunately the American judge was a very
stupid man, who disliked Mexicans and hoped to wipe out
cock-fighting. He accepted as evidence statements made by the
murdered man’s friends to the effect that Ramón had repeatedly
threatened his life.
When Father Vaillant went to see the boy in his cell a few
days before his execution, he found him making a pair of tiny
buckskin boots, as if for a doll, and Ramón told him they were
for the little Santiago in the church at home. His family would
come up to Santa Fé for the hanging, and they would take the
boots back to Chimayo, and perhaps the little saint would say a
good word for him.
Literary Element
Plot Identify the plot device used on
this page, and explain how it adds to
the characterization of Father Vaillant.
Death Comes for the Archbishop: Book Eight, Chapter 2
283
INTERACTIVE READING: Reading Strategy
Reading Strategy
Recognize Bias Bias need not always
be against someone or something.
A person can also be biased in favor of
someone or something. Identify bias in
this passage and explain what it shows
about Father Latour.
284
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK SEVEN, CHAPTER 4
When they left the rock or tree or sand dune that had
sheltered them for the night, the Navajo was careful to obliterate
every trace of their temporary occupation. He buried the embers
of the fire and the remnants of food, unpiled any stones he had
piled together, filled up the holes he had scooped in the sand.
Since this was exactly Jacinto’s procedure, Father Latour judged
that, just as it was the white man’s way to assert himself in any
landscape, to change it, make it over a little (at least to leave
some mark of memorial of his sojourn), it was the Indian’s way
to pass through a country without disturbing anything; to pass
and leave no trace, like fish through the water, or birds through
the air.
It was the Indian manner to vanish into the landscape, not to
stand out against it. The Hopi villages that were set upon rock
mesas were made to look like the rock on which they sat, were
imperceptible at a distance. The Navajo hogans, among the sand
and willows, were made of sand and willows. None of the
pueblos would at that time admit glass windows into their
dwellings. The reflection of the sun on the glazing was to them
ugly and unnatural—even dangerous. Moreover, these Indians
disliked novelty and change. They came and went by the old
paths worn into the rock by the feet of their fathers, used the
old natural stairway of stone to climb to their mesa towns,
carried water from the old springs, even after white men had
dug wells.
In the working of silver or drilling of turquoise the Indians
had exhaustless patience; upon their blankets and belts and
ceremonial robes they lavished their skill and pains. But their
conception of decoration did not extend to the landscape. They
seemed to have none of the European’s desire to “master”
nature, to arrange and re-create. They spent their ingenuity in
the other direction; in accommodating themselves to the scene
in which they found themselves. This was not so much from
indolence, the Bishop thought, as from an inherited caution and
respect. It was as if the great country were asleep, and they
wished to carry on their lives without awakening it; or as
if the spirits of earth and air and water were things not to
antagonize and arouse. When they hunted, it was with the same
discretion; an Indian hunt was never a slaughter. They ravaged
neither the rivers nor the forest, and if they irrigated, they took
as little water as would serve their needs. The land and all that
it bore they treated with consideration; not attempting to
improve it, they never desecrated it.
INTERACTIVE READING: Reading Strategy
NOVEL EXCERPT: BOOK EIGHT, CHAPTER 3
The church in Denver was under a roof, but the windows
had been boarded up for months because nobody would buy
glass for them. In his Denver congregation there were men who
owned mines and saw-mills and flourishing businesses, but
they needed all their money to push these enterprises. Down
among the Mexicans, who owned nothing but a mud house and
a burro, he could always raise money. If they had anything at
all, they gave.
He called this trip frankly a begging expedition, and he went
in his carriage to bring back whatever he could gather. When he
got as far as Taos, his Irish driver mutinied. Not another mile
over these roads, he said. He knew his own territory, but here
he refused to risk his neck and the Padre’s. There was then no
wagon road from Taos to Santa Fé. It was nearly a fortnight
before Father Vaillant found a man who would undertake to get
him through the mountains. At last an old driver, schooled on
the wagon trains, volunteered; and with the help of ax and pick
and shovel, he brought the Episcopal carriage safely to Santa Fé
and into the Bishop’s court-yard.
Once again among his own people, as he still called them,
Father Joseph opened his campaign, and the poor Mexicans
began taking dollars out of their shirts and boots (favourite
places for carrying money) to pay for windows in the Denver
church. His petitions did not stop with windows—indeed, they
only began there. He told the sympathetic women of Santa Fé
and Albuquerque about all the stupid, unnecessary discomforts
of his life in Denver, discomforts that amounted to
improprieties. It was a part of the Wild West attitude to despise
the decencies of life. He told them how glad he was to sleep in
good Mexican beds once more. In Denver he lay on a mattress
stuffed with straw; a French priest who was visiting him had
pulled out a long stem of hay that stuck through the thin
ticking, and called it an American feather. His dining-table was
made of planks covered with oilcloth. He had no linen at all,
neither sheets nor serviettes, and he used his worn-out shirts for
face towels. The Mexican women could scarcely bear to hear of
such things. Nobody in Colorado planted gardens, Father
Vaillant related; nobody would stick a shovel into the earth for
anything less than gold. There was no butter, no milk, no eggs,
no fruit. He lived on dough and cured hog meat.
Within a few weeks after his arrival, six feather-beds were
sent to the Bishop’s house for Father Vaillant; dozens of linen
sheets, embroidered pillow-cases and table-cloths and napkins;
strings of chili and boxes of beans and dried fruit. The little
settlement of Chimayo sent a roll of their finest blankets.
Reading Strategy
Recognize Bias What kind of bias is
found in this passage? Explain your
answer.
Death Comes for the Archbishop: Book Eight, Chapter 3
285
ON-PAGE NOTE-TAKING: BIG Idea
MARK IT UP
Are you allowed to write in your novel?
If so, then mark up the pages as you
read, or reread, to help with your notetaking. Develop a shorthand system,
including symbols, that works for you.
Here are some ideas:
Underline = important idea
Bracket = text to quote
Asterisk = just what you were looking
for
Checkmark = might be useful
Circle = unfamiliar word or phrase to
look up
왘 BIG Idea
Cultures in Conflict Explain the
cultural conflict detailed in this excerpt.
Mark up the excerpt, looking for
evidence of how it expresses the
Big Idea.
286
NOVEL COMPANION: Unit 6
NOVEL EXCERPT: BOOK NINE, CHAPTER 7
The expulsion of the Navajos from their country, which had
been theirs no man knew how long, had seemed to him an
injustice that cried to Heaven. Never could he forget that terrible
winter when they were being hunted down and driven by
thousands from their own reservation to the Bosque Redondo,
three hundred miles away on the Pecos River. Hundreds of
them, men, women, and children, perished from hunger and
cold on the way; their sheep and horses died from exhaustion
crossing the mountains. None ever went willingly; they were
driven by starvation and the bayonet; captured in isolated
bands, and brutally deported.
It was his own misguided friend, Kit Carson, who finally
subdued the last unconquered remnant of that people; who
followed them into the depths of the Canyon de Chelly, whither
they had fled from their grazing plains and pine forests to make
their last stand. They were shepherds, with no property but their
live-stock, encumbered by their women and children, poorly
armed and with scanty ammunition. But this canyon had always
before proved impenetrable to white troops. The Navajos
believed it could not be taken. They believed that their old gods
dwelt in the fastnesses of that canyon; like their Shiprock, it was
an inviolate place, the very heart and centre of their life.
Carson followed them down into the hidden world between
those towering walls of red sandstone, spoiled their stores,
destroyed their deep-sheltered corn-fields, cut down the
terraced peach orchards so dear to them. When they saw all that
was sacred to them laid waste, the Navajos lost heart. They did
not surrender; they simply ceased to fight, and were taken.
Carson was a soldier under orders, and he did a soldier’s brutal
work. But the bravest of the Navajo chiefs he did not capture.
Even after the crushing defeat of his people in the Canyon de
Chelly, Manuelito was still at large. It was then that Eusabio
came to Santa Fé to ask Bishop Latour to meet Manuelito at
Zuñi. As a priest, the Bishop knew that it was indiscreet to
consent to a meeting with this outlawed chief; but he was a
man, too, and a lover of justice. The request came to him in such
a way that he could not refuse it. He went with Eusabio.
Though the Government was offering a heavy reward for his
person, living or dead, Manuelito rode off his own reservation
down into Zuñi in broad daylight, attended by some dozen
followers, all on wretched, half-starved horses. He had been in
hiding out in Eusabio’s country on the Colorado Chiquito.
CORNELL NOTE-TAKING: BIG Idea
Use the Cornell Note-Taking system to take notes on the excerpt at the left.
Record your notes, Reduce them, and then Recap (summarize) them.
Record
Reduce
Try the following approach as you
reduce your notes.
TO THE POINT
Write a few key ideas.
Recap
D e a t h C o m e s f or t he A rchbi s h o p : Book Nine, Chapter 7
287
AFTER YOU READ: Books Seven–Nine
Respond and Think Critically
1. Compare and contrast Father Vaillant’s and Bishop Latour’s reactions to
Vaillant’s impending departure. Why do you think they react differently?
[Interpret]
2. How does the bishop spend his days following his retirement? Why does
he choose to remain in New Mexico instead of returning to France?
[Interpret]
3. What scenes from his past does the bishop remember when he is old and
ill? Why do you think he remembers these particular scenes? [Apply]
4. Father Vaillant reflects that women need to worship the Virgin Mary
because “Only a Woman, divine, could know all that a woman can suffer.”
Explain why this is an example of bias. [Evaluate]
5. Cultures in Conflict Where do Cather’s sympathies most likely lie on the
issue of Native American rights and cultures? How do you know?
[Synthesize]
288
NOVEL COMPANION: Unit 6
APPLY BACKGROUND
Reread Build Background on
page 279. How did that information
help you understand or appreciate
what you read in the novel?
AFTER YOU READ: Books Seven–Nine
Literary Element
Vocabulary Practice
Plot
1. Give examples to support this statement: “Death
Comes for the Archbishop has an episodic plot.”
[Synthesize]
Identify the context clues in the following sentences
that help you determine the meaning of each
boldfaced vocabulary word. Circle the letter of the
sentence that uses the vocabulary word correctly.
1. A. The man’s leg began to atrophy as a result of
the therapy.
B. The man’s leg began to atrophy as a result of
the injury.
2. A. Because of her cruelty to the children, we
regarded the woman as benign.
2. Review the definition of modernism on page 280.
Tell how it does or does not apply to this novel.
[Apply]
B. Because of her kindness to the children, we
regarded the woman as benign.
3. A. The man related the parable in order to teach
us a lesson.
B. The man told us the parable to make us laugh.
4. A. Sarah will propagate the plants in the
greenhouse.
B. Sarah will propagate the plants for our dinner
tonight.
5. A. Fred’s detailed analysis of every aspect of the
plan was superficial.
B. Fred’s slipshod analysis of parts of the plan
was superficial.
Reading Strategy
Recognize Bias
1. In what ways does this last part of the novel reflect
the bias that the Catholic Church is a force for good
in the rapidly changing West? [Analyze]
Academic Vocabulary
Missionaries such as Vaillant and Latour work to
convert native peoples to Christianity. In the
preceding sentence, convert means “to change the
religion of. ” Convert also has other meanings. For
example: Toshio will convert the fraction to a
decimal. What do you think convert means in the
preceding sentence? What is the difference between
the two meanings?
2. In what ways does Father Latour reflect the biases
of his time, and in what way does he transcend
them? [Synthesize]
Death Comes for the Archbishop: B o o k s S e ve n – Nin e
289
AFTER YOU READ: Books Seven–Nine
Writing
Research and Report
Write a Treatment How might Death Comes for the
Archbishop be presented as a movie or as a series of
episodes in a television show? Write a treatment—that
is, an outline of the plot—for a movie or TV version of
the novel. Be sure your treatment includes a cast of
characters with their most important traits and
suggestions for actors who might portray them. Also,
include suggestions for settings or a style of filming to
create the appropriate atmosphere. Consider your
audience to be studio executives.
Literary Criticism Pam Fox Kuhlken writes that “To
appreciate Cather’s art is to understand the sanctified
nature of the land, which illuminates our own nature
at the same time.” Do you agree? Write a response to
Kuhlken’s comment and present it to the class.
Jot down some notes here first.
Prepare Begin by jotting down notes on the phrase
“sanctified nature of the land.” If necessary, begin by
finding a definition of sanctified. Then reflect on what
the phrase means and where you see evidence of it in
the novel. Think about whether the “sanctified land” is
at the heart of your appreciation of Death Comes for
the Archbishop, as well as what Cather’s focus on the
land, and its holiness, tells you about human nature.
Write your thesis statement. Then draft your response.
Include logical arguments to persuade your reader to
agree with your opinion.
Report Present your response to the class. If you read
it aloud, be sure to look up and at your audience as
frequently as possible and to read slowly and loudly
enough so that everyone can hear. If you decide to
summarize your response, prepare brief bulleted notes
to refer to as needed. Make eye contact with your
audience, stand up straight, and speak clearly and
confidently as you present your opinion.
Evaluate Write a paragraph evaluating your report.
When others report, offer clear, polite feedback about
their verbal and nonverbal techniques, such as
loudness, posture, and pace.
290
NOVEL COMPANION: Unit 6
WORK WITH RELATED READINGS
Death Comes for the Archbishop
The following questions refer to the Related Readings in Glencoe’s Literature
Library edition of this novel. Support your answers with details from the text.
Write your answers on a separate sheet of paper, but jot down some notes
first on the lines provided.
On Death Comes for the Archbishop
Holy Sonnet 167
Willa Cather
In what ways does Latour resemble the historical figure
on whom his character is based?
John Donne
Compare and contrast Bishop Latour’s and Donne’s
views of death. How are they similar? How do they
differ?
Origins: Through Tewa Eyes
Alfonso Ortiz
Which of the customs described in this article are
mentioned in Cather’s novel?
American Odyssey: Cycling the Santa Fe Trail
Dennis L. Coello
According to both Cather and Coello, why was travel
dangerous on the Santa Fe Trail during the 1850s?
In 1864
Luci Tapahonso
How does Tapahonso’s portrayal of Kit Carson differ
from Cather’s portrayal of Kit Carson?
Death Comes for the Archbishop: B o o k s S e ve n – Nin e
291
CONNECT TO OTHER LITERATURE
LITERATURE EXCERPT: A Walk to the Jetty
My mother had arranged with a
stevedore to take my trunk to the jetty ahead
of me. At ten o’clock on the dot, I was
dressed, and we set off for the jetty. An hour
after that, I would board a launch that
would take me out to sea, where I then
would board the ship. Starting out, as if for
old time’s sake and without giving it a
thought, we lined up in the old way: I
walking between my mother and my father.
I loomed way above my father and could see
the top of his head. We must have made a
strange sight: a grown girl all dressed up in
the middle of a morning, in the middle of
the week, walking in step in the middle
between her two parents, for people we
didn’t know stared at us. It was all of half an
hour’s walk from our house to the jetty, but I
was passing through most of the years of my
life. We passed by the house where Miss
Dulcie, the seamstress that I had been
apprenticed to for a time, lived, and just as I
was passing by, a wave of bad feeling for her
came over me, because I suddenly
remembered that the months I spent with
her all she had me do was sweep the floor,
which was always full of threads and pins
and needles, and I never seemed to sweep it
clean enough to please her. Then she would
send me to the store to buy buttons or
thread, though I was only allowed to do this
if I was given a sample of the button or
thread, and then she would find fault even
though they were an exact match of the
samples she had given me. And all the while
she said to me, “A girl like you will never
learn to sew properly, you know.” At the
292
NOVEL COMPANION: Unit 6
time, I don’t suppose I minded it, because it
was customary to treat the first-year
apprentice with such scorn, but now I placed
on the dustheap of my life Miss Dulcie and
everything that I had had to do with her.
We were soon on the road that I had
taken to school, to church, to Sunday school,
to choir practice, to Brownie meetings, to
Girl Guide meetings, to meet a friend. I was
five years old when I first walked on this
road unaccompanied by someone to hold
my hand. My mother had placed three
pennies in my little basket, which was a
duplicate of her bigger basket, and sent me
to the chemist’s shop to buy a pennyworth
of senna leaves, a pennyworth of eucalyptus
leaves, and a pennyworth of camphor. She
then instructed me on what side of the road
to walk, where to make a turn, where to
cross, how to look carefully before I crossed,
and if I met anyone that I knew to politely
pass greetings and keep on my way. I was
wearing a freshly ironed yellow dress that
had printed on it scenes of acrobats flying
through the air and swinging on a trapeze.
I had just had a bath, and after it, instead of
powdering me with my baby-smelling
talcum powder, my mother had, as a special
favor, let me use her own talcum powder,
which smelled quite perfumy and came in a
can that had painted on it people going out
to dinner in nineteenth-century London and
was called Mazie. How it pleased me to
walk out the door and bend my head down
to sniff at myself and see that I smelled just
like my mother.
CONNECT TO OTHER LITERATURE
Compare the novel you have just read with the literature selection at the left,
which is an excerpt from “A Walk to the Jetty” by Jamaica Kincaid in Glencoe
Literature. Then answer the questions below.
Compare & Contrast
Setting Explain how setting affects the inner life of one or more characters
in this excerpt and in Death Comes for the Archbishop.
TALK ABOUT IT
With a small group, decide how the
journey recounted in this excerpt is
similar to and different from the
journeys in Death Comes for the
Archbishop.
Jot down notes for discussion on the
lines below.
Voice Contrast the narrator’s voice in this excerpt with the narrator’s voice
in Death Comes for the Archbishop.
Plot The plot pattern developed in this excerpt continues for most of
“A Walk to the Jetty.” Explain at least one similarity and one difference
between the plot of this story and the plot of Death Comes for the
Archbishop.
Death Comes for the Archbishop: B o o k s S e ve n – Nin e
293
RESPOND THROUGH WRITING
UNDERSTAND THE TASK
Short Story
Apply Setting Write a short story in which the setting and atmosphere are a
major focus of the plot, or in which aspects of the setting are symbolic. Relate
a series of events that could not occur anywhere except in the setting in which
you place them.
Prewrite Brainstorm ideas for a story by completing “What if” questions. Two
examples of “What if” questions are “What if a child became separated from
her family in a national forest?” “What if pranksters suddenly took over an
amusement park?” After you come up with a good “What if” question that you
want to turn into a story, make a story map like this one:
Characters
Setting &
Atmosphere
Capitalization
1.
2.
3.
Ending
Draft Begin with your exposition–that is, introduce the time, the place, and
the characters. Use specific details to evoke the atmosphere or to give
symbolic resonance to aspects of the setting. Then tell the events of the story.
Remember that you can use dialogue to help move the plot forward and
develop characters. Lead your reader to the climax, or point of greatest
excitement. Then solve the problem or conflict.
Revise Are there enough details to help your readers visualize the setting? Is
the setting a major focus of your story? Have you clearly introduced a conflict
and led up gradually to your climax? Have you used time-order words and
phrases to help your audience follow the sequence of events?
Edit and Proofread Edit your writing so that it expresses your thoughts
effectively and is well organized. Carefully proofread for grammar, punctuation,
and spelling errors.
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• Atmosphere is the dominant
emotional feeling that contributes to
the mood. Authors create
atmosphere primarily through details
of the setting such as time, place,
and weather. For example, the
atmosphere may be muggy, with
heavy rainclouds in the air. This
might lead to a mood of oppression.
Grammar Tip
Problem/
Conflict
Events
• Setting is the time and place in
which the events of a literary work
occur. The elements of setting may
include geographical location,
historical period, season of the year,
time of day, and the beliefs and
customs of a society.
NOVEL COMPANION: Unit 6
Capitalize all proper nouns,
including the names of ethnic and
religious groups.
Dine
Mexicans
Navajo
Catholics
Capitalize all important words in
place names:
Continental
Divide
Rio Grande
Valley
Colorado
Rockies
Galveston
New Mexico
Pike’s Peak
Capitalize other proper nouns,
including important words in
personal titles:
Bishop of
Durango
Doña Isabella
Father Latour
St. Augustine