Central Board of Secondary Educa on
Class - 10
Unit - 4
The Butterfly Effect
Central Board of Secondary Educa on
The CBSE-International is grateful for permission to reproduce and/or translate
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included wherever appropriate and sources from where the material has been
taken duly mentioned. In case anything has been missed out, the Board will be
pleased to rectify the error at the earliest possible opportunity.
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reproduced, printed or transmitted in any form without the prior permission of
the CBSE-i. This material is meant for the use of schools who are a part of the
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Preface
The Curriculum initiated by Central Board of Secondary Education –International (CBSE-i) is a progressive step in making the
educational content and methodology more sensitive and responsive to the global needs. It signifies the emergence of a fresh thought
process in imparting a curriculum which would restore the independence of the learner to pursue the learning process in harmony with
the existing personal, social and cultural ethos.
The Central Board of Secondary Education has been providing support to the academic needs of the learners worldwide. It has about
11500 schools affiliated to it and over 158 schools situated in more than 23 countries. The Board has always been conscious of the
varying needs of the learners in countries abroad and has been working towards contextualizing certain elements of the learning
process to the physical, geographical, social and cultural environment in which they are engaged. The International Curriculum being
designed by CBSE-i, has been visualized and developed with these requirements in view.
The nucleus of the entire process of constructing the curricular structure is the learner. The objective of the curriculum is to nurture the
independence of the learner, given the fact that every learner is unique. The learner has to understand, appreciate, protect and build
on values, beliefs and traditional wisdom, make the necessary modifications, improvisations and additions wherever and whenever
necessary.
The recent scientific and technological advances have thrown open the gateways of knowledge at an astonishing pace. The speed
and methods of assimilating knowledge have put forth many challenges to the educators, forcing them to rethink their approaches
for knowledge processing by their learners. In this context, it has become imperative for them to incorporate those skills which will
enable the young learners to become ‘life long learners’. The ability to stay current, to upgrade skills with emerging technologies, to
understand the nuances involved in change management and the relevant life skills have to be a part of the learning domains of the
global learners. The CBSE-i curriculum has taken cognizance of these requirements.
The CBSE-i aims to carry forward the basic strength of the Indian system of education while promoting critical and creative thinking
skills, effective communication skills, interpersonal and collaborative skills along with information and media skills. There is an inbuilt
flexibility in the curriculum, as it provides a foundation and an extension curriculum, in all subject areas to cater to the different pace
of learners.
The CBSE has introduced the CBSE-i curriculum in schools affiliated to CBSE at the international level in 2010 and is now introducing
it to other affiliated schools who meet the requirements for introducing this curriculum. The focus of CBSE-i is to ensure that the learner
is stress-free and committed to active learning. The learner would be evaluated on a continuous and comprehensive basis consequent
to the mutual interactions between the teacher and the learner. There are some non-evaluative components in the curriculum which
would be commented upon by the teachers and the school. The objective of this part or the core of the curriculum is to scaffold the
learning experiences and to relate tacit knowledge with formal knowledge. This would involve trans-disciplinary linkages that would
form the core of the learning process. Perspectives, SEWA (Social Empowerment through Work and Action), Life Skills and Research
would be the constituents of this ‘Core’. The Core skills are the most significant aspects of a learner’s holistic growth and learning
curve.
The International Curriculum has been designed keeping in view the foundations of the National Curriculum Framework (NCF 2005)
and the experience gathered by the Board over the last seven decades in imparting effective learning to millions of learners, many of
whom are now global citizens.
The Board does not interpret this development as an alternative to other curricula existing at the international level, but as an exercise
in providing the much needed Indian leadership for global education at the school level. The International Curriculum would evolve
on its own, building on learning experiences inside the classroom over a period of time. The Board while addressing the issues of
empowerment with the help of the schools’ administering this system strongly recommends that practicing teachers become skillful
learners on their own and also transfer their learning experiences to their peers through the interactive platforms provided by the
Board.
I profusely thank Shri G. Balasubramanian, former Director (Academics), CBSE, Ms. Abha Adams and her team and Dr. Sadhana
Parashar, Head (Innovations and Research) CBSE along with other Education Officers involved in the development and implementation
of this material.
The CBSE-i website has already started enabling all stakeholders to participate in this initiative through the discussion forums provided
on the portal. Any further suggestions are welcome.
Vineet Joshi
Chairman
Acknowledgements
Conceptual Framework
Shri G. Balasubramanian, Former Director (Acad), CBSE
Shri Vineet Joshi, Chairman,
Ms. Abha Adams, Consultant, Step-by-Step School, Noida
CBSE
Dr. Sadhana Parashar, Head (I & R),CBSE
Ideators
Ms. Aditi Misra
Ms. Anuradha Sen
Ms. Jaishree Srivastava
Dr. Rajesh Hassija
Ms. Amita Mishra
Ms. Archana Sagar
Dr. Kamla Menon
Ms. Rupa Chakravarty
Ms. Anita Sharma
Ms. Geeta Varshney
Dr. Meena Dhami
Ms. Sarita Manuja
Ms. Anita Makkar
Ms. Guneet Ohri
Ms. Neelima Sharma
Ms. Seema Rawat
Dr. Anju Srivastava
Dr. Indu Khetrapal
Dr. N. K. Sehgal
Dr. Uma Chaudhry
Advisory
English :
Material Production Groups: Classes IX - X
Mathematics :
Science :
Ms. Renu Anand
Ms. Gayatri Khanna
Ms. P. Rajeshwary
Ms. Neha Sharma
Ms. Sarabjit Kaur
Ms. Ruchika Sachdev
Dr. K.P. Chinda
Mr. J.C. Nijhawan
Ms. Rashmi Kathuria
Ms. Reemu Verma
Ms. Charu Maini
Ms. S. Anjum
Ms. Meenambika Menon
Ms. Novita Chopra
Ms. Neeta Rastogi
Ms. Pooja Sareen
Geography:
Ms. Deepa Kapoor
Ms. Bharti Dave
Ms. Bhagirathi
Ms. Archana Sagar
Ms. Manjari Rattan
Political Science:
Economics:
Ms Sharmila Bakshi
Ms. Archana Soni
Ms. Srilekha
Ms. Mridula Pant
Mr. Pankaj Bhanwani
Ms. Ambica Gulati
Dr. Indu Khetarpal
Ms. Vandana Kumar
Ms. Anju Chauhan
Ms. Deepti Verma
Ms. Ritu Batra
English :
Ms. Rachna Pandit
Ms. Neha Sharma
Ms. Sonia Jain
Ms. Dipinder Kaur
Ms. Sarita Ahuja
Material Production Group: Classes I-V
Ms. Rupa Chakravarty
Ms. Anita Makkar
Ms. Anuradha Mathur
Ms. Kalpana Mattoo
Ms. Savinder Kaur Rooprai Ms. Monika Thakur
Ms. Seema Choudhary
Mr. Bijo Thomas
Ms. Kalyani Voleti
Material Production Groups: Classes VI-VIII
Science :
Mathematics :
Dr. Meena Dhami
Mr. Saroj Kumar
Ms. Rashmi Ramsinghaney
Ms. Seema kapoor
Ms. Priyanka Sen
Dr. Kavita Khanna
Ms. Keya Gupta
Ms. Seema Rawat
Ms. N. Vidya
Ms. Mamta Goyal
Ms. Chhavi Raheja
Political Science:
History :
Ms. Jayshree Srivastava
Ms. M. Bose
Ms. A. Venkatachalam
Ms. Smita Bhattacharya
Ms. Nandita Mathur
Ms. Seema Chowdhary
Ms. Ruba Chakarvarty
Ms. Mahua Bhattacharya
Geography:
Ms. Suparna Sharma
Ms. Leela Grewal
History :
Ms. Leeza Dutta
Ms. Kalpana Pant
Ms. Kanu Chopra
Ms. Shilpi Anand
Coordinators:
Dr. Sadhana Parashar, Head (I and R) Ms. Sugandh Sharma, E O (Com) Dr. Srijata Das, E O (Maths)
Dr. Rashmi Sethi, E O (Science)
Shri R. P. Sharma, Consultant
Ms. Ritu Narang, R O (Innovation) Ms. Sindhu Saxena, R O (Tech) Shri Al Hilal Ahmed, AEO
Ms. Seema Lakra, S O
Ms. Preeti Hans, Proof Reader
The Bu erfly Effect
Causes and Consequences
Why should we do this unit?
i.
The Butterfly Effect is a metaphor for life in a chaotic universe. Earlier it seemed
reasonable to believe that big influences had big effects and little influences
had little effects. But the Chaos Theory, however, changed that premise and has
built a theory that little things can also have big effects. Thus, students are urged to
think how they are affecting the world and others’ lives.
ii.
The activities are designed to help them learn how much they matter and the decisions they
make today, big and small, can truly change the world.
iii.
A number of activities have been provided to help those teachers who wish to
widen the students’ horizons beyond the learning outcomes outlined here.
iv.
Research and life skills are built into the methodology of every unit.
v.
Understanding or thinking about the cause and effect relationship helps a
student to learn how the world works. The students’ curiosities about the world
often involve cause and effect without their realizing it. English literature is full
of cause and effect scenarios. In Shakespeare’s Romeo and Juliet, Romeo killed himself
because he thought his love Juliet was dead.
vi.
Every subject that a student studies at high school level requires an understanding
of cause and effect e.g. Why did the Bengal Mutiny happen? What happens
when water is boiled to a hundred degrees? Why is the discovery of DNA the
most important in the 20th century?
The term “Bu erfly Effect” is a ributed to Edward Norton Lorenz, a mathema cian and
meteorologist, who was one of the first proponents of Chaos Theory. Though he had
been working on the theory for approximately ten years, with the principal ques on
whether a seagulls’ wing movements changes the weather, but he changed his research
to the more poe c bu erfly in the year 1973.
The concept of small varia ons producing the bu erfly effect actually pre-dates
science and finds its home in science fic on. Writers like Ray Bradbury were
par cularly interested in problems that might occur if one travelled back in me; he
has explored this possibility in his short story, ‘A Sound of Thunder’.
General Learning Outcomes of the unit
At the end of this unit, the students will be able to:
Û
understand the concept of cause and effect
Û
iden fy cause and effect rela onships in the short stories “A Sound
of Thunder”, “The Gi ” and in the weblog on environmental conserva on
Û
appreciate and understand the examples of cause and effect in their real
life situa ons
Û
iden fy and use words that depict cause and effect rela onship.
Specific Learning Outcomes of the unit:
At the end of this unit, the students will be able to:
Û
understand that the decisions they make today, big and small, can truly
change the world
Û
familiarize themselves with the elements of a short story and a poem
Û
write a short poem, a story, a report and a descrip on
Û
prepare powerpoint presenta ons on themes related to ‘The Bu erfly
Effect’
Û
ar culate their views on causes and consequences, both in speech and in
wri ng.
The Bu erfly Effect-Causes and
Consequences
Section
Listening
Speaking
Reading
Writing
Vocabulary and
Skills
Skills
Skills
Skills
language conventions
Sec on-A
A Sound of
Thunder (Story)
• A/V: Time
Travel
• Oral presenta on • Iden fying
main points of
• Sharing views on
a passage
• A/V The Sound
me travel
of Thunder• Drawing
Part 1, 2 and 3
inferences
• A/V: Theory of
Chaos
• Film review
• Descrip on of a
friendly dinosaur
• Descrip on of
an imaginary
creature
• Puzzle out the
meanings
• Condi onal
sentences
• Making a
Powerpoint
Presenta on
• Wri ng a diary
entry
Sec on-B
The Bu erfly
Effect (Poem)
• Listening for
• Sharing views
comprehension
on the theory
of ‘The Bu erfly
Effect’.
• Understand
the theory of
‘The Bu erfly
Effect’
• Rewrite almanac
using ‘if’
condi onal.
• Synonyms
• Poe c devices
• Comple ng a
summary
Sec on-C
The Gi (Story)
• Enact a role play
• Reference
work - library
and internet
resources
• Wri ng
dialogues
• Wri ng a diary
entry
• Comprehend
• Wri ng an ar cle
the visual cues
• MCQ
Sec on-D
Tiny acts cause
big changes
(weblog)
• A/V: The
Secret Life of
Chaos
• Giving a
Powerpoint
Presenta on
• Iden fying the • Wri ng a
newspaper
main points of
report
a passage
• Compare and
contrast the
story and the
two poems
• Wri ng a
summary
• Words expressing
cause - effect
rela onship
Content
I.
Sec on A
1
A Sound of Thunder by Ray Bradbury (Story)
II. Sec on B
20
The Bu erfly Effect by David Hernandez (Poem)
III. Sec on C
24
The Gi by Philip Van Doren Stern (Story)
IV. Sec on D
37
Tiny Acts Cause Big Changes (Weblog)
V. Suggested Reading
47
VI. Suggested Websites
47
Sec on A
Warm up
1.
In pairs, study the verbal and visual cues given below and plan a
tour to this loca on.
i)
Where do you think this city is located?
ii)
What is the
iii)
Is it possible to travel by a disc shaped aircra ?
iv)
What are your expecta ons regarding the social and poli cal life of this
locale ?
me period?
Travelling into different me periods has always fascinated humanity. People have
always tried to visualise life a hundred years ago and a hundred years ahead.
Read more on: h p://scienceray.com/physics/riddles-of- me-travel/#ixzz1KGemxAdv
1
2. a. Working in pairs, use the encarta/encyclopedia to find out more
about ‘ me travel’. Then, answer the following ques ons:
i.
Which me period in history would you like to visit?
_____________________________________________________________
ii.
Which year would you like to travel back to?
_____________________________________________________________
iii.
Whom would you want to meet ? Would you like to witness a specific
event?
_____________________________________________________________
iv.
What is that one event which you feel has changed history?
_____________________________________________________________
v.
It you had the power, which event of the history would you have
changed? Why?
_____________________________________________________________
Share your answers with the class.
b.
Watch this animated video talk presented by the Na onal
Geographic Society about how it is theore cally possible to travel
into different me periods. This would help you appreciate the
story more.
h p://youtube/V7vpw4AH8QQ
c.
With the help of the presenta on, science journals, encyclopedia
and your own understanding, make a two-minute presenta on to
demonstrate how me travel is
possible. Write a short descrip on
in about 150 words.
3. a. Here is a picture of a scien st
who is keen to protect prehistoric creatures. As the scien st,
write a diary entry expressing
your desire to save pre-historic
creatures.
2
b.
Give your views on whether me travel will have a posi ve or a
nega ve impact on our environment and on human history.
4.
Read this short story, “A Sound of Thunder” which involves a
Time Travel Safari where rich businessmen pay to travel back to
pre-historic mes and hunt real life dinosaurs.
A Sound of Thunder
Ray Bradbury
1.
The sign on the wall seemed to quaver
under a film of sliding warm water. Eckels
felt his eyelids blink over his stare.
The muscles around his mouth formed a
smile and his hand waved a check for ten
thousand dollars to the man behind the
desk.
TIME SAFARI, INC.
SAFARIS TO ANY YEAR IN THE PAST
YOU NAME THE ANIMAL.
WE TAKE YOU THERE.
YOU SHOOT IT.
2.
“Does this safari guarantee I come back
alive?”
3.
“We guarantee nothing,” said the official, “except the dinosaurs.” He turned. “This
is Mr. Travis, your Safari Guide in the Past. If he says no shoo ng, no shoo ng.
If you disobey instruc ons, there’s a s ff penalty of another ten thousand
dollars, plus possible government ac on, on your return.”
4.
A touch of the hand and this burning machine would, on the instant,
beau fully reverse itself. Eckels remembered the wording in the adver sements
to the le er. Out of chars and ashes, out of dust and coals, the old years, the
green years, might leap; roses sweeten the air, white hair turn Irish-black,
wrinkles vanish; all, everything fly back to seed, flee death, rush down to their
beginnings, suns rise in western skies and set in glorious easts, moons eat
themselves opposite to the custom. “Unbelievable”. Eckels breathed the light
of the Machine on his thin face. “A real Time Machine.” He shook his head.
“Makes you think, if the elec on had gone badly yesterday, I might be here
now running away from the results. Thank God, Keith won. He’ll make a fine
President of the United States.”
5.
“Yes,” said the man behind the desk. “We’re lucky. If Deutscher had go en
in, we’d have the worst kind of dictatorship. There’s an an everything
3
man for you, a militarist, an -human, an -intellectual. Said if Deutscher became
President they wanted to go live in 1492. Of course it’s not our business to
conduct Escapes but to form Safaris. Anyway, Keith’s President now. All you got
to worry about is-”
6.
“Shoo ng my dinosaur,” Eckels finished it for him.
7.
“A Tyrannosaurus Rex. The Tyrant Lizard, the most incredible monster in
history. Sign this release. Anything happens to you, we’re not responsible.
Those dinosaurs are hungry.”
8.
Eckels flushed angrily. “Trying to scare me!”
9.
“Frankly, yes. We don’t want anyone going who’ll panic at the first shot.
Six Safari leaders were killed last year and a dozen hunters. We’re here to
give you the severest thrill a real hunter ever asked for. Traveling you back
sixty million years to bag the biggest game in all of Time. Your personal
check’s s ll there. Tear it up.” Mr. Eckels looked at the check. His fingers
twitched.
10. “Good luck,” said the man behind the desk. “Mr. Travis, he’s all yours.” They
moved, taking their guns with them, toward the Machine, the roaring light.
First a day and then a night and then a day and then a night, then it was
day-night-day-night. A week, a month, a year, a decade! A.D. 2055. A.D. 2019.
1999! 1957! Gone! The Machine roared. They put on their oxygen helmets
and tested the intercoms.
11. Eckels felt the trembling in his arms and he looked down and found his hands ght
on the new rifle. There were four other men in the Machine. Travis, the Safari
Leader, his assistant, Lesperance, and two other hunters, Billings and Kramer. They
sat looking at each other, and the years blazed around them.
12. “Can these guns get a dinosaur cold?” Eckels felt his mouth saying.
13. “If you hit them right,” said Travis on the helmet radio. “Some dinosaurs
have two brains, one in the head, another far down the spinal column. We
stay away from those. That’s stretching luck. Put your first two shots into
the eyes, if you can, blind them and go back into the brain.” The Machine
howled. Time was a film run backward. The Machine stopped. The sun stopped
in the sky. The fog that had enveloped the Machine blew away and they were
4
in an old me. “The Pyramids are s ll in the earth, wai ng to be cut out and
put up. Remember that. Alexander, Caesar, Napoleon, and Hitler – none of
them exist.” The man nodded. “That” – Mr. Travis pointed – “is the jungle of
sixty million two thousand and fi y-five years before President Keith.”
14. He indicated a metal path. “And that,” he said,” is the Path, laid by the TIME
SAFARI for your use. It floats six inches above the Earth. Doesn’t touch so
much as a grass blade, flower or tree. An an -gravity metal. Its purpose is to
keep you from touching the world of the past in any way. Stay on the Path. Don’t
go off it. For any reason! If you fall off, there is a penalty. And don’t shoot
any animal, we don’t, okay.”
15. “Why?” asked Eckels.
16. “We don’t want to change the Future. We don’t belong here in the Past.
The government doesn’t like us here. We have to pay big gra to keep our
franchise. A Time Machine is finicky business. Not knowing it, we might kill
an important animal, a small bird, a roach and a flower even, thus destroying
an important link in a growing species.”
17. “That’s not clear,” said Eckels.
18. “All right,” Travis con nued, “say we accidentally kill one mouse here. That
means all the future families of this one par cular mouse are destroyed,
right?”
19. “Right.”
20. “So they’re
what?”
dead,”
said
Eckels. “So
21. “So what?” Travis snorted quietly. “Well,
what about the foxes that’ll need those
mice to survive? For want of ten mice, a
fox dies. For want of ten foxes a lion
starves. For want of a lion, all manner of
insects, vultures, infinite billions of life
forms are thrown into chaos and
destruc on. Eventually it all boils down
to this: fi y-nine million years later, a
5
caveman, one of a dozen on the en re world, goes hun ng wild boar or
saber-toothed ger for food. But you, friend, have stepped on all the gers in
that region by stepping on one single mouse. So the caveman starves. And
the caveman, please note, is not just any expendable man, no! He is an
en re future na on.
Perhaps Rome never rises on its seven hills. Perhaps Europe is forever a dark
forest and only Asia waxes healthy and teeming. Step on a mouse and you
crush the Pyramids. Step on a mouse and you leave your print across Eternity.
Queen Elizabeth might never be born, Washington might not cross the Delaware
and there might never be a United States at all. So be careful. Stay on the Path.
Never step off!”
22. “I see,” said Eckels. “Then it wouldn’t pay for us even to touch the grass?”
23. “Correct. Crushing certain plants could add up infinitesimally. Of course maybe
our theory is wrong. Maybe Time can’t be changed by us. Or maybe it can
be changed only in li le subtle ways. A dead mouse here makes an insect
imbalance there, a popula on dispropor on later, a bad harvest further on,
a depression, mass starva on, and finally, a change in social temperament in
far-flung countries. Who knows? Who really can say he knows? We don’t know.
We’re guessing. But un l we do know for certain whether our messing
around in Time can make a big roar or a li le rustle in history, we’re being
careful. This Machine, this Path, your clothing and bodies were sterilized, as
you know, before the journey. We wear these oxygen helmets so we can’t
introduce our bacteria into an ancient atmosphere.”
24. “How do we know which animals to shoot?”
25. “They’re marked with red paint,” said Travis. “Today, before our journey,
we sent Lesperance here back with the Machine. He came to this par cular
era and followed certain animals.”
26. “Studying them?”
27. “Right,” said Lesperance. “I track them through their en re existence, no ng
which of them lives longest. Very few. Life’s short, when I find one that’s going
to die when a tree falls on him or one that drowns in a tar pit, I note the exact
hour, minute and second. I shoot a paint bomb. It leaves a red patch on his side.
We can’t miss it. This way, we kill only animals with no future, that are never
going to mate again. You see how careful we are?”
6
28. “But if you came back this morning in Time,” said Eckels eagerly, you
must’ve bumped into us, our Safari! How did it turn out? Was it successful?
Did all of us get through – alive?”
29. Travis and Lesperance gave each other a look.
30. “That’d be a paradox,” said the la er. “Time doesn’t permit that sort of
mess-a man mee ng himself. When such occasions threaten, Time steps
aside. Like an airplane hi ng an air pocket. You felt the Machine jump just
before we stopped? That was us passing ourselves on the way back to the
Future. We saw nothing. There’s no way of telling if this expedi on was a
success, if we got our monster or whether all of us – meaning you, Mr. Eckels –
got out alive. ”Eckels smiled palely.
31. “Cut that,” said Travis sharply. “Everyone on his feet!” They were ready to
leave the Machine. Eckels balanced on the narrow Path and aimed his rifle playfully.
“Stop that!” said Travis. “Don’t even aim for fun, blast you! If your guns should
go off –”
32. Eckels flushed. “Where’s our Tyrannosaurus?”
33. Lesperance checked his wristwatch. “Up ahead. Look for the red paint!
Don’t shoot ll we give the word. Stay on the Path!”
34. “Safety catches off, everyone!” ordered Travis. “You, first shot, Eckels. Second,
Billings, Third, Kramer.”
35. “I’ve hunted ger, wild boar, buffalo, elephant but now, this is it,” said Eckels.
“I’m shaking like a kid.”
36. “Ah,” said Travis.
Everyone stopped.
37. Travis raised his hand. “Ahead,” he whispered. “In the mist. There he is. There’s His
Royal Majesty now.”
38. Silence.
39. A sound of thunder.
7
5.
Discuss in pairs and answer the following ques ons:
a. How should a hunter prepare to shoot his prey, according to Travis? Why?
b. How did Travis prepare for the hun ng safari?
c. Why wouldn’t we meet ourselves if we travel into our past or future?
40. Out of the mist, one hundred yards away, came Tyrannosaurus Rex.
It came on great oiled, resilient, striding legs. It towered thirty feet above half of
the trees, folding its delicate watchmaker’s claws close to its oily rep lian chest.
Each lower leg was a piston, a thousand pounds of white bone, sunk in thick ropes
of muscle, sheathed over in a gleam of pebbled skin. Each thigh was a ton of meat,
ivory and steel mesh. And from the great breathing cage of the upper body those
two delicate arms dangled out in front, arms with hands which might pick up
and examine men like toys. And the head itself, a ton of sculptured stone, li ed
easily upon the sky. Its mouth gaped, exposing a fence of teeth like daggers. Its
eyes rolled, ostrich eggs, empty of all expression save hunger. It ran, its pelvic
bones crushing aside trees and bushes, its taloned feet clawing damp earth,
leaving prints six inches deep wherever it se led its weight. It ran with a
gliding ballet step.
8
41. “It can’t be killed,” Eckels pronounced this verdict quietly. The rifle in his hands
seemed a cap gun. “We were fools to come. This is impossible.”
42. “Shut up!” hissed Travis.
43. “Nightmare.”
44. “Turn around,” commanded Travis. “Walk quietly to the Machine. We’ll remit half
your fee.”
45. “I didn’t realize it would be this big,” said Eckels. “I miscalculated, that’s all.
And now I want out.”
46. “It sees us!”
47. “There’s the red paint on its chest!” The Tyrant Lizard raised itself.
48. “Get me out of here,” said Eckels. “It was never like this before. I was always
sure I’d come through alive. I had good guides, good safaris and safety. This
me, I figured wrong. This is too much for me to get hold of.”
49. “Don’t run,” said Lesperance. “Turn around. Hide in the Machine.”
50. “Yes.” Eckels seemed to be numb. He looked at his feet as if trying to make them
move. He gave a grunt of helplessness.
51. “Eckels!”He took a few steps, blinking, shuffling.
52. “Not that way!”
53. The Monster lunged forward with a terrible scream. It covered one hundred
yards in six seconds. The rifles jerked up and blazed fire. A windstorm from the
beast’s mouth engulfed them in the stench of slime and old blood. The Monster
roared, teeth gli ering with sun. The jungle was high and the jungle was broad and
the jungle was the en re world forever and forever. Sounds like music and sounds
like flying tents filled the sky, and those were pterodactyls roaring with cavernous
grey wings, gigan c bats of delirium and night fever. The rifles cracked again, Their
sound was lost in shriek and lizard and lizard thunder. Its boulder stone eyes leveled
with the men. They fired at the metallic eyelids and the blazing black iris.
54. Like a stone idol, like a mountain avalanche, Tyrannosaurus fell.
9
55. Thundering, it clutched trees, pulled them with it. It wrenched and tore the
metal Path. A fount of blood spurted from its throat. They stood, red and
glistening. The thunder faded. Billings and Kramer sat on the pathway and threw
up. Travis and Lesperance stood with smoking rifles, cursing steadily. In the Time
Machine, on his face, Eckels lay shivering. He had found his way back to the Path,
climbed into the Machine. Travis came walking, glanced at Eckels, took co on
gauze from a metal box and returned to the others, who were si ng on the Path.
56. “Clean up.”They wiped the blood from their helmets. Another cracking sound.
Overhead, a gigan c tree branch broke from its heavy mooring, fell. It crashed
upon the dead beast with finality.
57. “There.” Lesperance checked his watch. “Right on me. That’s the giant tree
that was scheduled to fall and kill this animal originally.” He glanced at the
two hunters. “You want the trophy picture?”
58. “What?”
59. “We can’t take a trophy back to the Future. The body has to stay right here
where it would have died originally, so the insects, birds, and bacteria can
get at it, as they were intended to. Everything in balance. The body stays.
But we can take a picture of you standing near it”. The two men tried to
think, but gave up, shaking their heads. They let themselves be led along
the metal Path. They sank wearily into the Machine cushions. A sound on
the floor of the Time Machine s ffened them. Eckels sat there, shivering.
60. “I’m sorry,” he said at last.
61. “Get up!” cried Travis. Eckels got up.
62. “Go out on that Path alone,” said Travis. He had his rifle pointed, “You’re
not coming back in the Machine. We’re leaving you here!”
63. Lesperance seized Travis’s arm. “Wait – ”
64. “Stay out of this!” Travis shook his hand away. “This fool nearly killed us.
But it isn’t that so much, no. It’s his shoes! Look at them! He ran off
the Path. That ruins us! We’ll forfeit! Thousands of dollars of insurance!
We guarantee no one leaves the Path. He le it. Oh, the fool! I’ll have to
report to the government. They might revoke our license to travel. Who
knows what he’s done to Time, to History!”
65. “Take it easy, all he did was kick up some dirt.”
10
66. “How do we know?” cried Travis. “We don’t know anything! It’s all a
mystery! Get out of here, Eckels!”
67. Eckels fumbled his shirt. “I’ll pay anything. A hundred thousand dollars!”
68. Travis glared at Eckels’ checkbook and spat. “Go out there. The Monster’s
next to the Path. S ck your arms up to your elbows in his mouth. Then you can
come back with us.”
69. “That’s unreasonable!”
70. “The Monster’s dead, you idiot. The bullets! The bullets can’t be le behind.
They don’t belong in the Past; they might change anything. Here’s my knife.
Dig them out!” A er a long me, like a sleepwalker he shuffled out along the
Path. He returned, shuddering, five minutes later, his arms soaked and red
to the elbows. He held out his hands. Each held a number of steel bullets.
71. “Next me he won’t go hun ng game like this. Okay.” He jerked his thumb
wearily at Lesperance. “Switch on. Let’s go home.”1492. 1776. 1812. Travis
glared at Eckels for a full ten minutes.
72. “Don’t look at me,” cried Eckels. “I haven’t done anything.”
73. “Who can tell?”
74. “Just ran off the Path, that’s all, a li le mud on my shoes-what do you want me
to do-get down and pray?”
75. “We might need it. I’m warning you, Eckels, I might kill you. I’ve got my gun ready.”
76. “I’m innocent. I’ve done nothing!”1999.2000.2055. The Machine stopped.
77. “Get out,” said Travis.
78. The room was there as they had le it. But not the same as they had le it.
The same man sat behind the same desk. But the same man did not quite
sit behind the same desk. Travis looked around swi ly. “Everything okay
here?” he snapped.
79. “Fine. Welcome home!”Travis did not relax. He seemed to be looking through
one high window.
80. “Okay, Eckels, get out. Don’t ever come back.” Eckels could not move.
81. “You heard me,” said Travis. “What’re you staring at?”
11
82. Eckels stood smelling the air and there was a thing to the air, a chemical
taint so subtle, so slight, that only a faint cry of his subliminal senses warned
him it was there. The colors, white, gray, blue, orange, in the wall, in the
furniture, in the sky beyond the window, were . . . were . . . . And there was
a feel. His flesh twitched. His hands twitched. He stood drinking the
oddness with the pores of his body. ….
83. But the immediate thing was the sign
painted on the office wall, the same sign
he had read earlier today on first entering.
Somehow, the sign had changed:
TYME SEFARI INC.
SEFARIS TU ANY YEER EN THE PAST.
YU NAIM THE ANIMALL.
Eckels felt himself fall into a chair. He
WEE TAEK YU THAIR.
fumbled crazily at the thick slime on his
YU SHOOT ITT.
boots. He held up a clod of dirt, trembling,
“No, it can’t be. Not a li le thing like that.
No!” Embedded in the mud, glistening green and gold and black, was a bu erfly,
very beau ful and very dead.
84. “Not a bu erfly!” cried Eckels.
It fell to the floor, a small thing that could upset balances and knock down a line
of small dominoes and then big dominoes and then gigan c dominoes, all down
the years across Time. Eckels’ mind whirled. Killing one bu erfly couldn’t be that
important! Could it?
12
His face was cold. His mouth trembled, asking: “Who – who won the
presiden al elec on yesterday?”
85. The man behind the desk laughed. “You joking? You know very well.
Deutscher, of course! Who else? Not that fool weakling Keith. We got an iron
man now, a man with guts!” The official stopped. “What’s wrong?”
86. Eckels moaned. He dropped to his knees. He scrabbled at the golden bu erfly
with shaking fingers. “Can’t we,” he pleaded to the world, to himself, to the
officials, to the Machine, “can’t we take it back, can’t we make it alive again?
Can’t we start over? Can’t we –”He did not move. Eyes shut, he waited, shivering.
He heard Travis breathe loud in the room; he heard Travis shi his rifle, click
the safety catch and raise the weapon.
87. There was a sound of thunder.
[Abridged]
6 a.
In pairs, find and read the sentences where these words are given in
the story. Puzzle out their meanings and write them in the space given
in the table. Using a dic onary or a thesaurus, write the meanings
that you find and compare the two meanings.
Words
Meanings you puzzled out
Meanings in the
dic onary /thesaurus
1
quaver
2
sheathed
3
stench
4
infinitesimally
5
depression
6
sterilized
7
boulder stone
8
taint
9
oddness
13
b.
Match the meanings given below with the phrases given in the box
and write the answers in the corresponding boxes.
lump of earth; ar s c feelings; rough surface; complicated work; dead with mouth
open; kill the animal; reverse occurrence; foul smelling s cky substance; heavy
fines; bright light.
Phrases
1
S ff penalty
2
Opposite to custom
3
Roaring light
4
Get a dinosaur cold
5
Finicky business
6
Death grin
7
Stench of slime
8
Heavy mooring
9
Subliminal senses
10
Clod of dirt
7 a.
Meaning
Now, watch a slideshow about Ray Bradbury and his short story to
help you understand the writer’s message for his readers.
www.worldofteaching.com/powerpoints/english/A%20Sound%20
of%20Thunder.ppt
b.
14
In pairs, discuss the answers for the following ques ons:
i.
This safari is unusual in its purpose. Why?
ii.
Eckels was fascinated by the machine that would take them back in me.
Why?
iii.
Briefly describe each traveller based on the details that you have gathered
from the story.
iv.
How were the prey iden fied for the hunt? Do you think Travis is right?
Give two reasons for your answer.
v.
Although a seasoned hunter, Eckels backed away at the last moment. Why?
vi.
What purpose does the metallic ‘Path’ serve? How does it work?
vii.
Do you observe any changes a er the Time Travellers’ return to 2055?
What do you think could have happened?
viii. The story ends with Travis’s firing his gun. What do you think happens
a er this moment?
c.
Watch the unabridged film clips of the TV serial, based on the story
‘A Sound of Thunder’.
Sound of Thunder 1 of 3: h p://youtu.be/wkLT57mVnGE
Sound of thunder 2 of 3: h p://youtu.be/Kqd4Ol8FlGc
Sound of Thunder 3 of 3: h p://youtu.be/-xuq3kOwGGw
8.
In groups of four, respond to the following ques ons. Each
member prepares a two-minute oral presenta on of the
group’s findings and share it with the class.
i.
What is the Dominoes Effect ? Use an encyclopedia or internet to find
more about the Dominoes Effect and apply it to the situa on being
discussed in the story.
ii.
The elec on scene undergoes a dras c change? Make a connec on
between what happened during the safari and the outcome of the
elec ons.
iii.
Do you agree that Travis possesses the quali es of a modern leader?
Why/Why not?
iv.
Travis lays down the following protocols for their trip, namely:
i.
Don’t change anything in the Past
ii.
Don’t leave anything behind
iii.
Don’t bring anything back.
How closely did the hunters observe these protocols ?
v.
Recall the comment about Ray Bradbury’s style of wri ng given in the
powerpoint presenta on. Support it with suitable examples from the story.
15
9.
10.
The science fic on presented in the film version used the
supernatural and cinema c effects to interpret Bradbury’s story.
Write a film review, in about 200 words, illustra ng your
observa ons. Use these guidelines to write the review:
i.
Understand the story in the film.
ii.
Give your opinion about ac ng, photography, cast, dura on, dress etc.
iii.
Find out who are the actors. Are they known for a certain style?
iv.
Is it a remake or a sequel?
v.
Tell the readers how it lived up to the original unabridged story.
Grammar
Read the following statements from the story. In pairs, iden fy and underline
the part of the statement which expresses a condi on. Share your observa ons
with the class.
i.
If he says no shoo ng, no shoo ng.
ii.
If you disobey instruc ons, there’s a s ff penalty of another ten thousand
dollars, plus possible government ac on, on your return.
iii.
But un l we do know for certain whether our messing around in Time can
make a big roar or a li le rustle in history, we’re being careful.
iv.
“Stop that!” said Travis. “Don’t even aim for fun, blast you! If your guns
should go off – ”
v.
If Deutscher had go en in, we’d have the worst kind of dictatorship.
vi.
If you fall off, there is a penalty.
vii.
“All right,” Travis con nued, “say we accidentally kill one mouse here. That
means all the future families of this par cular mouse are destroyed, right?”
viii. If Deutscher became President, they wanted to go live in 1492.
ix.
Can these guns get a dinosaur cold?” Eckels felt his mouth saying.
“If you hit them right,” said Travis on the helmet radio...
x.
Put your first two shots into the eyes, if you can blind them and go back
into the brain.”
16
Read these guidelines to complete the given tasks:
Condi onal sentences show how a result depends on a condi on/s.
In English, there are four formulas to structure the condi onal sentences:
1.
The first formula indicates the possible outcome of an event
[e.g.] If I am late, I will call you.
2.
The second formula indicates the possible outcome of an event that is
less likely to occur.
[e.g.] If it gets ho er, we may have a thunder storm.
3.
The third formula indicates the possible outcome of an event that did
not occur and is, therefore, a missed opportunity.
[e.g.] If I had revised, I would have passed all my exams.
4.
The fourth formula indicates that the statement is true. This is
some mes called ‘zero condi onal’ where ‘if’ can be replaced with
‘when’.
[e.g.] If you heat ice, it melts.
It is possible to reverse the order of the clauses.
Condi onals can also be introduced using ‘as long as‘, ‘un l’, ‘ ll’, ‘on condi on
that’, ‘provided that’ etc.
Now, complete the following tasks:
Task 1 : Re-read the statements given in ques on no. 10 and state the condi ons
expressed in them. Share your answers with the class.
Task 2: Complete the following sentences based on the guidelines given in the
box:
i.
It_____________________________, if we tried to cross the muddy river.
ii.
I’d watch the film only______________________________________good.
iii.
She’d have taken me to the sta on ________________________________.
17
iv.
________________________________, he won’t help you with the project.
v.
________________________________ yesterday, we could have gone to
the beach for a picnic.
vi.
Can I read this book un l _______________________________________?
vii.
I wouldn’t have opened the e-mail, if ______________________________.
viii. We won’t get lost as ____________________________________________.
ix.
You can leave earlier provided ____________________________________.
x.
On condi on _____________________, I will lend you $ 10,000.
xi.
When___________________________, the stars shine brightly.
xii.
We could take a trip to planet Mars, _______________________________.
11 a. Read the writer’s descrip on of the dinosaur again.
The Roar of Thunder
It came on great oiled, resilient,
striding legs. It towered thirty feet
above half of the trees, folding its
delicate watchmaker’s claws close
to its oily rep lian chest. Each
lower leg was a piston, a thousand
pounds of white bone, sunk in
thick ropes of muscle, sheathed
over in a gleam of pebbled skin. Each thigh was a ton of meat, ivory and steel mesh.
And from the great breathing cage of the upper body those two delicate arms dangled
out in front, arms with hands which might pick up and examine men like toys. And the
head itself, a ton of sculptured stone, li ed easily upon the sky. Its mouth gaped,
exposing a fence of teeth like daggers. Its eyes rolled, ostrich eggs, empty of all
expression save hunger. It ran, its pelvic bones crushing aside trees and bushes,
its taloned feet clawing damp earth, leaving prints six inches deep wherever it
se led its weight…
18
b.
Iden fy and underline the words that are used to describe the
animal.
c.
Now, write a similar descrip on of a friendly dinosaur. Your readers
should find your wri ng realis c and interes ng. Make it easy for your
readers to imagine the appearance, movements and other quali es
of the animal.
d.
Create an imaginary creature with different parts from different
animals. Draw a picture and describe the creature in 150-200
words.
A me machine
19
Sec on B
Warm up
1.
Read the informa on given below.
‘The Bu erfly Effect ‘ is a term that has become quite
popular, thanks to me-travel stories like “The Sound of
Thunder”. It means that ny changes within a complex
system lead to results that are impossible to predict. Can
the flu ering wings of a bu erfly in one place really affect
the weather condi ons in another far away place?
Unbelievable it seems, but that is what “The Bu erfly
Effect” theory says.
Have you observed similar situa ons in your day
to day life where ny changes led to results that were impossible
to predict. Share your experiences with the class.
2.
Now, read the illustra ve modern poem aloud:
The Bu erfly Effect
by David Hernandez
If a butterfly flapping its wings in Beijing
Palm trees bowing on the shore.
could cause a hurricane off the coast of Florida, Grass huts disintegrating like blown dandelions.
so could a deck of cards shuffled at a picnic.
So could the clapping hands of a father
Hard to believe, but when I rewind my life,
watching his son rounding the bases,
starting from a point when my heart
thee wind sculpting his baggy pants.
was destroyed by a hurricane of grief,
So could a woman reading a book of poems,
I see the dominoes rising, how that storm
a tiny current from a turned page
was just a gale weeks earlier, a gust
slipping out the open window, nudging
days before that. Finally I see where it all began.
a passing breeze: an insignificant event
I say hello to a woman sitting alone
that could snowball months later into a monsoon
at the park, a tattoo butterfly perched
at a coastal village halfway around the world.
on her ankle, ready to reek havoc.
(Slightly edited)
[You can also read David Hernandez’s poetry, “The Bu erfly Effect” in its en rety in
Quarterly West issue #52]
20
3 a.
Iden fy ten keywords or phrases. Replace them with words of
similar meanings and find words which express the poet’s ideas as
good as the words used in the poem. For example, ‘rounding’ can be
replaced by ‘touching’.
Words/phrases from the poem
Your words/phrases
b.
Read the poem aloud to the class with words you have used. The
class votes for the best ‘poem’.
4.
Complete the summary of the poem with appropriate words.
The writer, ________________, in his poem uses a tle that is derived from the
scien fic theory called __________________. He expresses the idea that small
__________________ might cause great changes in _________________ of
a distant loca on. He proposes that even small vibra ons in the atmosphere
caused by ___________________________, __________________________,
______________________, ________________________or ________________
can accelerate a devasta ng storm elsewhere.
In stanza II, the poet applies this understanding to life itself.
Who knows? There are mes in our lives when we feel as small
as a bu erfly and make almost no difference in the lives of
those around us. We believe the same for others. However, the poet believes that
it was possible that the poet’s mee ng with ________________________ who
had a ___________________________ ankle, had caused___________________
________________________.
21
5.
Read the following poem by Benjamin Franklin found in ‘Poor
Richard’s Almanac ’, which also illustrates the same theme of ‘The
Bu erfly Effect’.
For want of a nail, the shoe was lost;
For want of the shoe, the horse was lost;
For want of the horse, the rider was lost;
For want of the rider, the ba le was lost;
For want of the ba le, the kingdom was lost,
And all for the want of a horseshoe nail.
[This poem is derived from a verse by George Herbert’s Jacula Pruden um,
wri en in 1651.]
6.
How is the cause and effect of human ac ons illustrated in these
two poems? Share your views with the class.
7.
In pairs, discuss the following ques ons and share your answers
with the class.
22
i.
Explain the use of personifica on in the phrase ‘sculp ng his baggy pants’.
ii.
What do you understand by the phrase ‘nudging a passing breeze’?
iii.
When and how does one ‘rewind his or her life’?
iv.
How does the poet use metaphors and similes to illustrate his feelings?
v.
How could a chance mee ng with a stranger be the cause of so much of
emo onal distress, according to the poet?
vi.
What symbolism does he recognize in the ta oo bu erfly?
vii.
Rewrite Benjamin Franklin’s verse using the condi onal ‘if’ or ‘unless’
without changing the meaning of the verse. Share it with your class.
8. a. In pairs, study and think over this cartoon-Snoopy.
A
Butterfly!
May be it’s a beautiful princess who
has been turned into a butterfly by a
wicked snowe.
May be she wants me to follow her
and when we reach the enchanted
castle, we both will be turned into
human beings.
Forget it!
b.
What is the similarity in the message conveyed by the cartoonist
and the poet?
c.
Bring out the symbolism in the cartoon and share it with the class.
About the Poet
David Hernandez is an American poet and
novelist. Most recently, he was awarded a 2011
NEA Literature Fellowship in Poetry. His recent
collec on, Hoodwinked, won the Kathryn A.
Morton Prize and is forthcoming from Sarabande
Books this August. His other collec ons include
Always Danger (SIU Press, 2006), winner of the
Crab Orchard Series in Poetry, and A House
Wai ng for Music (Tupelo Press, 2003). His
poems have appeared in FIELD, Ploughshares,
The Threepenny Review, The Missouri Review, Tri-Quarterly, The Southern
Review, and Poetry Daily. He is also the author of two novels, No
More Us for You and Suckerpunch, both published by HarperCollins. David
teaches at the University of California, Irvine. He lives in Long Beach and is
married to writer Lisa Gla .
23
Sec on - C
Warm up : Do I make a difference?
1.
Look at the pictures given below:
a.
b.
i.
Who are the subjects in these pictures?
ii.
What do you think these people are doing?
iii.
Do you think their ac ons can have any significant impact? Give reasons
for your answer.
c.
d.
i.
Have you ever par cipated in any of the ac vi es as illustrated in these
pictures? Why or why not?
ii.
Are these children doing something important? Give reasons for your
answer.
iii.
How can every li le act make a big difference to our planet?
iv.
Give some more examples where small things can make a big difference.
Explain how it can happen.
Share your ideas with the class.
24
2.
Some stories can change the way we think and some can give a
new perspec ve to our life. Have you read any story that has le an
indelible imprint in your mind? Discuss it with your class.
3.
Now, read the story given below:
The Gi
Philip Van Doren Stern
1.
The li le town straggling up the hill was bright with colored Christmas lights. But
George Pra did not see them. He was leaning over the railing of the iron bridge,
staring down moodily at the black water gliding downstream under the bridge.
He leaned s ll farther over the railing...A li le man he had never seen before
said, “I wouldn’t do that if I were you.”
2.
“Wouldn’t do what?” George asked sullenly.
3.
“What you were thinking of doing.”
4.
“How do you know what I was thinking?”
5.
“Oh, we make it our business to know a lot of things,” the stranger said easily. He
was an unremarkable li le person. He was carrying a small black satchel-a
salesman’s sample kit, George decided distastefully, probably some sort of
peddler, the kind who would go around poking his sharp li le nose into other
people’s affairs. The li le man shook his head. “You know you shouldn’t think
of such things— You’ve got to consider Mary—and your mother too. George
opened his mouth to ask how this stranger could know his wife’s name but the
fellow an cipated him. “Don’t ask me how I know such things. It’s my business
to know ’em. That’s why I came along this way tonight. Lucky I did too.” He
glanced down at the dark water and shuddered. “Well, if you know so much
about me,” George said, “give me just one good reason why I should be alive.
The li le man made a queer chuckling sound. “Come, come, it can’t be that
bad. You’ve got your job at the bank. And Mary and the kids. You’re healthy,
young, and—”
25
6.
“I’m stuck here in this mud hole for life, doing the same dull work day a er day.
Other men are leading exci ng lives, but I—well, I’m just a small-town bank clerk
that even the army didn’t want. I never did anything really useful or interes ng
and it looks as if I never will. I might just as well be dead. I might be er be
dead. Some mes I wish I were. In fact, I wish I’d never been born!”
The li le man stood looking at him in the growing darkness. “What was that you
said?” he asked so ly. “I said I wish I’d never been born,” George repeated firmly.
“And I mean it too.”
7.
The stranger’s pink cheeks glowed with excitement. “Why that’s wonderful!
You’ve solved everything. I was afraid you were going to give me some trouble.
But now you’ve got the solu on yourself. You wish you’d never been born. All
right! OK! You haven’t!”
8.
“What do you mean?” George growled.
9.
“You haven’t been born. Just that. You haven’t been born. No one here knows
you. You have no responsibili es—no job—no wife—no children. Why, you
haven’t even a mother. You couldn’t have, of course. All your troubles are over.
Your wish, I am happy to say, has been granted—officially.”
10. “Nuts!” George snorted and turned away. The stranger ran a er him and caught
him by the arm. “You’d be er take this with you,” he said, holding out his
satchel. “It’ll open a lot of doors that might otherwise be slammed in your face.”
11. He opened the satchel and displayed a number of brushes. “You’d be surprised
how useful these brushes can be as introduc on—especially the free ones. When
the lady of the house comes to the door you give her this and then talk fast.
You say: ‘Good evening, Madam. I’m from the World Cleaning Company and I
want to present you with this handsome and useful brush absolutely free—
no obliga on to purchase anything at all.’ A er that, of course, it’s a cinch.
Now you try it.” He forced the brush into George’s hand. George promptly
dropped the brush into the satchel and closed it with an angry snap. “Here,”
he said, and then stopped abruptly, for there was no one in sight. The li le
stranger must have slipped away into the bushes growing along the river bank,
George thought.
26
It’s a Good Life [1946]
12. The street lights had been turned on and candles in the windows glowed so ly.
The li le town looked remarkably cheerful. He remembered the quarrel he had had
when his car had scraped a piece of bark out of Hank Biddle’s big maple tree. He was
ordinarily afraid to have Hank catch him even looking at the tree. Now he stepped
out boldly into the roadway to examine the huge trunk. Hank must have repaired
the scar or painted it over for there was no sign of it. George struck a match and
bent down to look more closely. He remembered what the li le man at the bridge
had said. It was all nonsense, of course, but the nonexistent scar bothered him.
13. When he reached the bank, he saw that something was wrong. The building
was dark and he knew he had turned the vault light on. He no ced, too, that
someone had le the window shades up. He ran around to the front. There was a
ba ered old sign fastened on the door. George could just make out the words:
FOR RENT OR SALE
Apply
JAMES SILVA
Real Estate Agent
Perhaps it was some boys’ trick, he thought wildly. Then he saw a pile of
ancient leaves and ta ered newspapers in the bank’s ordinarily immaculate
doorway. And the windows looked as though they hadn’t been washed for
years. A light was s ll burning across the street in Jim Silva’s office. George
dashed over and tore the door open. Jim looked up from his ledger book in
27
surprise. “What can I do for you, young man?” he said in the polite voice which
he reserved for poten al customers. “The bank,” George said breathlessly.
“What’s the ma er with it? “The old bank building?” Jim Silva turned around and
looked out of the window. “Nothing that I can see. Wouldn’t like to rent or buy it,
would you?”
14. “You mean—it’s out of business?”
15. “For a good ten years. Went bust. Stranger round these parts, aren’t you?”
George sagged against the wall. “I was here some me ago,” he said weakly.
“The bank was all right then. I even knew some of the people who worked there.”
16. “Didn’t you know a feller named Marty Jenkins, did you?”
17. “Marty Jenkins! Why, he—” George was about to say that Marty had never
worked at the bank—couldn’t have, in fact, for when they had both le school
they had applied for a job there and George had go en it. But now, of course,
things were different. He would have to be careful. “No, I didn’t know him,” he
said slowly. “Not really, that is. I’d heard of him.”
18. “Then maybe you heard how he skipped out with fi y thousand dollars. That’s
why the bank went broke. Pre y near ruined everybody around here.” Silva
was looking at him sharply. “I was hoping for a minute maybe you’d know where
he is. I lost plenty in that crash myself. We’d like to get our hands on Marty
Jenkins.”
19. “Didn’t he have a brother? Seems to me he had a brother named Arthur.”
20. “Art? Oh, sure. But he’s all right. He doesn’t know where his brother went. It’s
had a terrible effect on him, too. Took to drink, he did. It’s too bad—and hard
on his wife. He married a nice girl.”
21. “Who did he marry?” he demanded hoarsely. Both he and Art had courted Mary.
22. “Girl named Mary Thatcher,” Silva said cheerfully. “She lives up on the hill— Hey!
Where are you going?” But George had bolted out of the office. He ran past the
empty bank building and turned up the hill. For a moment he thought of going
straight to Mary. But then he knew he couldn’t face Mary—not yet anyway. He
decided to visit his parents and find out more about her. It was a li le weatherbeaten house on the side street. George raised the gate latch with a loud click. A
dark shape hurled itself down the steps, barking ferociously. “Brownie!” George
28
shouted. “Brownie, you old fool, stop that! Don’t you know me?” But the dog
advanced menacingly and drove him back behind the gate. The porch light
snapped on and George’s father stepped outside to call the dog off. His father
held the dog by the collar while George cau ously walked past. He could see that
his father did not know him.
23. “Is the lady of the house in?” he asked. His father waved toward the door.
“Go on in,” he said cordially. “I’ll chain this dog up. She can be mean with
strangers.”
24. His mother, who was wai ng in the hallway, obviously did not recognize him.
George opened his sample kit and grabbed the first brush that came to hand.
“Good evening, ma’am,” he said politely. “I’m from the World Cleaning Company.
We’re giving out a free sample brush. I thought you might like to have one. No
obliga on. No obliga on at all...” His voice faltered. His mother smiled at his
awkwardness. “I suppose you’ll want to sell me something. I’m not really sure
I need any brushes.” “No’m . I’m not selling anything,” he assured her. “The
regular salesman will be around in a few days. This is just—well, just a present
from the company.”
25. “How nice, you people never gave away such good brushes before,” she said.
“This is a special offer,” he said. His father entered the hall and closed the door.
“Won’t you come in for a while and sit down?” his mother said. “You must be
red walking so much.”
26. “I used to know this town pre y well,” he said to make conversa on. “Knew
some of the townspeople. I remember a girl named Mary Thatcher. She
married Art Jenkins, I heard. You must know them.”
27. “Of course,” his mother said. “We know Mary well.”
28. “Any children?” he asked casually.
29. “Two—a boy and a girl”. George sighed audibly.
30. “My, you must be red, perhaps I can get you a cup of tea,” his mother said.
“No’m, don’t bother,” he said. “I’ll be having supper soon.” He looked around the
li le parlor, trying to find out why it looked different. Over the mantelpiece hung a
framed photograph which had been taken on his kid brother Harry’s sixteenth
29
birthday. He remembered how they had gone to Po er’s studio to be photographed
together. There was something queer about the picture. It showed only one
figure—Harry. “That your son?” he asked. She nodded. “I think I met him, too.
His name’s Harry, isn’t it?” George said hesitantly. His mother turned away, her
husband put his arm clumsily around her shoulder. His voice, which was always
mild and gentle, suddenly became harsh. “You couldn’t have met him,” he said.
“He’s been dead a long while. He was drowned the day that picture was taken.”
George remembered that on their way home they had gone swimming. Harry had
been seized with a cramp, he remembered. He had pulled him out of the water
and had thought nothing of it. But suppose he hadn’t been there! “I’m sorry,” he
said miserably. “I guess I’d be er go. I hope you like the brush. ”
31. George wanted desperately now to see
Mary. He wasn’t sure he could stand
not being recognized by her but he had
to see her. He stumbled blindly up the
path to his own house. The lawn
was un dy, and the flower bushes
he had kept carefully trimmed were
neglected
Art
and
Jenkins
badly
could
sprouted.
hardly
be
It’s a Good Life [1946]
expected to care for such things. When he knocked at the door there was a
long silence, followed by the shout of a child. Then Mary came to the door.
At the sight of her, George’s voice almost failed him.
32. “Good evening, ma’am,” he managed to say at last. George entered the living
room unhappily. George got his satchel open. One of the brushes had a bright
blue handle and varicolored bristles. It was obviously a brush not intended
to be given away but George didn’t care. He handed it to Mary. “My, that’s a
pre y brush,” she exclaimed. “You’re giving it away free?” He nodded solemnly.
“Special introductory offer. It’s one way for the company to keep excess profits
down—share them with its friends.” There was a sudden scream from the kitchen
30
and two small children rushed in. A li le, homely-faced girl flung herself into her
mother’s arms, sobbing loudly as a boy of seven came running a er her, snapping
a toy pistol at her head. “Mommy, she won’t die,” he yelled. “I shot her a hunert
mes, but she won’t die.” He looks just like Art Jenkins, George thought. Acts like him
too. The boy suddenly turned his a en on to him. “Who’re you?” he
demanded belligerently. He pointed his pistol at George and pulled the trigger.
“You’re dead!” he cried. “You’re dead. Why don’t you fall down and die?”
33. There was a heavy step on the porch. The boy looked frightened and backed
away. George saw Mary glance apprehensively at the door. Art Jenkins came in.
He stood for a moment in the doorway, clinging to the knob for support. His eyes
were glazed and his face was very red. “Who’s this?” he demanded thickly. “He’s
a brush salesman,” Mary tried to explain. “He gave us this.” “Brush salesman!” Art
sneered. “Well, tell him to get outa here. We don’t want no brushes and no brush
salesmen neither.” George looked despairingly at Mary. Her eyes were begging
him to go. George went to the door, followed by Art’s son, who kept snapping the
pistol at him and saying: “You’re dead—dead—dead!” Perhaps the boy was right;
George thought when he reached the porch. Maybe he was dead or maybe this
was all a bad dream from which he might eventually awake. He hurried down the
hill and was relieved to see the li le stranger standing on the bridge. He would
try to persuade him to cancel the whole deal. “I’ve had enough,” he gasped. “Get
me out of this—you got me into it.” The stranger raised his eyebrows. “I got you
into it! I like that! You were granted your wish. You got everything you asked for.
You’re the freest man on earth now. You have no es. You can go anywhere—
do anything. What more can you possibly want?” George pleaded, “Change me
back—please. Not just for my sake but for others too. You don’t know what a mess
this town is in. You don’t understand. I’ve got to get back. They need me here.”
34. “I understand right enough,” the stranger said slowly. “I just wanted to make sure
you did. You had the greatest gi of all conferred upon you—the gi of life, of being
a part of this world and taking a part in it. Yet you denied that gi .”
“You can’t cut me off like this. Why, it’s murder!”
31
“I’ve got to get back; you can’t cut me off
like this. Why, it’s murder!” George said
desperately! “Suicide rather, wouldn’t
you say?” the stranger murmured. “You
brought it on yourself. However, close
your eyes.” George did as he was told.
He felt a cold, wet snowdrop touch his
cheek—and then another and another.
Neither the li le stranger nor anything
else could be seen. George groped for the
bridge railing.
35. When he reached Hank Biddle’s house he peered down anxiously at the base of the
big maple tree. The scar was there! He’d have to do something about the wound—
get a tree surgeon or something. Anyway, he’d evidently been changed back. Maybe
he had been hypno zed by the smooth-flowing black water. He had heard of such
things.
36. At the corner of Main and Bridge Streets, he almost collided with Jim Silva. “Hello,
George,” Jim said cheerfully. “Late tonight, aren’t you? I should think you’d want to
be home early.” George drew a long breath. “I just wanted to see if the bank is all
right. I’ve got to make sure the vault light is on.”
37. “Sure it’s on. I saw it as I went past.”
38. Pulling at Silva’s sleeve, George said, “Let’s look, huh?” He wanted the assurance
of a witness. “I told you it was on,” Silva said with some irrita on.
39. “Thanks—!”
40. Then he was off like a streak, running up the hill. He was in a hurry to get home,
but not in such a hurry that he couldn’t stop for a moment at his parents’ house,
where he wrestled with Brownie un l the friendly old bulldog waggled all over
with delight. He grasped his startled brother’s hand and wrung it fran cally,
wishing him. Then he dashed across the parlor to examine a certain photograph.
He kissed his mother, joked with his father and was out of the house a few
seconds later, stumbling and slipping, up the hill. George flung the door to his
home open and called out at the top of his voice: “Mary! Where are you?
32
Mary! Kids!” His wife came toward him and making gestures to silence him. “I’ve
just put the children to bed,” she protested. But not another word could she
get out of her, for he dragged her up to the children’s room, where he madly
embraced his son and his daughter and waking them up thoroughly.
41. It was not un l Mary got him downstairs that he
began to be coherent. “I thought I’d lost you and my
kids!”
42. “What’s the ma er, dear?” she asked in bewilderment.
He pulled her down on the sofa and just as he was
about to tell her about his queer dream, his fingers
came in contact with something lying on the seat of
It’s a Good Life [1946]
the sofa. His voice froze. He did not even have to pick
the thing up for he knew what it was. And he knew that it would have a blue handle
and varicolored bristles. [adapted]
About the Author
Philip Van Doren Stern was born in Wyalusing,
Pennsylvania, to I.U. and Anne (Van Doren) Stern. He was
raised in New Jersey and a ended Rutgers University,
a er which he moved to and lived the be er part of his
life in New York City. Stern’s involvement in the literary
community saw him serve in many roles: editor, novelist,
biographer and lecturer. He was most deeply involved,
however, in historical research and wri ng. Stern was
one of the foremost historical authori es on Civil War era
people, poli cs, sociology and military tac cs.
His single most famous work, however, grew out of a message he wrote to
some of his close friends in 1943. The following year, the message evolved into
a fantasy short story about a mysterious stranger who appears to a suicidal
man as he prepares to throw himself from a bridge. The man, explaining that
he wishes he had never been born, is shown by the stranger exactly what his
town would be like if he had never existed. ‘Greatest Gi ” was also adapted for
the made-for-TV film. The film swells the heart with it’s vision of friendship,
integrity, generosity, and of our capacity to make a difference in other people’s
lives. The story was adapted by director Frank Capra and screenwriters
Frances Goodrich and Albert Hacke and became the film ‘It’s a Wonderful Life’.
Philip Van Doren Stern’s literary career spanned over half a century, un l he re red to
Sarasota, Florida. He passed away there from cardiac arrest on July 31, 1984.
33
4.
Based on your reading, choose the meaning which is closest to
each of the following phrases:
a.
Here ‘straggling up ’ means
i.
loitering around
ii.
extending across a specific area
iii. spreading horizontally
b.
‘Poking one’s nose into’ means
i.
A rude gesture
ii.
Being inquisi ve
iii. Over friendly behaviour
c.
‘Queer chuckling’ means
i.
Uncontrollable laughter
ii.
Laughing to oneself strangely
iii. Rare childish laughter
d.
‘Ordinarily afraid’ means
i.
normal to be frightened
ii.
afraid of a specific event
iii. frightened most of the me
e.
‘Mudhole for life’ means
i.
he hates the rainy, muddy surroundings
ii.
being dissa sfied with life and the world
iii. a mud hole has become his home
f.
‘Immaculate doorway’ implies
i.
Well swept entrance
ii.
Freshly painted door
iii. No one stands at the doorway
34
g.
‘No obliga on at all’ here means
i.
No charges for anything
ii.
No favours owed to anyone
iii. Need not thank anyone
5.
Complete the table by wri ng the corresponding causes or
consequences, as desired in the space given below.
Causes
Consequences
Mary is married to Arthur.
There was no scar on Hank’s tree
The bank was bankrupt.
Brownie, George’s pet, a acks him.
His garden was kept shabbily.
Mary’s son is rude and very destruc ve.
Our hero gets to be ‘born’ again.
George finds a varicoloured brush
on his sofa
6.
Discuss in pairs and find out the answers for the following
ques ons. Add your own views, if required.
a.
‘We make it our business to know a lot of things’. Bring out the inten on
of the speaker in this sentence.
b.
Do you find George’s reasons to commit suicide acceptable? Give three
reasons for your answer.
c.
‘All your troubles are over. Your wish, I am happy to say, has been
granted—officially.’ What does the word ‘officially’ imply here ?
d.
The stranger suggests the name ‘World Cleaning Company’. What,
according to you, does he mean by it?
35
e.
The speaker uses an idioma c expression when he says ‘“It’ll open a lot
of doors that might otherwise be slammed in your face.” Explain and
jus fy this statement.
f.
Give at least three occasions when George had to be careful not to
reveal his iden fy. Why did he have to be cau ous?
g.
The dog’s ins nct is the most trustworthy but the dog did not recognise
George. Why? What is the writer’s message here?
h.
George said ‘I’m just a small-town bank clerk that even the army didn’t
want. …’. How was he proved wrong? How has ‘The Bu erfly Effect’ been
illustrated in the story?
7.
Suppose George Pra now decides to meet Hank Biddle with
renewed self confidence. Predict the outcome of their mee ng.
In pairs, write imaginary dialogues between George and Hank.
Share your dialogues with the class by enac ng their roles.
8.
As George, write a diary entry about your experience of mee ng
with the ‘stranger’.
9.
The stranger said ‘You had the greatest gi of all conferred upon
you - the gi of life, of being a part of this world and taking a part
in it’. Write an ar cle in about 150 words expressing your views
on the topic ‘The Gi of Life’.
36
Sec on - D
Warm up: Tiny acts cause big changes
1 a.
Read the following passage and fill in the box given below.
”That’s not clear,” said Eckels.
“All right,” Travis con nued, “say we accidentally kill one mouse here. That means
all the future families of this one par cular mouse are destroyed, right?”
“Right.”
“So they’re dead,” said Eckels. “So what?”
“So what?” Travis snorted quietly. “Well, what about the foxes that’ll need those
mice to survive? For want of ten mice, a fox dies. For want of ten foxes a lion starves.
For want of a lion, all manner of insects, vultures, infinite billions of life forms are
thrown into chaos and destruc on. Eventually it all boils down to this: fi y-nine
million years later, a caveman, one of a dozen on the en re world, goes hun ng
wild boar or saber-toothed ger for food. But you, friend, have stepped on all the
gers in that region. By stepping on one single mouse. So the caveman starves.
And the caveman, please note, is not just any expendable man, no! He is an en re
future na on.
Cause
Effect
1
2
3
4
5
6
37
b.
Share your findings with the class. State whether you agree or
disagree. Give reasons for your answer.
2.
The Audio-Video link given below makes a reference to the Theory
of Chaos. Watch this video called ‘The Secret Life of Chaos’, to help
you understand the theory.
h p://youtu.be/R6NnCOs20GQ
3.
Now, fill in the blanks with suitable words to complete this
paragraph based on the presenta on.
Notes:
Title: _____________________________________________________________
i.
Big changes:___________________________________________________
_____________________________________________________________.
ii.
What is Chaos effect? ___________________________________________
_____________________________________________________________.
iii.
Order in Nature: _______________________________________________
_____________________________________________________________.
iv.
Chaos in nature: _______________________________________________
_____________________________________________________________.
v.
What is a feedback loop? ________________________________________
_____________________________________________________________.
vi.
How does chaos occur as illustrated in the lecture?
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________.
38
4.
Read the web log post from ‘Blog Ac on’...
1.
The acre of land my family and I live on rests on a heavily-wooded eleva on
which provides a panoramic view of a sparkling lake to the south. It’s quite
a departure from the suburban tract home I grew up in and hope my kids
end up with fond childhood memories of frolicking in a beau ful natural
se ng.
2.
One remarkable thing about the property is the amount of bu erflies it
a racts, no doubt it is due to the variety of plant species that are permi ed
to grow undisturbed. My 5-year-old daughter and her li le brother spend
large chunks of me hopelessly chasing scores of Monarchs and other
brightly-colored and fli ng bu erflies.
3.
And all I can think about is the havoc these li le cri ers are having on the
weather in China. Not the kids… the bu erflies.
What if Bu erflies Disappeared?
4.
While there’s li le agreement as to what’s going to happen ecologically
due to human ac vity, there’s no doubt that we’ve made dras c changes
to just about every natural habitat on the planet. Our oceans and
natural water sources are polluted, the composi on of our soil has been
chemically altered, the atmosphere has been heavily influenced by
emissions, our forests have been drama cally reduced, and on and on.
5.
One area of par cular importance
is biodiversity. Beyond the fact that
biodiversity itself protects humans
from the effects of agricultural
catastrophes like the Irish Potato
Famine, the loss of a species results in
significant changes in natural habitats
that can hurt us badly down the road.
Maybe you don’t personally care
about the Mexican long-nosed bat,
BIODIVERSITY
but if they disappear completely, there
will most assuredly be consequences
that ripple well beyond Texas and New Mexico over me. We just can’t
predict what they’ll be. If bu erflies disappeared, the world would most
certainly be worse off for children of all ages. But it’s much worse than that.
39
Many flowering plants are so closely linked to bu erflies and vice versa that
one cannot survive without the other. When you think about the natural
interdependence network that could collapse due to the ex nc on of one
important specie, it starts to get a li le scary. Each one wiping out between
50 to 95 percent of exis ng life including the dominant life forms of the me.
Many scien sts believe that:
i.
we’re in the midst of the sixth ex nc on event
ii.
we’re the cause, and
iii. we’re in danger of being wiped out ourselves
The Posi ve Side of the Bu erfly Effect
6.
Let’s face it—things will probably change for the worse regarding the
environment no ma er what. Some of those changes will be pre y bad and
there’s nothing we can do to stop it.
7.
That doesn’t mean we should give up. The more posi ve change we
introduce into the system star ng right now, the more bad things we avoid.
Plus, we buy me for technology to help in protec ng us from adverse
condi ons and even reverse some of the damage.
8.
The corollary of the Bu erfly Effect is that ny changes you make do in fact
make a difference. And when those ny changes are aggregated among
millions of people, we can truly make a real difference in how much nature
we save for our children, grandchildren and beyond.
9.
We might even be saving them.
It doesn’t need to be a sacrifice. Why not make changes that simply save
you money?
10.
Check out these planet-saving ac ons that keep more coins in your
pocket:
i.
40
Cut out bo led water:
Producing plas c water bo les
consumes massive amounts
of fossil fuels only to crowd
landfills. American demand
alone requires 1.5 million
barrels of oil annually, enough
to fuel approximately 100,000
U.S. cars for a year.
And if you think gas prices are bad, you’re paying $10 a gallon for water
when you buy individual bo les. Get a simple home filtra on solu on
and a reusable stainless steel bo le.
ii.
Switch to compact fluorescent light bulbs: CFL
bulbs are more expensive but they last 5 mes
longer than conven onal bulbs. They save $30
in energy costs per bulb and help in saving the
planet.
iii. Buy a new monitor: If you want a new
LCD monitor, go ahead and do it. They
use 1/3 the energy and they look cool.
Just hold on to your computer as long
as you can stand it or learn to recycle it
when you trade up.
41
5 a.
Complete the notes based on your reading of this blog. Use
recognizable abbrevia ons and symbols wherever possible.
Tiny acts make a big difference
I.
II.
III.
b.
Causes of environmental problems
a.
____________________________________
b.
____________________________________
c.
____________________________________
d.
____________________________________
e.
____________________________________
Effects/Consequences
a.
____________________________________
b.
____________________________________
c.
____________________________________
d.
____________________________________
e.
____________________________________
Solu ons to the problems
a.
____________________________________
b.
____________________________________
c.
____________________________________
d.
____________________________________
e.
____________________________________
Now, a empt a summary in your own words in about 150 words.
The following guidelines would help you in wri ng the summary.
A summary
42
i.
is a part of the note-taking process
ii.
should be rela vely brief
6 a.
iii.
establishes the main ideas in an ar cle/essay
iv.
uses suitable linking devices to ensure a logical progression of ideas.
v.
has a relevant tle
vi.
exhibits quali es of comprehensiveness, conciseness, coherence and
independence in style.
Build your vocabulary:
Although it is possible for one cause to lead to one effect, the concept is not so
simple. One cause can lead to more than one effect, for example heavy rain can
cause landslides and flooding.
Also, more than one cause can lead to one or more effects, for example, ea ng
too much pizza and drinking too much coke for lunch can result in ge ng fat and
being late for class!
Cause-effect
Examples
...because of...
There was a celebra on at home because of good
result.
...reason for
The very good result was the reason for the celebra on.
...a ributed to
The celebra on was a ributed to the very good result.
...on account of
There were celebra ons on account of the team’s
success.
...owing to
Owing to the team’s success, there was a celebra on.
(These cause-effect phrases are all followed by noun
phrases; i.e. ‘the heavy traffic’/”the very good result”’.)
...caused by
The accident was caused by the heavy traffic.
...cause of
The heavy traffic was the cause of the accident.
43
... because
There was an accident because there was heavy traffic
on the road all night.
(‘Because’ is followed by a verb phrase, ‘heavy traffic on
the road all night’. Don’t use ‘Because’ as the first word
in a sentence: it’s bad style.)
b.
may
The heavy traffic may have caused the accident.
could
The heavy traffic could have caused the accident.
might
The heavy traffic might have caused the rain.
can
Accidents can be caused by heavy traffic.
possibly
The rain may possibly cause flooding.
certainly
The rain will certainly cause flooding.
perhaps
Perhaps the rain will cause flooding.
definitely
The rain will definitely cause flooding.
probably
The rain will probably cause flooding.
undoubtedly
The rain will undoubtedly cause flooding.
Other Cause and Effect Phrases
Causes
1.
There are several reasons for this. Firstly, ...
2.
Other causes played a part. Firstly,
3.
A key factor was... (‘key’ means ‘important’)
4.
This is due to ...
5.
This is a reflec on of...
Effects
6.
As a result, ...
7.
Consequently, ...
8.
This meant that...
9.
One consequence of this is that ...
Note: Don’t write ‘are lacking of ...’ as a cause or effect. Use ‘there is a lack of ...’ or ‘they
are lacking in ......
44
c.
d.
7 a.
Here is a geographical phenomenon. Rewrite the sentences using
at least 3-4 different cause-effect phrases. Then, write a short
paragraph exploring the phenomenon. You can also add more
stages.
1.
Waves beat against the shore.
2.
Waves hurl pebbles and boulders against cliffs.
3.
Rocks wear away to form sandy beach.
4.
So rock wears away forming caves and inlets.
5.
Hard rock forms steep, rugged headlands.
6.
Wind and water currents form waves.
Now, find out at least five stages of each of the following and
write a short paragraph explaining each phenomenon. Share
your answers with the class.
i.
Soil erosion forms landslide
ii.
Hot desert storms on our landscape
Work in groups of four and review the message conveyed
in ‘A Sound of Thunder’ and the two poems. Now, take the
ecological challenge tled ‘Looking Forward Time’ to find out how
futuris c you are! Use the language of cause and effect to make
your presenta on effec ve and logical.
Looking Forward Time
Humankind is responsible for some of the devasta ng effects on our eco-systems.
Choose one of the topics and write five sentences about how the ‘future’ will be
affected by our ‘present’ ac ons.
An example has been done for you:
Present
:
Deser fica on is spreading in many regions.
Future
:
1. Livestock and crop will die
2. People will buy expensive milk and vegetables from other
states.
3. People will not be able to afford meat or vegetables.
45
4. Malnourishment diseases will spread.
5. Many people will die in that region
Choose one topic from the present:
a. Road rage
b. Each one teach one
c. Craze for internet games
Future :
b.
1.
_________________________________________________________
2.
_________________________________________________________
3.
_________________________________________________________
4.
_________________________________________________________
5.
_________________________________________________________
Now, make a ten-minute powerpoint presenta on on any of the
topics given above. Invite your seniors and juniors to watch and
learn.
Before you make a powerpoint presenta on, decide:
1.
The tle of your presenta on.
2.
What pictures and text will be placed on each slide.
3.
How many slides you will make.
4. If you want a digital photograph of your group, objects, places,
events etc. Take the photos and add to the slides. (your teacher
will provide a camera).
5.
Make a storyboard. A storyboard is a visual layout of the pictures
and text you want in each slide.
6.
Take the help of your other subject teachers so that the informa on
you give is accurate.
7.
Use internet, magazines, encyclopedias etc. to find relevant informa on
on the topic.
8.
Remember to use words/expressions that bring out cause and effect
rela onship.
c.
46
Now, watch your powerpoint presenta on and take necessary
notes. Write a newspaper report in about 250-300 words.
Suggested Reading
1.
Ma lda by Roald Dahl
2.
Gi of the Magi-O’ Henry
3.
Face in the Dark by Ruskin Bond
4.
The Foghorn by Ray Bradbury
5.
A Christmas Carol by Charles Dickens
6.
The Time Machine by H G Wells
Watch, learn and enjoy :
1.
James and the Giant Peach[1996]
2.
Jurassic Park [1993]
3.
Apollo 13[1995]
Suggested websites
1.
mystoriesandpoems.com
2.
lrs.ed.uiuc.edu/students/fwalters/cause
3.
www.englishprac ce.com/improve/expressing-condi on contrast/
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