Professional Documents
Culture Documents
Oscar W ildes
Sho rtctones
Picture credits:
p. 5 O scar Wilde Irish Tourist Board, Dublin; p. 6 The Judge: a thing o f beauty not a jo y
fo re v e r, caricature o f Oscar Wilde, published in New York, 1883 Private Collection/The
Bridgeman Art Library; p. 29 Queen Elizabeth II in her Coronation R obes, 1953, by C.
Beaton, Victoria and Albert Picture Library; p. 64 A waiting Admission to the Casual Ward
by Luke Fildes, Picture Collection at Royal Holloway, University o f London; p. 67 Charles
Dickens by Herbert Watkins, Hulton Getty Archives; p. 68 Emmeline Pankhurst, Hulton
Getty Archives.
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p a r t t h r e e The Coronation
UNDERSTANDING THE TEXT
The C o ro n a tio n
The C row n Jew els
THE STAR-CHILD
p a r t o n e The Baby
UNDERSTANDING THE TEXT
p a k t t w o The M o th er
UNDERSTANDING THE TEXT
Life in Victorian T im es 64
THE NIGHTINGALE
AND THE ROSE f
p a rt one The Stu dent in Love 72
UNDERSTANDING THE TEXT 75
T h e te x t is recorded in full.
T h ese sy m b ols in d ic a te th e b eg in n in g and end of th e ex tra cts
lin k e d to th e liste n in g activities.
Oscar Wilde.
J n t ro d u (tj o/i
(o i
o scar Wilde was Irish. He was born in Dub lin in 1854.
H i s p a r e n t s w e r e ve ry f a m o u s p e o p le . H is f ath e r,
William, was an i m p o r t a n t doctor. His m o th e r was a poetess.
She w as called Jane b u t pre ferred th e n a m e 'S p era nza '. She
t h o u g h t it w a s m o r e i n t e r e s t i n g a n d r o m a n t i c t h a n Jane.
Oscar's p a re nts invited m a n y clever and i m p o r t a n t people to
their house in Dublin. T hey spoke together about clever and
i m p o r t a n t t h i n g s . W h e n O s c a r w a s a y o u n g b o y h e lo v e d
listening to them .
He studied at Oxford Uni versity and wo n prizes for his poetry.
Oscar Wilde was a very good w riter b u t he preferred talking.
J
He was also a ve ry f u n n y a n d clever m an . People w a n t e d to
l is te n to h i m and to laugh at his jokes. He was ve ry p o pular
and everyb ody invited h i m to th e i r dinner parties.
He w r o t e poem s, s h o r t stories, plays for t h e t h e a t r e a n d one
novel. Two of his m o s t fa m o u s w orks are his novel T he P icture
o f D orian G ray and the play The Im p o rta n c e o f B eing E a rn e st.
a. This person is not free and must work for other people.
b. This very poor person asks others for m oney.
c . This person travels around the world to sell and buy things.
d. He is a very important m an in the church.
e. This person looks after sheep and goats.
2. O sh ep h erd
1. O bishop 3. O merchant
4. O beggar 5. Q slave
8
H ere a r e s o m e m ore w ord s from th e story. C o n n ect th e w ord to th e
co rrect pictu re.
1. □ jewels
2. □ sceptre
3. □ robe
4. □ tomb
5. □ pillow
6. □ thorns
/ L 7. □ cloth
8. □ staff
9. □ pearls
9
PART ONE
1. p o iso n : a s u b s t a n c e t h a t c a u s e s il ln e s s or d e a th .
10
THE YOUNG KING
T h e old King m a d e a n i m p o r t a n t d e c i s i o n : ' T h e b o y m u s t be
t h e n e w King w h e n I die,' h e said. H e s e n t h i s s e r v a n t s i n t o t h e
f o res t. 'F i n d t h e b o y a n d b r i n g h i m h e r e .'
T h e s e r v a n t s f o u n d t h e b o y a n d b r o u g h t h i m to t h e p a l a c e .
W h e n t h e b o y a r r i v e d h e w a s v e r y ha ppy. H e i m m e d i a t e l y fell in
lo v e w i t h all t h e b e a u t i f u l t h i n g s a r o u n d h i m . H e t o o k off h i s old
l e a t h e r t u n i c a n d p u t o n h i s fine n e w c lo t h e s . T h e n h e b e g a n to
e x p l o r e t h e c a s t l e . H e r a n f r o m r o o m to r o o m a d m i r i n g a ll t h e
b e a u t i f u l s t a t u e s , p a i n t i n g s a n d j e w e ls in t h e p a la ce. T h e p e o p le
of t h e c i t y t a l k e d a b o u t h i m : ' T h e y o u n g King s p e n d s all h i s t i m e
a d m i r in g s t a t u e s , ' th e y said. 'B e a u ty an d a rt are th e m o s t
i m p o r t a n t t h i n g s f o r h i m . ' I n f a c t t h e y o u n g K i n g w a s so
f a s c i n a t e d w i t h b e a u t i f u l o b j e c ts t h a t h e w a n t e d m o r e of t h e m .
H e s e n t m e r c h a n t s to I n d ia to b u y i v ory a n d jade. H e s e n t m e n to
P e r s i a for s i l k c a r p e t s , a n d o t h e r s to fin d a m b e r i n t h e n o r t h . He
s e n t s e r v a n t s to l o o k for g r e e n t u r q u o i s e i n t h e m a g i c t o m b s of
t h e E g y p t i a n k in gs.
T h e y o u n g King t h o u g h t a b o u t all t h e s e t h i n g s b u t m o s t of all
h e t h o u g h t a b o u t h i s c o r o n a t i o n robe.
H e w a s s i x t e e n a n d it w a s h i s c o r o n a t i o n day t h e n e x t day. He
w a s v e r y h a p p y b e c a u s e h e h a d a b e a u t i f u l c o r o n a t i o n r o b e of
gold, a c r o w n of r u b i e s a n d a s c e p t r e of pearls. H e o r d e r e d m e n to
w o r k n i g h t a n d d ay to p r e p a r e h i s c o r o n a t i o n robes. 'S e a r c h t h e
w h o l e w o r l d for t h e b i g g e s t r u b i e s for m y c r o w n a n d t h e m o s t
b e a u t i f u l p e a r l for m y s c e p t r e , ' h e said.
T h e y o u n g King w as in h is b e a u t if u l b e d ro o m a n d h e w as
t h i n k i n g a b o u t h i s c o r o n a t i o n ro b es. It w a s n i g h t t i m e a n d he
l o o k e d a r o u n d h i m . T h e r o o m w a s f u l l of s i l v e r a n d g o l d a n d
12
1 he Old King’s Secret
beau tifu l colours. T h ro u g h th e w in d o w he could sm e ll th e
p e rf u m e of j a s m i n e , 1 h e c o u ld h e a r a n i g h t i n g a l e si ng ing a n d he
c o u ld se e t h e m o o n s h i n i n g . S e r v a n t s a r r i v e d a n d p u t f l o w e r
petals on h is pillow . H e w as v e ry happy. T o m o r r o w w as his
c o r o n a t i o n day. H e p l a y e d b e a u t i f u l m u s i c o n h i s l u t e a n d a t
m i d n i g h t h e c los ed h i s eyes a n d w e n t to sleep.
T h a t n i g h t t h e y o u n g King h a d a d rea m .
1. ja sm in e : a ty p e of fl o w e r .
13
UNDERSTANDING THE TEXT
a . W ho w a s th e p rin c e ss's h u s b a n d ?
b. W h a t h a p p e n e d to th e b a b y a fte r h e w a s b o rn ?
c. W h y w a s th e b o y h a p p y w h e n h e a rriv e d a t th e p a la c e ?
d. W h a t d id th e p e o p le of th e c ity th in k of th e y o u n g K ing?
e. W h y d id th e y o u n g K ing s e n d his s e rv a n ts a r o u n d th e w o rld ?
f. D escrib e th e y o u n g K ing's b e d ro o m .
14
P A R T T W O
The Dreams
h i s w a s t h e y o u n g King's dream:
H e is in a h o r r i b l e , d a r k b u i l d i n g . T h e r e is a
t e r r ib le sm e ll, t h e s m a l l w i n d o w s h a v e bars and
n o t m u c h su n lig h t can enter. But in th e poor
l ig h t t h e y o u n g K i n g s e e s l o t s of p e o p l e w o r k i n g . T h e y a re
m a k i n g c l o t h . T h e y are v e r y t h i n . T h e i r faces are h u n g r y a n d
their h a n d s t r e m b l e b e c a u s e t h e y are tired. Pale, ill c h i l d r e n sit
in th e d ark c o r n e r s of t h e r o o m . T h e y o u n g King w a t c h e s t h e m .
A m a n sp e ak s to h i m a ngrily a n d asks, 'W h y are y o u w a t c h i n g
me? Are y o u m y m a s t e r ' s spy?'
'W ho is y o u r m a s t e r ? ' a sks t h e y o u n g King.
'A m a n lik e m e, b u t I h a v e poo r c lo t h e s a n d I a m v e ry hungry.
He w e ars b e a u t i f u l c lo t h e s a n d is v e ry rich. We w o r k for h i m all
day. We m a k e w i n e a nd he d r i n k s it. We w o r k on t h e la n d b u t he
eats the food. We are h i s sla ves.'
15
'dflW I'HE YOUNG KING
'B u t t h i s is a free l a n d / says t h e y o u n g King. 'You are n o m a n 's
slave.'
'In war, w e a k m e n are t h e sla v es of s t r o n g m e n . In peace, poor
m e n are t h e slaves of r i c h m e n . '
'A re y o u all slaves?'
'Yes, t h e w o m e n a n d t h e c h il d r e n . T h e old a n d t h e y o u n g .'
S u d d e n l y t h e y o u n g King sees t h e c l o t h o n t h e m a c h i n e . It is
gold. T h e y o u n g K in g is t e r r i f i e d . 'Y ou a re m a k i n g s o m e ve ry
b e a u t i f u l gold c lo th . W h a t is it? '
'I t is f o r t h e c o r o n a t i o n r o b e of t h e y o u n g K i n g , ' t h e m a n
replies .
W h e n t h e y o u n g K in g h e a r d t h i s h e s c r e a m e d a n d w o k e up.
But t h e n h e sa w t h e y e l l o w m o o n a t t h e w i n d o w a n d so o n slept
again. H e h a d a n o t h e r d r e a m .
'dWN'THE YOUNG KING
T h i s w a s h i s s e c o n d d ream :
H e is o n a long b o a t. T h e s u n is v e ry h o t a n d a h u n d r e d slaves
a re r o w i n g 1 t h e b o a t a n d w o r k i n g . T h e m a s t e r of t h e b o a t is
g iv ing orders: h e is b l a c k l ik e e b o n y a n d h a s a red silk 2 t u r b a n on
h i s h e a d . I n h i s e a r s h e h a s b i g s i l v e r e a r r i n g s . S o m e o n e is
w h i p p i n g 3 t h e slaves w h i l e t h e y w o rk .
F i n a ll y t h e b o a t a rriv e s i n a s m a l l b a y a n d t h e m a s t e r t h r o w s
t h e a n c h o r a n d a l o n g rope lad d e r 4 i n t o t h e sea. S o m e m e n t a k e
t h e y o u n g e s t slave. T h e y tie a h e a v y s t o n e to h i m a n d t h r o w h i m
i n t o t h e se a. T h e y o u n g s l a v e d i s a p p e a r s i n t o t h e w a t e r b u t
r e t u r n s to t h e b o a t m a n y t i m e s . E very t i m e h e r e t u r n s h e h a s a
b e a u t i f u l p e a r l in h is h a n d . T h e m a s t e r of t h e s h ip l o o k s a t th e
p e a r ls a n d p u t s t h e m i n t o a l i t t l e g r e e n bag.
T h e y o u n g slave r e t u r n s to t h e b o a t for t h e l a s t t i m e . H e is
v e r y p a le a n d tired. In h i s h a n d h e h a s a v e ry b e a u t i f u l pearl. T h e
p e a r l is r o u n d a n d w h i t e l i k e t h e m o o n . B u t t h e y o u n g slave's
ears a n d n o s e are full of bloo d. H e falls a n d dies b u t t h e m a s t e r of
t h e b o a t lau g h s . H e t a k e s t h e p e arl f r o m t h e y o u n g slave's h a n d
a n d t h e o t h e r slaves t h r o w h i s de ad b o d y i n t o t h e sea. ' T h i s pearl
is for t h e s c e p t r e of t h e y o u n g K i n g / h e says.
W h e n t h e y o u n g King h e a r d t h i s he s c r e a m e d a n d w o k e u p b u t
h e s a w t h e sta r s at t h e w i n d o w a n d soo n s le p t again.
1. ro w in g : m a k in g t h e b o a t m o v e in t h e w a t e r w i t h o ars.
2. s ilk : a f i n e c lo t h .
3. w h ip p in g : h i t t i n g w i t h a w h ip .
4. rope ladder : -
18
The Dreams
T h is w a s h i s t h i r d a n d la s t d rea m :
H e i s i n a t r o p i c a l f o r e s t . I t i s f u l l of s t r a n g e f r u i t a n d
b e a u t i f u l , p o i s o n o u s 1 f l o w e r s . T h e r e a r e s n a k e s i n t h e g rass,
parrot s 2 i n t h e t r e e s a n d m o n k e y s 3 a n d p e a c o c k s 4 all a r o u n d .
The y o u n g K in g se es l o t s of m e n w o r k i n g i n a dry river. T h e y are
digging t h e g r o u n d a n d c u t t i n g big r o c k s a n d s t o n e s .
D e a th 5 a n d A v a ric e 6 are in a d a rk c a v e rn . T h e y are also
w a tch in g t h e m e n . D e a t h says to Avarice, 'G i v e m e o n e t h i r d of
your m e n , ' b u t A v a r ic e refuses. 'N o ! T h e y are m y s e r v a n t s , ' sh e
says.
D e a t h is v e r y a n g r y w h e n h e h e a r s t h i s . H e s e n d s M a l a r i a to
kill o ne t h i r d of t h e m e n .
'W h a t h a v e y o u g o t in y o u r h a n d ? ' D e a t h asks.
'T h r e e g r a i n s of c o r n . 7 But w h y are y o u i n t e r e s t e d ? ' s h e asks.
D e a t h says, ' G i v e m e o n e g r a i n of c o r n t o p l a n t in m y g a r d e n .'
But Avaric e r e p lie s , 'N o , it is m y c o r n , ' a n d s h e h i d e s t h e c o r n i n
her p o c k e t.
A g a i n , D e a t h is v e r y a n g r y w h e n h e h e a r s t h i s a n d c a l l s
Fe ve r.8 F e v e r c o m e s i n a red r o b e l i k e fire, h e t o u c h e s o n e t h i r d
1. p o is o n o u s : c o n t a i n i n g a s u b s t a n c e t h a t c a n k i l l y o u .
2. p a r r o t s : t y p e of t r o p i c a l bird .
3. m onkeys :
4. p ea co ck s :
5. death :
6. avarice : e x t r e m e s e l f i s h d e s i r e fo r s o m e t h i n g .
7. grains of corn :
8. fever : if y o u h a v e a f e v e r y o u r b o d y t e m p e r a t u r e is h i g h .
19
4ÜWTHE YOUNG KING
of t h e m e n a n d kills t h e m . ' N o w give m e a grain of c o rn for m y
g a r d e n / says D e a th .
'N o , n e v e r ! ' r e p l i e s A v a ric e. D e a t h is e x t r e m e l y a n g ry an d
calls Plague. 1 Plague arrives from th e sky, flying like a bird and
k i l l s t h e r e s t of t h e m e n . A v a r ic e s c r e a m s a n d r u n s i n t o t h e
fores t. D e a t h t a k e s h is red h o r se a n d rides away, fast l ik e the
w in d . A n d t h e n dragons a n d terrib le m o n s t e r s c o m e o u t of the
rivers a nd t h e valleys.
T h e y o u n g King cries and says, 'W ho w e re t h o se men? W hat
w e re t h e y doing?'
' T h e y w e r e l o o k i n g for r u b i e s for a k i n g 's c r o w n , ' r e p lie s a
v o i c e b e h i n d h i m . T h e y o u n g K in g t u r n s a n d s e e s a m a n in
w h ite . T h i s m a n has a m i r r o r in his hand.
' W h ic h ki ng?' he asks.
'L ook in t h is m ir r o r an d y o u w ill see t h e king,' replies t h e m an
in w hite.
H e sees his face in t h e mirror , sc rea m s and w a k e s up. He sees
t h e s u n s h i n i n g at his w indow . It is his c o ro n a t io n day.
FIRST DREAM -
a .............................................................................. ? It is horrible and very dark.
b ...................................................................................... ? They are making cloth.
c ..................................................................................? No. Everybody is a slave.
^ SECOND DREAM-------------------------------------------------------------------------
d ..................................................... ? They are rowing the boat and working.
e .........................................................................................................................................
? He throws the anchor and a long rope ladder into the sea.
f......................................................................................... ? Into a little green bag.
/'THIRD DREAM -
g ...................................................? Snakes, parrots, peacocks and monkeys.
h..........................................................................................? In a dark cavern.
i............................................................................... ? Malaria, Fever and Plague.
23
Tke Coronation
io t s e r v a n t a rr iv e d w i t h t h e c o r o n a t i o n c lo t h e s . T h e y
w e r e e x t r e m e l y b e a u t i f u l b u t t h e y o u n g K in g
re m e m b e re d his dream s. 'T ak e th e s e c lo th es
away. I d o n ' t w a n t to w e a r t h e m / h e said.
'I s t h i s a j o k e , Y o u r M a j e s t y ? ' a s k e d t h e s e r v a n t , b u t t h e
y o u n g K ing t o l d h i m a b o u t h i s d r e a m s .
'I n m y r o b e t h e r e is s a d n e s s a n d p a i n , i n t h e r u b i e s t h e r e is
b l o o d a n d i n t h e p e a r l t h e r e is d e a t h , ' h e said.
T h e s e r v a n t r e p l i e d , 'P l e a s e f o r g e t y o u r d r e a m s . P u t o n t h e
robe and th e crow n. T h e people w ill n o t reco g n ise a king
w i th o u t a cro w n and a sceptre.'
B u t t h e y o u n g King p u t o n h i s old t u n i c f r o m t h e f o r e s t a n d
t o o k h i s s h e p h e r d ' s sta f f. 'I a r r i v e d i n t h e p a l a c e w i t h t h e s e
c l o t h e s a n d I w i l l le a v e t h e p a l a c e w i t h t h e s e c l o t h e s , ' h e said.
' N o w I a m r e a d y for m y c o r o n a t i o n . '
24
he Coronation
A s e r v a n t a s k e d h i m , ' W h e r e is y o u r c r o w n ? ' A n d h e t o o k a
briar 1 of t h o r n s f r o m h i s b a l c o n y . ' T h i s w i l l b e m y c r o w n , ' h e
replied.
The y o u n g King rode h is h o rs e to th e c a th e d ra l. T h e p eo p le
l a u g h e d w h e n t h e y s a w h i m . ' T h i s is n o t t h e K i n g b u t t h e
King's s e r v a n t , ' t h e y s a i d . H e e x p l a i n e d h i s d r e a m s b u t o n e
man w a s a n g r y a n d s a i d , ' D o y o u n o t k n o w t h a t r i c h p e o p l e
give p o o r p e o p l e w o r k . It is d i f f i c u l t t o w o r k fo r a h a r d m a s t e r
but it is m o r e d i f f i c u l t t o w o r k fo r n o m a s t e r . P l e a s e r e t u r n t o
. the p a la c e a n d p u t o n y o u r c o r o n a t i o n r o b e s . '
'T h e ric h a n d th e p o o r are b r o t h e r s , ' h e r e p lie d , b u t th e
people l a u g h e d a g a i n .
He a r r i v e d a t t h e g r e a t d o o r of t h e c a t h e d r a l b u t t h e s o l d i e r s
stoppe d h i m . ' W h a t do y o u w a n t ? O n l y t h e K i n g c a n e n t e r b y
this d o o r.'
'I a m t h e K i n g , ' h e r e p l i e d . T h e B i s h o p s a w h i m a n d a s k e d ,
'Where is y o u r c r o w n ? W h e r e is y o u r s c e p t r e ? '
T h e y o u n g K i n g t o l d t h e B i s h o p of h i s d r e a m s b u t t h e B i s h o p
a n sw e red , ' L i s t e n t o m e , I a m a n o l d m a n . T h e r e a r e m a n y b a d
things i n t h e w o r l d b u t y o u c a n n o t c h a n g e t h e m all. T h e r e a re
thieves a n d p i r a t e s a n d b e g g ars b u t y o u c a n 't m a k e th e s e
things d i s a p p e a r . T h e y a r e t o o m u c h fo r o n e p e r s o n . G o b a c k t o
the P a l a c e a n d p u t o n y o u r c o r o n a t i o n c l o t h e s . '
But th e y o u n g K ing p a s s e d th e B ish o p a n d e n te r e d th e
c a t h e d r a l . H e w e n t t o t h e a l t a r a n d l o o k e d a t t h e i m a g e of
C h r i s t . H e s a w t h e l i g h t of t h e c a n d l e s a n d t h e s m o k e of t h e
1. briar : a w i l d r o s e w i t h lo n g , t h o r n y s t e m s .
25
"dÜ ^T H E YOUNG KING
i n c e n s e . S u d d e n l y a c r o w d of p e o p l e r a n i n t o t h e c a t h e d r a l .
T h e y h a d s w o r d s a n d w e r e v e r y a n g r y . ' W h e r e is t h i s King
d r e s s e d i n b e g g a r ' s c l o t h e s ? ' t h e y c r i e d . 'W e m u s t k i l l h i m
b e c a u s e a beggar c a n n o t r u l e us. H e w ill be b a d for o u r c ou n try .'
But t h e y o u n g King p r a y e d s i l e n t l y in f r o n t of t h e altar. T h e n he
t u r n e d a n d l o o k e d at t h e p e o p le sadly.
A t t h a t m o m e n t a r a y of s u n s h o n e i n t o t h e c a t h e d r a l . It
i l l u m i n a t e d th e y o u n g King at th e a lta r. T h e s u n m a d e a
b e a u t i f u l r o b e a r o u n d h i m , r ed r o se s g r e w o n h i s d r y c r o w n of
t h o r n s a n d w h i t e lilies grew o n h is staff. T h e rose s w e r e redder
t h a n r u b i e s a n d t h e lilies w e r e w h i t e r t h a n pearls. M u s i c started
to p l a y a n d v o i c e s s t a r t e d to sing. T h e g l o r y of G o d f i ll e d the
c a t h e d r a l. T h e p e o p le k n e l t dow n.
'H e is c r o w n e d 1 b y s o m e o n e g r e a t e r t h a n m e , ' t h e Bishop said
a n d h e k n e l t in f r o n t of t h e y o u n g King. T h e b o y c a m e f r o m the
a l t a r a n d p a s s e d t h e people. But t h e y d i d n 't h a v e t h e courage to
l o o k a t h is face b e c a u s e it w a s t h e face of a n angel.
1. c ro w n e d : o f f ic ia lly d e c l a r e d k in g .
26
UNDERSTANDING THE TEXT
28
5=
T he C o r o n a t io n
ere is a p i c t u r e of Q u e e n ' s E l i z a b e t h ' s c o r o n a t i o n in
H 1953. She is wearing a c row n and holding a sceptre and
an orb 1 in her hand. All of these thin gs are called 'T h e C ro w n
Jewels'. She is w e a r i n g a b e a u t i f u l rob e a n d s i t t i n g on t h e
coronation throne.
1. orb : g lo b e .
In 1066 a French n o b l e m a n called William, w e n t to England.
He defeated t h e English and becam e the n e w King. Everyone
called h i m 'W illia m th e C o nq u e ro r' and he was the first king
to be c r o w n e d in W e s t m i n s t e r Abbey. N o w all k i n g s a n d
qu eens are crow n ed here.
A coro na tio n is always a m o m e n t for celebration b u t it is also
a r e l i g i o u s c e r e m o n y . B r i t i s h m o n a r c h s m u s t p r o m i s e to
g o v e r n w i t h j u s t i c e a n d m e r c y 1 w h e n t h e A r c h b i s h o p of
C a n t e r b u r y 2 p u t s the crown on their head.
T h e C r o w n J ewels
T h is is St. Edward's Crown. It was made in 1661
All n e w k i n g s and q u e e n s of E n g la nd w e a r it
at th eir coronations. W hic h jewels can you see
in it?
T h e o r b is m a d e of g o l d a n d w a s
specially designed for th e c o ro natio n of
King C ha rle s II in 1662. T h e m o n a r c h
holds it in his or her right hand. It shows
th a t the king or queen is a Christian.
T h e sw ord r e p r e s e n t s a u t h o r i t y and t h e
ring represe nts dignity.
1. m e rcy ; c o m p a s s i o n .
2. A rch b ish o p of C an terb u ry : t h e h e a d of t h e C h u r c h of E n g la n d .
Did you know?
Some interesting facts about the Crown Jewels
- In 1216 King John loses the Crown Jew els in some
q u ick sa n d .1
- Edward III p a w n s2 the jewels to m ake m oney to p ay his
soldiers.
- Oliver Cromwell orders them to be destroyed in 1649 because
they are a sym bol of the monarchy.
- The state crown contains the famous Koh-i-noor diamond. It is
one of the biggest diam onds in the world and travels from
India to A fghanistan to Persia before it arrives in England as a
gift for Q ueen Victoria.
What d o y o u think?
The y o u n g K ing h a s a g o ld e n robe, a cro w n of ru b ies a n d a
sc e p tr e of p e a r ls. W hat d o y o u think th e s e th in g s rep resen t?
C h oose from th is list. A d d your o w n id e a s if y o u w a n t.
1. q u ick sa n d : d e e p , w e t s a n d w h i c h s u c k s in a n y o n e o r a n y t h i n g o n it.
2. p a w n s : if y o u p a w n s o m e t h i n g , y o u l e a v e it i n p o s s e s s i o n of a p e r s o n (a
p a w n b r o k e r ) w h o w i l l g iv e y o u m o n e y fo r it a n d w i l l k e e p it u n t i l y o u c a n p a y
back th e m o ney .
PRO JECT on THE WEB
M O N A R C H I E S A R O U N D THE WOR LD
o Work in groups to f i nd i nf or mati on about d i f f e r e n t
monarchies around the world.
Use one of the fol l owi ng search engines to help you:
O T: GRADE 5
a . W h ere a n d w h e n w a s th e c e le b ra tio n ?
b. W ho a tte n d e d th e c e le b ra tio n a n d w h a t d id th e y d o to
c e le b ra te ?
c. D escrib e th e c lo th e s, food a n d m usic.
d. H a v e y o u b e e n to a c e le b ra tio n s u c h a s a w e d d in g , a
c a r n iv a l, or a s p e c ia l b irth d a y ? C a n y o u d e s c rib e it?
32
T H E S T A R -C H IL D
BEFORE YOU READ
'- j Y *
1- □ forest
2- □ h a r e
c
3. □ violets
4. □ fly
4
5. D sn ak e
n
6- □ c a v e
7. □ p in e
8- □ squirrel
9. □ tre e
10. □ daffodils
11 . □ to a d
12. I I m o le
0 (A
n
m
■ m
i J
34
r
A n im als R eptiles a n d P laces P lan ts a n d
insects flow ers
v y
C on n ect th e w o rd to th e s ta te m e n t.
Look a t th e p ic tu re o n p a g e 39.
a . W ith y o u r p a r t n e r d e s c r ib e th e s c e n e .
b. W h o d o y o u th in k th e tw o p e o p le a r e ?
c . W h a t d o y o u th in k th e y a r e fe e lin g ?
d. W h a t d o y o u th in k w ill h a p p e n ?
36
r
P A R T O N E
The Baby %/
1, w o o d c u t t e r s ; p e o p l e w h o c u t d o w n t r e e s as a job.
37
THE STAR-CHILD
Su dd e n ly , s o m e t h i n g v e r y s t r a n g e h a p p e n e d . A v e r y b r i g h t and
b e a u t i f u l s t a r fell f r o m t h e s k y i n t o t h e snow .
'L o o k , ' s a id o n e of t h e w o o d c u t t e r s to h i s friend, ' p e r h a p s we
w i l l fi n d a p o t of gold. L et's go a n d see!'
W h e n t h e y a r r i v e d t h e y f o u n d a t h i n g of g o ld o n t h e w h i t e
s n o w . B u t i t w a s n ' t t h e t r e a s u r e t h e y w a n t e d . It w a s a golden
c l o a k w i t h g o l d e n s t a r s o n it. T h e y o p e n e d t h e c lo a k a n d inside
t h e y s a w a l i t t l e baby, s l e e p i n g . R o u n d t h e b a b y 's n e c k w a s a
c h a i n of a m b e r .
' T h i s is n o t g ood,' sa id o n e of t h e m . 'L e t's lea ve t h e b a b y here.
We h a v e t o o m a n y c h i l d r e n a n d n o t e n o u g h m o n e y to b u y food. I
d o n ' t w a n t a n o t h e r c h il d . '
'B u t w e c a n ' t lea v e t h i s l i t t l e b a b y h e r e a l o n e , ' sa id t h e other
w o o d c u t t e r . ' H e w i l l s u r e l y die. I w i l l t a k e h i m h o m e w i t h me.
We h a v e m a n y c h i l d r e n a n d n o t e n o u g h food, b u t m y w ife will
l o o k a ft e r h i m . ' A n d t h e good w o o d c u t t e r t o o k t h e b a b y in his
arm s and c o n tin u e d his journey hom e.
W h e n t h e y a r r i v e d a t t h e i r v i ll a g e t h e f i r s t w o o d c u t t e r said,
'You h a v e t h e c h i l d so y o u m u s t give m e t h e c lo a k of gold.'
But h i s f r i e n d a n s w e r e d , 'N o , t h i s c lo a k is n o t y o u r s or mine.
It is t h e b a b y 's c lo a k . It m u s t s t a y w i t h h i m . '
T h e w o o d c u t t e r ' s w if e w a s v e r y h a p p y to see h e r h u s b a n d . She
p u t her arm s round h im and kissed him .
'I f o u n d s o m e t h i n g in t h e fo res t a n d I b r o u g h t i t h o m e for you,'
h e said.
'G o o d , w h a t is it? We are v e r y p o o r a n d w e n e e d m a n y things.'
B ut s h e w a s v e r y a n g ry w h e n s h e s a w t h e baby. 'We h av e too
m a n y c h i l d r e n a lr e a d y a n d n o t e n o u g h m o n e y to b u y food. I don't
w a n t a n o t h e r c h i l d , ' s h e said. B ut t h e n s h e l o o k e d a t t h e baby
38
THE STAR-CHILD
a n d h e r h e a r t w a s f u l l of pity.
' H e is a S t a r - C h i l d / s a i d h e r h u s b a n d . 'W e m u s t l o v e h i m . '
So t h e w o m a n p u t t h e b a b y i n a l i t t l e b e d to sleep. She p u t the
c l o a k a n d t h e c h a i n i n t o a c h e s t . 'Yes, w e w i l l l o v e h i m / she
answered.
40
UNDERSTANDING THE TEXT
Tke M other
h e S t a r - C h i l d l i v e d w i t h t h e w o o d c u t t e r a n d his
f a m i l y b u t h e w a s v e r y d i f f e r e n t f r o m them.
E very year th e S tar-C h ild becam e more
b e a u t i f u l : h i s s k i n w a s w h i t e l i k e iv o ry , h i s hair
w a s g o l d l i k e t h e d a ff o d i l s , h i s l ip s w e r e l i k e t h e p e t a l s of a red
f l o w e r a n d h i s e y e s w e r e b l u e l i k e t h e v i o l e t s n e a r a r iv e r . The
o t h e r p e o p l e i n t h e v i l l a g e h a d b l a c k h a i r a n d b l a c k e y e s and
th ey w a tch e d th e Star-C hild in wonder.
T h e S t a r - C h i l d w a s v e r y b e a u t i f u l b u t v e r y c r u e l , arrogant
a n d s e l f i s h . H e l a u g h e d a t t h e o t h e r c h i l d r e n i n t h e v i ll a g e and
sa id , ' Y o u r p a r e n t s a r e p o o r b u t I a m n o b l e , I c o m e f r o m a star,'
H e h a d n o p i t y for p o o r p e o p l e . H e l a u g h e d a t u g l y p e o p l e and
i ll p e o p l e . H e h u r t 1 a n i m a l s a n d h e l a u g h e d w h e n t h e y suffered.
1. h u r t : g a v e p a i n to .
42
The M other
He w as v e r y v a i n a n d l o v e d h i s b e a u ty . In s u m m e r he o f te n
went to t h e w e l l 1 in t h e p r i e s t ' s o r c h a r d a n d l o o k e d a t t h e
reflection of his face in th e water. T h e n he was happy.
The w o o d c u t t e r and h is wife t r e a t e d t h e boy w e ll b u t th e y
were very sad. T h e y often said to h im , 'We were good to you. We
felt pity for you. W hy are you so cruel? W hy do you act in this
way?'
T he p r i e s t w a s v e r y w o r r i e d a n d s a id to h i m , 'Y ou m u s t
respect all God's creatures. Even the fly is your brother. W hy do
you cause pain to others?'
But th e Star-C hild didn't listen. He c o n t in u e d to h u r t an im als
and laugh at t h e p r o b le m s of o th e r people. T h e o t h e r c h ild re n
followed h i m b e c a u s e h e w a s b e a u t i f u l a n d c o u l d d a n c e a n d
make music. T h e y followed his orders. He was their leader and
they becam e cruel and hard like him .
1. well :
43
THE STAR-CHILD
'I w i l l n o t l i s t e n t o y o u . Y ou a re n o t m y f a t h e r / r e p l i e d the
Star-C hild.
' T h i s is t r u e , b u t w h e n I f o u n d y o u i n t h e f o r e s t I h a d p i t y for
you.'
T h e o l d w o m a n w a s l i s t e n i n g a n d w h e n s h e h e a r d t h e s e words
s h e s c r e a m e d a n d f a i n t e d . 1 T h e w o o d c u t t e r c a r r i e d h e r i n t o his
h o u s e a n d h i s w i f e p u t m e a t a n d d r i n k o n t h e t a b l e for he r. But
s h e d i d n o t e a t or d r i n k . She a s k e d , ' D i d t h i s c h i l d c o m e f r o m the
f o res t? D i d h e h a v e a g o ld c l o a k w i t h s t a r s o n it? D i d t h i s happen
a b o u t t e n y e a r s ago?'
T h e w o o d c u t t e r w a s v e r y s u r p r i s e d . 'Yes,' h e r e p lie d .
'A n d did h e hav e an a m b e r c h a in r o u n d his n eck?'
'Yes h e d i d ,'' s a i d t h e w o o d c u t t e r . ' C o m e w i t h% m e a n d I will
sh o w you th e cloak and th e chain.'
T h e w o m a n l o o k e d a t t h e s e t h i n g s a n d s t a r t e d to c r y w i t h joy.
' H e is m y l i t t l e so n. I a m h i s m o t h e r , ' s h e said. 'I l o s t h i m in the
f o r e s t t e n y e a r s ago a n d I l o o k e d all o v e r t h e w o r l d for h i m . Now
I h a v e h i m a g a i n . ' T h e w o o d c u t t e r w a s v e r y s u r p r i s e d a n d called
t h e boy. ' C o m e i n t o t h e h o u s e a n d y o u w i l l f i n d y o u r m o t h e r . '
T h e S t a r - C h i l d w a s v e r y h a p p y a n d r a n i n b u t w h e n h e saw her
h e said, ' W h e r e is m y m o t h e r ? I c a n see n o - o n e , o n l y a horrible
beggar w o m a n .'
'I a m y o u r m o t h e r , ' s h e said.
' Y o u a r e m a d . I a m n o t y o u r s o n : y o u a r e d r e s s e d in old
c l o t h e s , y o u a re a b e g gar w o m a n a n d I a m a S t a r - C h i l d ! '
'B u t I r e c o g n i s e d y o u w h e n I s a w y o u a n d I r e c o g n i s e d your
1. fa in te d : lo s t c o n sc io u s n e s s .
44
• '»
^
THE STAR-CHILD
c l o a k of g o l d a n d y o u r c h a i n of a m b e r . R o b b e r s s t o l e y o u from
m e . C o m e t o m e , m y s o n . Y o u r l o v e is v e r y i m p o r t a n t fo r m e .'
S h e o p e n e d h e r a r m s t o h i m b u t h e w a s v e r y a n g r y a n d c lo sed
t h e d o o r s of h i s h e a r t t o h e r.
T h e w o m a n c r i e d . 'K i s s m e b e f o r e I go b e c a u s e I t r a v e l l e d all
over th e w o rld an d I suffered m u c h to find y o u .'
' N e v e r . Y o u a r e v e r y ugly. I p r e f e r t o k i s s a t o a d o r a s n a k e . '
T h e w o m a n s t o o d u p a n d w e n t o u t of t h e h o u s e . S h e was
c r y i n g v e r y m u c h . T h e S t a r - C h i l d w a s v e r y h a p p y w h e n she
w e n t. H e t h e n w e n t to play w i t h h is friends.
46
UNDERSTANDING THE TEXT
47
PA RT T H R E E
The Punishment
48
P A R T T H R E E
THE STAR-CHILD
h i m t h e y r a n a w a y . T h e y k n e w t h a t h e w a s a c r u e l boy.
H e s a i d t o t h e m o l e , 'Y o u c a n go u n d e r t h e g r o u n d . T e l l m e if
m y m o t h e r is t h e r e ? '
T d o n ' t k n o w if y o u r m o t h e r is t h e r e . I c a n n o t s e e b e c a u s e you
h u r t m y e y e s / replied th e m ole.
H e s a i d t o a l i t t l e b i r d , 'Y o u c a n f l y o v e r t h e t r e e s . T e l l m e if
y o u c a n se e m y m o t h e r . '
'I d o n ' t k n o w if y o u r m o t h e r is t h e r e . I c a n n o t fly b e c a u s e you
h u r t m y w i n g s / re p lie d th e bird.
H e s a w a l i t t l e s q u i r r e l a n d a s k e d , ' W h e r e is m y m o t h e r ? '
'I d o n ' t k n o w , ' r e p l i e d t h e s q u i r r e l . 'Y o u k i l l e d m y m o t h e r . Do
y ou w a n t to kill y o u r m o th e r too?'
T h e S t a r - C h i l d h e a r d a ll t h e s e t h i n g s a n d h e c r i e d a n d prayed
t o G o d to f o r g i v e h i m . H e t r a v e l l e d t o m a n y d i f f e r e n t villages to
f i n d h i s m o t h e r , a n d t h e c h i l d r e n of t h e s e v i l l a g e s l a u g h e d at him
a n d t h r e w s to n e s at h i m . N o b o d y h a d p ity for th e Star-C hild.
50
U N D E R ST A N D IN G THE T E X T
Here's a n e x a m p le :
'We don't w a n t to p la y w ith you .'
T h e c h ild r e n a r e s p e a k i n g .
T h e S t a r - C h i l d is lis te n in g .
c. 'You c a n g o u n d er th e ground.'
51
PA RT FOUR
52
Three Pieces of Gold
s w e e t w i n e . T h i s o l d m a n w a s a m a g i c i a n 1 f r o m L ib y a . T h e
Ma gician t o o k t h e b o y to a d a r k p r i s o n a n d gave h i m a p i e c e of
old b r e a d a n d s o m e d i r t y w a t e r . T h e n e x t day h e said, ' N o w y o u
m u s t go i n t o t h e f o r e s t. In t h e f o r e s t t h e r e are t h r e e p i e c e s of
gold: o n e is of w h i t e gold, o n e is of y e l l o w gold a n d t h e o t h e r is
of red gold. You are m y slav e a n d if y o u do n o t b r i n g m e t h e p ie c e
of w h i t e go ld I w i l l b e a t y o u o n e h u n d r e d t i m e s . '
So t h e S t a r - C h i l d w e n t to t h e fo r e s t to l o o k for t h e w h i t e gold
but h e f o u n d o n l y m a n y t h o r n s 2 a n d d a n g e r o u s p l a n t s . H e c o u l d
not f i n d t h e w h i t e g o l d a n y w h e r e . W h e n t h e s u n s t a r t e d t o
d isappear t h e b o y s t a r t e d t o cry. H e k n e w t h a t t h e M a g i c i a n
wanted to b e a t h i m . S u d d e n l y h e h e a r d a cry of p a i n a n d s a w a
little h a r e in a trap. H e fo rgo t h i s p r o b l e m s . H e felt p i t y for t h e
hare a n d o p e n e d t h e trap.
'T h a n k y o u , y o u are v e r y k i n d , ' said t h e h a re . ' T h a n k s to y o u I
have m y f r e e d o m . W h a t c a n I give y o u ? '
'I m u s t f in d a p i e c e of w h i t e gold for t h e M a g i c i a n . If I d o n 't
take it to h i m h e w i l l b e a t m e . '
'I w ill h e lp y o u , ' said t h e hare. 'I k n o w w h e r e to f in d t h e w h i t e
gold.' H e t o o k t h e S t a r - C h i l d to a t r e e a n d in t h e t r e e h e f o u n d
the gold. T h e S t a r - C h i l d w a s v e ry h a p p y a n d t h a n k e d t h e hare .
He r e t u r n e d t o t h e city . B u t a t t h e c i t y g a t e h e s a w a n o ld
man. T h i s o ld m a n w a s v e r y ill a n d v e ry poor.
'Give m e s o m e m o n e y . If y o u d o n ' t give m e s o m e m o n e y I w ill
die of h u n g e r ! ' s h o u t e d t h e old m a n . T h e S t a r - C h i l d felt p i t y for
2 th orn s :
53
' * ! ' THE STAR-CHILD
t h e o l d m a n b u t h e o n l y h a d t h e p i e c e of w h i t e g o l d fo r t h e
M a g ic ia n . 'T h e old m a n n eed s th e m o n e y m o re th a n m e /
t h o u g h t t h e S t a r - C h i l d a n d gave h i m t h e gold.
T h e M a g i c i a n w a s v e r y a n g ry w h e n h e s a w t h a t t h e S tar-C hild
d i d n ' t h a v e t h e gold a n d h e b e a t t h e boy. H e p u t h i m in prison
w i t h n o food a n d n o w a ter.
T h e n e x t day t h e M a g i c i a n said, 'T o d a y y o u m u s t r e t u r n to the
fo r e s t a n d find t h e p iec e of y e l l o w gold. If y o u do n o t do this I
w ill b e a t y o u t h r e e h u n d r e d t i m e s . ' T h e boy w e n t i n t o t h e forest
a n d l o o k e d for t h e gold. H e l o o k e d all day lo n g b u t h e c o u l d not
f ind it. F i n a ll y h e sat u n d e r a tr e e a n d s t a r t e d to cry. T h e hare
h e a r d h i m a n d a sk ed , 'W h y are y o u crying?'
'I m u s t f i n d t h e p i e c e of y e l l o w g old. If I d o n ' t f i n d it the
M a g i c i a n w i l l b e a t m e .'
'F o ll o w m e. I w i l l s h o w y o u t h e y e l l o w gold,' sa id t h e h a re and
h e t o o k t h e S t a r - C h il d to a p o o l 1 of w a t e r . A t t h e b o t t o m of this
p o o l h e f o u n d t h e p iec e of y e l l o w gold.
T h e S t a r - C h il d r e t u r n e d to t h e c it y b u t a t t h e c it y gate he saw
t h e o ld m a n again. 'G i v e m e s o m e m o n e y . If y o u d o n 't give me
m o n e y I w i l l die of h u n g e r ! ' h e s h o u t e d . T h e S t a r - C h i l d felt pity
for t h e old m a n a n d gave h i m t h e gold.
T h e M a g i c i a n w a s v e r y angry. 'W hat!? N o gold? N o gold, no
foo d a n d n o w a t e r ! ' H e b e a t t h e S t a r - C h i l d a n d p u t c h a i n s on him
a n d p u t h i m in p r i s o n again.
T h e n e x t day t h e M a g i c i a n said, 'T o d ay y o u m u s t r e t u r n to the
fo r e s t a n d fi nd t h e p iec e of red gold. If y o u f in d it, y o u will be
1. pool :
54 I
THE STAR-CHILD
free. If y o u do n o t f i n d it, I w i l l k i l l y o u . ' T h e b o y w e n t i n t o t h e
f o r e s t a n d a ll d a y l o n g h e l o o k e d fo r t h e g o l d b u t h e c o u l d n o t
f i n d it. I n t h e e v e n i n g h e s a t u n d e r a t r e e a n d s t a r t e d t o cry. T h e
h a r e h e a r d h i m a n d a s k e d , ' W h y a re y o u c r y i n g ? ' T h e S t a r - C h i l d
ex p la in e d e v e ry th in g a n d again th e hare h e lp e d h im . T h is tim e
h e f o u n d t h e g o l d i n a c a v e n e a r t h e tree .
' T h a n k y o u , t h a n k y o u , ' s a i d t h e b o y a n d h e r a n b a c k to the
city.
A t t h e c i t y g a t e h e s a w t h e o l d m a n . ' G i v e m e s o m e m o n e y . If
y o u d o n ' t g i v e m e m o n e y , I w i l l d i e ! ' h e s h o u t e d . T h e S t a r - C h il d
f e l t p i t y f o r t h e o l d m a n a n d g a v e h i m t h e g o l d . ' Y o u n e e d it
m o r e t h a n m e , ' h e said , b u t h e w a s v e r y s a d a n d h i s h e a r t was
very heavy. 'T h e M agician w ill kill m e ,' he th o u g h t.
B u t w h e n h e p a s s e d t h e g u a r d s a t t h e c i t y g a t e s t h e y b o w e d 1 to
h i m a n d said , 'L o o k a t o u r b e a u t i f u l L o rd !' T h e Star-C hild
w a l k e d t h r o u g h t h e c i t y a n d m o r e a n d m o r e p e o p l e f o l l o w e d him.
T h e y a ll said, ' H e is t h e m o s t b e a u t i f u l b o y i n t h e w o r l d . ' But the
S t a r - C h i l d w a s v e r y sad, ' T h e y a re l a u g h i n g a t m e , ' h e thought.
H e w a l k e d f o r a l o n g t i m e a n d f i n a l l y a r r i v e d i n a b i g square f
w h e r e t h e r e w a s a k i n g ' s p a l a c e . T h e p e o p l e sa id , 'Y o u are our
L ord, t h e s o n of o u r k i n g ! '
'I a m n o t a k i n g ' s so n . I a m t h e s o n of a p o o r b e g g a r woman.
W h y do y o u s a y t h a t I a m b e a u t i f u l ? I k n o w I a m v e r y ug ly.'
' W h y do y o u s a y t h a t y o u a re ugly? L o o k ! ' s a i d a soldier. The
'— — — "
1. b o w e d : in c lin e d th e ir h e a d s to s h o w r e sp e c t.
2. s h ie ld :
56
Three Pieces of Gold
l ik e a m i r r o r . T h e r e h e s a w h i s f ac e a n d s a w t h a t h i s face w a s
b e a u t i f u l l i k e b e fo re .
' T h e r e is a p r o p h e c y / s a i d t h e p e o p l e , ' t h a t o n t h i s d a y o u r
king w ill c o m e . You are o u r k in g . T a k e t h is c ro w n a n d t h is
s c e p tre .1 G o v e rn us w ith justice and w ith m ercy.'
' N o , I a m a b a d b o y , ' h e r e p l i e d . 'I m u s t f i n d m y m o t h e r , I
cannot accept th e cro w n and th e sceptre.'
He t u r n e d to w a r d s th e c ity gate. In th e c ro w d h e saw h is
m o th e r , t h e b e g g a r w o m a n . T h e n n e x t t o h e r h e s a w t h e old m a n
from t h e c i t y gate.
H e r a n t o t h e w o m a n , k n e l t i n f r o n t of h e r a n d k i s s e d h e r feet.
' M o t h e r I a m so sorry. P l e a s e forg ive m e . O n c e I g a v e y o u m y
hatred. P l e a s e give m e y o u r lo v e n o w . '
But t h e w o m a n d i d n ' t s p e a k . T h e S t a r - C h i l d s p o k e to t h e old
man. 'P le a s e , I h e l p e d y o u t h r e e t i m e s . P l e a s e t e l l m y m o t h e r to
speak to m e . '
But t h e o l d m a n d i d n ' t s p e a k . T h e S t a r - C h i l d s t a r t e d t o cry.
'Please fo rg iv e m e , M o t h e r . P l e a s e forg ive m e . '
T h e w o m a n p u t h e r h a n d o n t h e b o y 's h e a d a n d said, ' S t a n d
up.' T h e o l d m a n p u t h i s h a n d o n t h e b o y 's h e a d t o o . W h e n t h e
Star-Child s t o o d u p h e s a w t h a t t h e b e g g a r w o m a n w a s a q u e e n
and t h e o l d m a n w a s a k in g . T h e q u e e n s a i d t o h i m , ' T h i s is y o u r
father. You h e l p e d h i m t h r e e t i m e s . ' A n d t h e k i n g sa i d t o h i m .
'This is y o u r m o t h e r . You w a s h e d h e r f e e t w i t h y o u r t e a r s . '
The b o y h u g g e d 2 t h e m a n d k i s s e d t h e m b o t h . T h e y t o o k h i m
2. h u g g ed : p u t h is a rm s a ro u n d .
57
* t " THE STAR-CHILD
t o t h e p a l a c e arid t h e y p u t a c r o w n o n h i s h e a d a n d a s c e p t r e in
his hand.
H e w a s a v e r y g o o d k i n g a n d s h o w e d j u s t i c e a n d m e r c y to
e v e r y o n e . H e s e n t g i f t s t o t h e w o o d c u t t e r a n d h i s f a m i l y . He
h e l p e d p o o r p e o p l e , h e w a s k i n d t o t h e a n i m a l s a n d b i r d s and
t h e r e w a s p e a c e i n a ll t h e lan d .
U n f o r t u n a t e ly he died after th re e years b e ca u se h e suffered a
l o t i n h i s lif e a n d t h e n e x t k i n g w a s a c r u e l k in g .
60
UNDERSTANDING THE TEXT
C h o o se th e b e s t a lte r n a tiv e to c o m p le te th e s e n t e n c e s in th is
su m m a r y of Part Four.
^ W hat d o y o u th in k ?
62
In th e b o x for e x e r c is e th ree th ere a re 5 a d je c tiv e s . W rite th e m in th is
ta b le .
f \
a ............................................................
b ............................................................
c ........................................................ .
e .............................................................
V -------------------------------------- -........... >
1................................................................................................................................?
2............................................................................................................................... ?
3 ........................................................................................................................................... ?
N ow th in k of 3 q u e stio n s th e m a g ic ia n c o u ld a sk th e Star-Child.
1............................................................................................................................... ?
2............................................................................................................................... ?
3........................................................................................................................................... ?
A n s w e r t h e s e q u e s t io n s .
L ook a t th is lis t of o b j e c t s . T h e y a r e a ll v e r y im p o r ta n t
m o d e r n in v e n t io n s .
_ ---------------------------------------------------------------------
M car [_] a e r o p la n e □ m o b ile p h o n e
_] co m p u ter Q internet w a s h in g m a c h in e
___________________________________________________________________
P u t t h e m in o r d e r o f i m p o r t a n c e . N u m b e r 1 is t h e m o s t
im p o r t a n t a n d n u m b e r 6 is t h e l e a s t im p o r t a n t . S h o w y o u r
lis t to y o u r p a r tn e r a n d e x p l a i n y o u r d e c i s i o n . D o y o u a g r e e ?
W h a t in v e n t io n w o u ld y o u lik e to s e e in t h e n e x t fifty y e a r s
a n d w h y ? H e r e a r e s o m e id e a s : a f ly i n g c a r , a r o b o t to d o a ll
t h e h o u s e w o r k , a t e l e p h o n e v i d e o ...
N o w u s e y o u r i m a g i n a t i o n a n d th in k of s o m e o th e r i d e a s .
PROUECT on THE WEB
-o In groups, choose an i nventi on (you can use one from
the l i s t on page 65 i f you want) and f i n d some
i nf or mati on about i t . Make a wall d i s p l a y to show your
results.
Use t he I n t e r n e t to hel p You can f i n d the
i nf or mat i on you need using d f e r e nt search engines.
A
www. sea r c h a 1o t . com
www.yahoo. com
www. a l t a v i s t a . c o m
s
T: GRADE 5 | -------- gg
T opic - Transport
Find a p ictu re, p h oto or a tim e ta b le of a m e a n s of transport
in your country.
Tell th e c la s s a b o u t it u sin g th e s e q u estio n s to h e lp you.
4
C h arles D ickens. O scar
W ilde's fam ily w a s very
rich and very im p o r ta n t
and his sto rie s o ften
show ed poor ch ild ren
w h o b e c a m e rich by a
s o r t of m a g i c . C h a r l e s
D ick en s' fam ily was
Charles D i c k e n s (circa 1850)
poor and his stories w ere
by H erbert Watkins.
v e r y r e a l is ti c : t h e y s p o k e
Hulton Getty
a b o u t p o o r c h il d r e n in
w o rk h o u s e s an d bad rich peo p le. T h e s e p eo p le w e re n o t
i n t e r e s t e d i n h e l p i n g o t h e r s . H i s m o s t f a m o u s s t o r i e s are O l i v e r
T w ist, G r e a t E x p e c t a t i o n s a n d D a v i d C o p p e r fie ld .
67
c h i l d r e n : t h e y h a d t o c a r r y v e r y h e a v y s a c k s of c o al, w o r k for
m a n y h o u r s e v e r y day, go i n t o c h i m n e y s t o c l e a n t h e m , a n d so
o n. H e b u i l t s p e c i a l h o u s e s for p o o r c h i l d r e n . In t h e s e h o u s e s
t h e y c o u l d l i v e p r o t e c t e d a n d safe.
T h e d i f f e r e n c e b e t w e e n t h e r i c h a n d t h e p o o r w a s n o t t h e only
d i f f e r e n c e i n V i c t o r i a n s o c i e t y . T h e r e w a s a l s o t h e d ifferen c e
b e t w e e n m e n a n d w o m e n . W o m e n c o u l d n ' t v o t e a t t h a t tim e.
M e n t h o u g h t t h a t t h e y w e r e n o t v e r y i n t e l l i g e n t a n d c o u l d not
m a k e i m p o r t a n t d e c i s i o n s ! E m m e l i n e P a n k h u r s t w a s the
l e a d e r of a g r o u p of w o m e n c a l l e d t h e S u f f r a g e t t e s . T he
S u f f r a g e t t e s t r i e d t o c h a n g e t h e s o c i a l s i t u a t i o n a n d w e r e very
b r a v e . T h e p o l i t i c i a n s d i d n ' t l i k e t h e S u f f r a g e t t e s b u t finally,
i n 1918, w o m e n ag ed t h i r t y h a d t h e v o t e a n d e l e v e n y e a r s later
i n 1929 all w o m e n o v e r 21 c o u l d v o t e .
68
T H E N IG H T IN G A L E
A N D T H E ROSE
BEFORE YOU READ
Here are some words from the story. Do you know them? Match them
with their pictures.
a. □ e m e r a ld s
b. □ c o in s
c. □ s u n d ia l
d. □ b lo o d
e. □ te a rs
f. □ c art
g- □ w h e e l
h. □ m irror
i. □ o a k
j- □ b ran ch
k. □ m o o n lig h t
1. □ b u tte rfly
m. □ d a is y
10
n. □ C h a m b e rla in E3
13
12
14
Write the correct word next to its definition. Then fill in the puzzle
below to find out the secret message.
1. T h e y a r e p a r t of a tre e . .............
2. It is a b e a u tif u l in s e c t w ith b ig c o lo u re d w in g s . .............
3. It is a r e d liq u id in s id e y o u r b o d y . .............
4. It is a v e r y im p o r ta n t p a r t y in a c a s tle . .............
5. If y o u lo o k in to th is o b je c t y o u s e e y o u rse lf. .............
6. It is a b ig tre e . .............
7. It is a sm a ll flow er w ith w h ite p e ta ls a n d a y e llo w c e n tr e ................
8. It is sim ilar to a c a r b u t it h a s a h o rse a n d n o t a n e n g in e .................
9. T h e y a r e g r e e n p re c io u s sto n e s. .............
10. H e is a v e r y im p o r ta n t m a n in a c ity . .............
11. A c a r h a s four of th e s e . .............
12. Y ou c a n s p e n d th e s e o b je c ts in s h o p s to b u y th in g s ......................
13. D u rin g th e d a y th e re is s u n s h in e a n d a t n ig h t th e re is ...................
14. Y ou c a n te ll th e tim e w ith th is o b je c t if y o u d o n 't .............
h a v e a w a tc h .
15. W h e n y o u c ry th e s e fa ll fro m y o u r e y e s . .............
i □ □ □ □ □ □ □ □
2□□□□□□□□□
3□□□□□
«□□□□5 □ □ □ □ □ □
*□□□
^□□□□□ « □ □ □ □
’ □□□□□□□□
10□□□□□□□□□□□
»*□□□□[!
>3□□□□□□□□□
»«□□□□□□□
*»□□□□□
PART ONE
n a n e s t , 1 i n a tree, i n a g a r d e n a n i g h t i n g a l e sang.
H e r s o n g w a s b e a u t i f u l : s h e s a n g of l o v e and
h a p p i n e s s . O n e d a y s h e s a w a y o u n g s t u d e n t in
t h e g a rd e n .
'S h e sa y s s h e w i l l d a n c e w i t h m e if I give h e r a red r o s e / said
t h e S t u d e n t , ' b u t i n m y g a r d e n t h e r e is n o r e d r o s e . ' A n d w h e n he
s a i d t h i s h i s e y e s f illed w i t h t e a r s. 'E v e r y d a y I s t u d y p h ilo s o ph y
a n d I r e a d a l l t h e t h i n g s t h a t w i s e 2 m e n s a y a b o u t h a p p in e ss .
N o w m y h a p p i n e s s d e p e n d s o n a r e d ro se !'
T h e N i g h t i n g a l e h e a r d t h i s a n d sa id t o h e rs e l f , 'F in a lly , here is
a t r u e lo v er. E v e r y n i g h t I s i n g of l o v e a n d t h i s y o u n g m a n suffers
for l o v e . '
2. w i s e : i n f o r m e d ; if y o u a r e w i s e y o u k n o w a l o t of t h i n g s .
72
-»'f THE NIGHTINGALE
^ AND THE ROSE
T h e S t u d e n t c o n t i n u e d : 'I l o v e t h e P r o f e s s o r ' s d a u g h t e r a n d
t o m o r r o w t h e r e is a b a l l a t t h e P r i n c e ' s p a l a c e . M y l o v e w i l l be
t h e r e . If I t a k e h e r a r e d r o s e s h e w i l l d a n c e w i t h m e . If I h a v e n o
red rose sh e w ill n o t sp e ak to m e / T h e y o u n g s t u d e n t looked
a ro u n d th e garden. T h e re w ere y ello w roses a n d w h i t e roses bu t
n o r e d r o s e s . ' P o o r m e / h e said. 'I n e e d o n e r e d r o s e b u t I c a n n o t
see a n y in th is g a rd e n .'
' A h / s a i d t h e N i g h t i n g a l e , ' L o v e is a w o n d e r f u l t h i n g : i t is
m o r e p r e c i o u s t h a n e m e r a l d s , o p a l s a n d p e a r l s , y o u c a n n o t bu y
love in th e m a r k e t p lac e w i t h gold coins.'
'T h e m u s i c i a n s w ill play t h e ir v io lin s a n d m y love w ill dance
t o t h e i r m u s i c . B u t s h e w i l l n o t d a n c e w i t h m e . I h a v e n o red
r o s e t o g i v e h e r . ' T h e S t u d e n t fell o n t o t h e g r a s s a n d s t a r t e d to
cry.
A b u t t e r f l y h e a r d h i m a n d a s k e d , ' W h y is h e c r y i n g ? '
A d a i s y a s k e d h e r f r i e n d , ' W h y is h e c r y i n g ? '
' W h y is h e c r y i n g ? ' s a i d a l i t t l e g r e e n l i z a r d . 1
' H e is c r y i n g fo r a r e d r o s e , ' s a i d t h e N i g h t i n g a l e .
'A r e d r o s e ? ' t h e y all r e p l i e d . ' T h a t ' s r i d i c u l o u s ! '
T h e o th e r a n im a ls la u g h e d b u t th e N ig h tin g a le understood.
S h e w a t c h e d t h e s t u d e n t s a d l y a n d t h o u g h t of t h e m y s t e r y of
lov e.
1. liz a r d :
74
UNDERSTANDING THE TEXT
>
1. The S tudent w ill d a n c e w ith so th e re a r e n o n e
th e s tu d e n t in th e g a r d e n
2. The S tudent if
d o n 't h e c a n 't fin d a
3. The but
u n d e r s ta n d re d rose
N ig h tin g ale
b ecause
is v e ry s a d sh e sin g s a
4. The Professor's
but b e a u tifu l so n g
d a u g h te r th in k s lo v e is
im p o rta n t so h e g iv e s h e r a
5. The S tudent
because re d rose
is h a p p y
6. The a n im a ls
n o w it's n o t
s tu d ie s
7. The u sefu l to h im
p h ilo s o p h y
N ig h tin g a le
fin a lly s h e see s
n e e d s a re d rose
a tru e lo v er
th e y la u g h a t
th e s tu d e n t
V
1..........................................................................................................................................
2 ..........................................................................................................................................
3..........................................................................................................................................
4..........................................................................................................................................
5..........................................................................................................................................
6..........................................................................................................................................
7 ..........................................................................................................................................
^ A nsw er th e s e q u estio n s.
a. W h y d o e s th e S tu d e n t s a y 'M y h a p p in e s s d e p e n d s o n a re d rose!'?
b. W h a t d o e s th e N ig h tin g a le u s u a lly sin g a b o u t?
c. W h a t flow ers a r e in th e g a r d e n ?
d. W h a t d o e s th e N ig h tin g a le th in k of lo v e?
e. W h y d o e s th e S tu d e n t s ta rt to c ry ?
f. W h a t d o th e b u tte rfly , th e d a is y a n d th e liz a rd th in k of th e
S tu d e n t?
75
P A R T T W O
\ j
•
i
Tlile Nightinga le s -V
Sacrifice
n t h e m i d d l e of t h e g a r d e n t h e r e w a s a b e a u t i f u l
r o s e tree . T h e N i g h t i n g a l e f l e w to t h e r o se tree
a n d said, ' G i v e m e a r e d r o s e ,' s h e c rie d, 'a n d I
w i l l s i n g y o u m y s w e e t e s t s o n g .'
' I ' m sorry, m y ro s e s are w h i t e l i k e t h e s n o w o n t h e m o u n t a i n
a n d t h e f o a m of t h e s e a , ' h e a n s w e r e d . ' A s k m y b r o t h e r who
grow s ro u n d th e sundial. Perhaps he can help you.'
T h e N i g h t i n g a l e f le w t o t h e s u n d i a l a n d sa id t o t h e r o s e tree,
' G i v e m e a r e d r o s e ,' s h e cried, ' a n d I w i l l s i n g y o u m y s w e e te st
song.'
' I ' m sorr y, m y r o s e s are y e l l o w l i k e t h e d a ffo d il,' h e answered.
' A s k m y b r o t h e r w h o g r o w s u n d e r t h e S t u d e n t ' s w i n d o w . Perhaps
he can help you.'
76
■*£ t h e n i g h t i n g a l e
^ AND THE ROSE
T h e N i g h t i n g a l e f l e w t o t h e w i n d o w a n d a s k e d t h e rose , ' G i v e
m e a r e d r o s e / s h e c rie d , ' a n d I w i l l s i n g y o u m y s w e e t e s t s o n g /
' I ' m sorry, m y r o s e s a re r e d l i k e t h e c o ra l i n t h e se a b u t t h e
w i n t e r w a s c o l d a n d m y b r a n c h e s a re b r o k e n . T h i s y e a r I h a v e n o
flowers.'
'B u t I o n l y n e e d o n e r ed ro se . Is t h e r e n o t h i n g I c a n do?'
' T h e r e is o n e t h i n g y o u c a n d o b u t I w o n ' t t e l l y o u . It is a
terrible thing.'
' T e l l m e w h a t i t is. I a m n o t a fr a i d ,' s a i d t h e N i g h t i n g a l e .
'If y o u w a n t a r e d r o s e y o u m u s t b u i l d i t b y m o o n l i g h t w i t h
m u s i c a n d c o l o u r i t w i t h y o u r o w n b l o o d . You m u s t s i n g t o m e
all n i g h t a n d p r e s s y o u r h e a r t a g a i n s t o n e of m y t h o r n s . A l l n i g h t
y o u m u s t sing a n d y o u r blood w ill b e c o m e m y blood.'
' D e a t h is a b ig p r i c e t o p a y for a r o s e , ' s a i d t h e N i g h t i n g a l e .
' E v e r y b o d y l i k e s life. I l i k e life. I l i k e to fly a n d t o l o o k a t the
f l o w e r s a n d t o s m e l l t h e i r p e r f u m e s i n t h e w i n d . B u t l o v e is
b e t t e r t h a n lif e... a n d t h e h e a r t of a m a n is m u c h m o r e i m p o r t a n t
t h a n t h e h e a r t of a b ird. T h e S t u d e n t w i l l h a v e h i s r o s e .'
78
UNDERSTANDING THE TEXT
79
U n scram b le th e q u estio n s a n d w rite a n sw ers.
.................................................................................
b. W h a t th e s u n d ia l roses a r e ro u n d th e co lo u r?
e. H ow a re d N ig h tin g a le th e m a k e ro se c a n ?
f. W h a t like d o d o e s to th e N ig h tin g a le ?
g . Is a th e im p o r ta n t m o re th e h e a r t a h e a r t of m a n of b ird th a n ?
a . W ho is th e b o y in th e p ic tu re ?
b. W h a t d o y o u th in k h e is fe e lin g ?
c. W h y d o y o u th in k h e is fe e lin g th is w a y ?
80
P A R T T H R E E
L Ü
81
THE NIGHTINGALE
AND THE ROSE
a r t i s t a n d e v e ry b o d y k n o w s t h a t a r t i s t s are n o t sin c e re . She
t h i n k s o n l y of m u s i c a n d c o u l d n e v e r do a n y t h i n g p r a c t i c a l t o h e l p
a n y b o d y .' H e g ot up , w e n t i n t o h i s h o u s e , lay o n h i s b e d a n d slept.
W h e n n i g h t c a m e a n d t h e m o o n s h o n e , t h e N i g h t i n g a l e f l e w to
t h e r o s e t r e e . Sh e p r e s s e d h e r h e a r t a g a i n s t o n e of h i s t h o r n s . A ll
n ig h t she san g h e r s w e e te s t songs. T h e cold c ry s ta l m o o n
l i s t e n e d a n d t h e N i g h t i n g a l e ' s b l o o d s l o w l y lef t h er. A t t h e t o p of
t h e r o s e t r e e a f l o w e r s t a r t e d t o grow. F i r s t i t w a s pale; s i l v e r l i k e
t h e n e w day. B u t t h e t r e e c r i e d ' C o m e c lo s e r ! '
T h e N ig h tin g a le c a m e closer a n d sang louder, t h e n th e rose
b e c a m e p in k like a red rose in a silver mirror.
'C o m e closer, l i t t l e N ig h tin g a le ,' said t h e rose b u sh . 'C o m e
c lo s e r . If n o t , t h e d a y w i l l c o m e b e f o r e t h e r o s e is f i n i s h e d . ' T h e
N i g h t i n g a l e c a m e c l o s e r a n d as t h e t h o r n p i e r c e d 1 h e r h e a r t sh e
s a n g of a l o v e t h a t n e v e r dies. She f e lt a s t r o n g p a i n a n d h e r v o ic e
b e c a m e s o f t e r a n d so fter. F i n a l l y t h e r o s e w a s ready, a m a r v e l l o u s
r e d ro se, re d l i k e t h e e a s t e r n sk ie s.
T h e n t h e l i t t l e N i g h t i n g a l e s a n g h e r m o s t b e a u t i f u l f i n a l song.
T h e w h i t e m o o n h e a r d it a n d s h e f o r g o t t h e s u n i n t h e E a s t a n d
s ta y e d in th e sk y to lis te n . T h e red rose h e a rd th e song and
o p e n e d h e r p e ta ls in th e c o ld m o r n i n g air. T h e s le e p in g
s h e p h e r d s w o k e u p w h e n t h e y h e a r d i t a n d t h e r i v e r c a r r i e d its
m e s s a g e t o t h e sea. T h e r o s e t r e e h e a r d t h e s o n g a n d cried, 'Look,
l i t t l e N i g h t i n g a l e , l o o k . T h e r o s e is f i n i s h e d . '
B u t t h e N i g h t i n g a l e d i d n ' t h e a r b e c a u s e s h e w a s d e a d o n the
grass w i t h th e th o r n in h e r heart.
1. p ie r c e d : w e n t in to .
82
UNDERSTANDING THE TEXT
(Si a n sw er A, B or C.
1. W illia m is Emily
□ a a student n A loves William
□ B a professor □ b is the Professor's
□ c a philosopher daughter
loves all the boys
o
□
2. He loves studying
I I A philosophy and art Emily will dance with
□ B history and Italian William if
I I C philosophy and □ a he buys her lots of
history things
□ b he stops studying
3. His mother and father □ c he gives her a red
I I A live in a small house rose
O B buy him a lot of things
_ ] C are very beautiful
B. Listen a g a in a n d a n sw er th e se q u estio n s.
84
N ow listen to Emily a n d an sw er th e q u estio n s. C h o o se th e b est
a n sw er A, B or C.
The Professor’s
Daught er
h e n e x t day, a t l u n c h t i m e , t h e S t u d e n t w o k e up
a n d l o o k e d o u t of h i s w i n d o w . ' T h a t ' s l u c k y , ' he
s a i d , ' h e r e i s a r e d r o s e . I t is a n e x t r e m e l y
b e a u t i f u l r e d ro se . I ' m s u r e i t h a s a l o n g L a t in
n a m e . ' H e t o o k t h e r o se f r o m t h e tree. H e p u t o n h i s h a t a n d ran
to th e P ro fe sso r's h o u se . T h e Professor's d a u g h te r w as sittin g
n e a r t h e door.
'L o ok , h e r e is a red rose for y o u . T o n i g h t y o u m u s t d a n c e w i t h
m e as y o u p r o m i s e d . You w i l l w e a r it n e x t to y o u r h e a r t a n d I
w i l l say "I lov e y o u . " '
T h e girl d i d n ' t s m i l e b u t s h e l o o k e d a t h i m . ' I ' m s o r r y ,' she
said, 'I d o n ' t l i k e t h e c o lo ur. M y d ress is b l u e a n d t h e rose is red.
A n d a n o t h e r th in g , th e C h a m b e r l a i n 's so n gave m e jew els.
86
-* £ tH E NIGHTINGALE
s AND THE ROSE
E v ery b o d y k n o w s t h a t jew els are m o r e e x p e n s i v e t h a n flowers. I
d o n 't w a n t y o u r rose.'
'Y o u a re v e r y u n g r a t e f u l / s a i d t h e S t u d e n t a n g r i l y , a n d he
t h r e w t h e ro se i n t o t h e st re et. A t t h a t m o m e n t a c a r t p a s s e d a nd
t h e w h e e l s c r u s h e d t h e flower.
' Y o u a r e v e r y r u d e , ' s a i d t h e g i r l . 'I w i l l d a n c e w i t h t h e
C h a m b e r l a i n ' s son, n o t w i t h y o u .' T h e n s h e s t o o d u p a n d w e n t
into her house.
T h e S t u d e n t s t a r t e d to w a l k h o m e . 'L ove is a s t u p i d t h i n g , ' he
said. 'I p r e f e r to s t u d y b o o k s. T h e y are m u c h m o r e i n t e r e s t i n g
a n d u s e f u l ... Yes, logic is m u c h m o r e u s e f u l t h e n love. I w i l l go
h o m e and study philosophy and m etap h y sic s.' And that's w h a t
h e did.
88
UNDERSTANDING THE TEXT
a. W hy d o e s th e S tu d e n t w a n t to find a rose?
b. W h a t d o e s th e N ig h tin g a le th in k of lo v e?
g . W h a t m u st sh e d o?
h. W hy is th e s tu d e n t c ry in g ?
j. W h a t h a p p e n s to th e re d rose?
89
GRAMM AR
Will a n d if
a . W e .......................to S p a in o n h o lid a y n e x t y e a r.
b. I .......................a ll m y h o m e w o rk b e fo re I w a tc h TV.
c . A n d r e w .......................v e ry h a p p y w h e n th e e x a m is fin ish ed .
d . T h e y .....................a n e w c a r w h e n th e y h a v e e n o u g h m o n e y .
e . S u s a n .....................m e to m o rro w .
a .......................................................................................................................................
b .......................................................................................................................................
c .......................................................................................................................................
d .......................................................................................................................................
90
Now look at these examples:
The student says. If I take her a red rose, she will dance with m e .'
If I don’t take her a red. rose, she will not dan ce with m e .'
If + present , will (not) + infinitive
a. If it ra in s o n S u n d a y , I will .................................................................
b. I w ill d a n c e w ith y o u if y o u ...............................................................
c. If I e a t too m u c h c h o c o la te ..................................................................
d. If I find a lot of m o n e y , I .....................................................................
e. M y m o th e r will b e v e ry a n g r y if I ...................................................
f. If I d o n 't d o m y h o m ew o rk , m y te a c h e r .......................................
T: GRADE 5
a. W h a t a r e y o u stu d y in g a t th e m o m e n t?
b. W h a t h o b b ie s a n d interests d o y o u h a v e ?
c. W h a t job y o u th in k you'll d o in th e fu tu re? W hy?
d. Do y o u th in k y o u will c h a n g e y o u r h o b b ie s? W hy?
S im iles
Similes help to describe an object or a person. They often use the word
like. Oscar Wilde used a lot of similes to write beautiful descriptions.
What colour is the Siar-Child's skin?
Ivory is alw ays very white.
The Star-Child's skin w as w hite like ivory
N o w y o u try.
a . Round
The pizza w as round like t h e ................................ (think of som ething
a lw a y s very round)
b . Tall
T h e ...................w as tall like a (think of som ething
very very tall)
c. Silver ................................................................................................................
d . Beautiful .........................................................................................................
92
E X IT TEST
O p p osites
C o n n ect e a c h a d je c tiv e w ith its o p p o site. T ranslate th e w ords into
your la n g u a g e .
a. sa d 1. b e a u tifu l
b. h u m b le 2. ru d e
c. p o o r 3. in te llig e n t
d . p o lite 4. in te re stin g
e . u g ly 5. rich
f. b o rin g 6. h a p p y
g . stu p id 7. a r r o g a n t
^ la z y sin c e re e le g a n t g re e d y h e lp fu l in lo v e
a . A p e rs o n w h o w e a rs fine c lo th e s is ..........................................................
b. A p e rs o n w h o w a n ts m o re th a n is n e c e s s a ry is ..................................
c . A p e rs o n w h o likes to h e lp p e o p le i s ........................................................
d . A p e rs o n w h o lo v e s a n o th e r p e rs o n is ....................................................
e . A p e rs o n w h o d o e s n 't like w o rk in g is .......................................................
f. A p e rs o n w h o s a y s th e th in g s th e y th in k is ...........................................
93
In a ll of th e s e stories b y O scar W ild e th e m a in c h a r a c te r is a b o y or
y o u n g m a n . T he th ree c h a r a c te r s c h a n g e d u rin g th e stories. C h o o se
from th e a d je c tiv e s o n p a g e 93 a n d d e sc r ib e th em . You c a n u s e a ll of
th e a d je c tiv e s m ore th a n o n c e .
T he y o u n g K ing i s .............................
a t th e b e g in n in g of th e sto ry a n d
a t th e e n d of th e story.
T he S tu d e n t is .................................................................
a t th e b e g in n in g of th e sto ry a n d .........................
a t th e e n d of th e story. ,
^ In tw o of th e stories not o n ly h u m a n s sp e a k .
a . w h ic h sto ries a r e th e y a n d w h o s p e a k s ?
b. Do y o u like th e id e a of a n im a ls a n d p la n ts t h a t s p e a k in sto ries?
W h y ? / W h y n o t?
c. T h e re a r e m a n y s p e a k in g a n im a ls in tra d itio n a l stories. W ith y o u r
p a r tn e r try to th in k of a s m a n y a s p o s sib le in th re e m in u te s .
94
In tw o of th e stories y o u n g b o y s b e c o m e k in gs in u n u su a l situ ation s.
a . W h ich stories a r e th e y ?
b . W h a t is u n u s u a l a b o u t th e w a y th e y b e c o m e k in g ?
c . In m a n y stories a n d films c h ild re n or n o rm a l p e o p le b e c o m e
p rin c e s o r p rin c e sse s. H ow m a n y c a n y o u th in k of?
95
C h eck your id e a s w ith your partner. Do you a g r ee ? W hich of th ese
e le m e n ts are u su a lly in stories for children? W hich of th e se e lem en ts
a re not u su a lly in stories for children?
T y p ic a l e v e n ts T y p ic a l e n d in g
find treasu re, m ee t a ghost
96
MC CD
DD-Rom Kt Beil
ShortyRories
W ilde w ro te these delightful fairy tales for his tw o young
sons. They w ere all published in the collection The Happy
Prince and Other Stories in 1888.
The Young King tells how a shepherd boy becomes a king.
The Star-Child tells the story of a baby found in the forest
and how he believes himself to be a magic Star-Child.
In The Nightingale and the Rose a little nightingale sacrifices
her life to create the perfect red rose for a young student in
love.
ISBN 3-526-52091-7
0 S tep TWO
I
7 8 3 5 2 6 '520917