Grade 8 - English Literature

Name Sec school ENGLISH 8

The book “Garden of Dreams” by Saarthi Pedagogy aims to provide an easyto-follow introduction to students, giving them the tools to read and engage in critical discussion. By using simple language and relying on many examples drawn from a wide range of short stories and novels, the book allows the students to develop a thorough understanding of the key elements of narrative. Key words are defined in the beginning of the chapter. Throughout the text, an effort is made to systematically classify and structure the elements of narrative in ways that facilitate understanding and solution by students. Grammar exercises are incorporated to refresh and enhance the mechanics of writing. The assignments in the form of variety of questions are designed to help students understand key points and apply the gained knowledge. The content is designed to spark the interest of students in literary narratives encouraging them to read more but above all, to read more critically. “Garden of Dreams” The book stipulates the following outcome skills in reading of Literature. l Vocabulary development l Strategic thinking in literature l Strategic thinking in informational text All rights reserved - Saarthi Pedagogy Pvt. Ltd., reserves the copyright of its ‘The Wizz Kit’ series. Saarthi Pedagogy Pvt. Ltd. has applied for copyright permission wherever possible. Designed by the editorial team of Saarthi Pedagogy Pvt. Ltd. Version: SP22

1 | THE SOLITARY REAPER 4 Literature Reading - I Wandered Lonely as a Cloud 2 | THE ASSASSINATION 11 Literature Reading - The Story of an Hour 3 | THE ECHOING GREEN 22 Literature Reading - Story of the Door 4 | THE BISHOP’S CANDLESTICKS 34 Literature Reading - Merry Christmas 5 | FROST, THE WINTER-SPRITE 45 Literature Reading - A Name in the Sand 6 | SUPER HERO YUUKI 53 Literature Reading - The Diamond Necklace 7 | I AM ANANDIBAI JOSHI 70 Literature Reading - The Interlopers 8 | OLIVER TWIST 84 Literature Reading - Puddleby 9 | THE PAINTED CEILING 94 Literature Reading - The Garden by Moonlight 10 | A FISHY STORY 102 Literature Reading - The Prison Door 11 | THE FLIGHT OF ICARUS 112 Literature Reading - The First Task 12 | THE LAST BARGAIN 121 Literature Reading - Coloured Toys 13 | THE BROOK 129 Literature Reading - The Charge of the Light Brigade 14 | THE LAST CLASS 138 Literature Reading - A Horseman in the Sky 15 | THE GALAPAGOS ADVENTURES OF CHARLES DARWIN 151 Literature Reading - The Further Vision TABLE OF CONTENT TABLE OF CONTENT

4 THE SOLITARY REAPER -WILLIAM WORDSWORTH solitary - single, or existing alone lass - a young woman melancholy - a state of contemplative sadness, usually without apparent cause haunt - be disturbingly and consistently present in the mind sickle - a semicircular-bladed farming tool with a short handle chaunt - old English term for ‘chant’ Get Set Go! Know the keywords and their meanings Understand and Know In 1805 Wordsworth penned "The Solitary Reaper." It was included in a book titled 'Poems', in two volumes, released in 1807, along with a collection of his other work. "The Solitary Reaper" is set in Northern Scotland's Highlands. This enormous territory is home to the mythological Lochness Monster and has a very limited population. The poem's main and only character is a young woman labouring in a field when the author notices her and her voice. The whole text of the four-stanza poem is shown below, followed by a synopsis and analysis. Let’s Read Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the Vale profound Is overflowing with the sound. 61

5 No Nightingale did ever chaunt More welcome notes to weary bands Of travellers in some shady haunt, Among Arabian sands: A voice so thrilling ne'er was heard In spring-twime from the Cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides. Will no one tell me what she sings?— Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, and may be again? Whate'er the theme, the Maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending;— I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more. Let’s Write I. Read the given extracts and answer the following questions. A. Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself;

6 Stop here, or gently pass! 1. What does the poet mean by saying ‘single in the field’? 2. Who is the ‘Highland Lass’? 3. What draws the poet’s attention to the girl? 4. Give the synonym of the word ‘solitary’. B. A voice so thrilling ne'er was heard In spring-time from the Cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides 1. Why is the song of the cuckoo bird so thrilling? 2. Explain 'breaking the silence of the seas'. 3. Identify the poetic device used in the above extract. 4. Give the synonym of the word ‘thrilling’. II. Answer the following question in 30-40 words. 1. Why does the poet call the reaper ‘Solitary’? 2. How was the poet affected by the song of the Solitary Reaper? 3. Where was the Solitary Reaper? How did the poet hear her? III. Multiple Choice Questions: 1. The quality of the reaper's song is been compared to? a. cuckoo and nightingale b. crow and sparrow c. pigeon and dove d. peacock and parrot 2. Identify the reaper’s actions when the speaker first spotted her. a. She was ploughing the field. b. She was standing to welcome some guests. c. She was singing by herself and reaping. d. She was coming back home from work. 3. What was the reason for the speaker to guess what the song is about? a. The reaper was singing hurriedly. b. The language in which the reaper was singing was unknown to the poet. c. The speaker was singing in multiple languages. d. The speakers singing was inaudible to the speaker.

7 4. What does the speaker think about the song? a. It was a historical event or a tragedy occured in the past. b. It seemed to be a happy event. c. It was a song about birds like a nightingale or a cuckoo. d. It was a song about travellers. 5. What is the setting of the poem? a. Hebrides b. England c. Russia d. Scotland 6. When the speaker mentions about ‘Arabian sands,’ what is he referring to? a. the solitary reaper b. a nightingale c. the cuckoo bird d. an English bulldog Digging Deep 1. Discuss the comparison of the Solitary Reaper’s song with the other birds given in the poem. 2. Discuss the significance of the title of the poem "The Solitary Reaper". ( Justify the title 'The Solitary Reaper'.) 3. William Wordsworth describes the scene of the solitary reaper to his sister Dorothy in a letter. Write a letter to Dorothy imagining yourself to be William Wordsworth. 4. Why do you think William Wordsworth choose the songs of the nightingale and cuckoo to compare with the song of the solitary reaper? Thinking Hat What’s the Good Word? 1. A. In what state is a person when he or she is in a solitary state? (a) single (b) with people (c) in multiple places B. Find out the synonym of the word ‘solitary’ and make a sentence. A. For whom is the word lass used? (a) a boy (b) a girl (c) a dead person B. Make a sentence using the word ‘lass’.

8 A. What kind of emotion do you feel when you are in a melancholy state? (a) exhilaration (b) downcast (c) anger B. When was the last time you felt you were in a ‘melancholy’ state? A. What usually comes to our mind when we hear the word haunt? (a) a ghostly presence (b) a bright sunny day (c) a farmland B. Have you ever seen a ‘hanuted’ house? State the incident if you have seen or heard of one. A. What is a sickle used for? (a) for threshing (b) for harvesting (c) for sowing B. Where do you think you can find a ‘sickle’? Summarising Skills Write the summary of the poem in 80-100 words. Let’s Learn Grammar A. Identify the conjunctions in the stanza given below and state their kind. Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the Vale profound Is overflowing with the sound. B. Make a small diary entry and write the poem in the style of a diary entry. Think about the day, how it must have begun and what feelings must have crossed the poet’s mind. Poetic Devices/Theme: Art and Communication "The Solitary Reaper" is a poem about music, specifically the song that a Scottish girl sings while cutting hay with a sickle. Though the narrator of the poem is unable to grasp what the girl is singing about, the

9 girl's song stays with him, its mournful beauty reverberating in his head "far after" its sound has faded. In this way, the poem emphasises the ability of art to transcend cultural boundaries and even language itself. Even in the absence of concrete comprehension, art, as in the poem, can express feeling or emotion. At the same time, the poem conveys some scepticism about poetry's ability to provide this connection in the same way that music can. The speaker concentrates on the hypnotic force of the reaper's enigmatic melody. He describes her music in elegant and slightly exaggerated terms: it fills the valley with sound, and she sings "as if her song might never cease." He also urges readers to join his awe and delight by encouraging them to "stop here" and "listen." Despite this, he is unable to grasp the reaper's singing, and shouts out, "Will no one tell me what she sings?" He's either too far away to hear the words, or the reaper is singing in Scots (the national language of Scotland, which is closely related to but different from English). He wonders if she's singing about ancient, epic wars or the "humble" and "familiar" miseries of daily life. In either scenario, the speaker enjoys the girl's song while not understanding its details. The speaker feels connected to this lone "Highland lass" because the force of the reaper's song transcends cultural and linguistic divides. Let’s Speak Questions from the story: 1. Identify other poetic devices from the poem. 2. Paraphrase one of the stanzas of the poem. 3. With the help of the Internet, find out another poem that has similar poetic device than the one in the poem. 4. Find out the reason why the poet uses musical narrative to express his poem. Literature Reading Let’s read another poem by William Wordsworth. I Wandered Lonely as a Cloud I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.

10 Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed—and gazed—but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.

11 62 THE ASSASSINATION A 'JULIUS CAESAR' TRAGEDY seared – be scorched in intense heat strutted – walked stiffly with pride omen – an event giving a sign for something good or bad will happen soon soothsayers – fortune tellers enthrone – crown king or queen cease – to not stop Ides of March – 15th of March adulate – praise; flatter et tu – also you; even you perturbing – worrying; disturbing Get Set Go! Know the keywords and their meanings Understand and Know You must have read or performed a play where you took on the role of another person. Since ancient times, plays have been a well-liked genre of literature and amusement! When they are written in script, they also seem more vibrant and you may almost feel like you are a part of them. In the past, plays were either comedies or tragedies. Shakespeare, the "king of plays," produced a wide range of plays. Can you tell what kind is this one? Let’s Read Cicero (a Roman statesman) Casca (a senator) Caesar (The Emperor) Calpurnia (Caesar’s Wife) Servant (Caesar’s Servant) Decius Brutus (a member of the conspiracy)

12 Brutus (a member of the conspiracy) Metellus (a senator) Cinna (one of the conspirators) Cicero: Casca, you look like you’ve seen a ghost? What is it? Casca: Why aren’t you bothered? I just saw twenty torches fall from the sky, but not even a common servant’s hand was seared. Then, again in the Capitol, I encountered a lion, who instead of attacking me, strutted by. I even heard some women talk that they saw some men walk on fire down the street. And of course, couldn’t miss an owl hooting in the middle of the marketplace at noon. What do you draw of this? Cicero: Do you mean this is an omen from the Gods? Leave that. When is Caesar visiting the Capitol? Casca: He will be here tomorrow. And we will be ready. (Scene break) Caesar: My dear! What is it now? Calpurnia: I saw that dream again, where your statue has so many holes in it, with your blood gushing out and the Romans are bathing their hands and heads in it. Please do not leave this house today. I beg of you! Caesar: My dear, Calpurnia. Do not worry yet. Let me ask the soothsayers for the interpretation of your dream. (Caesar sends out a servant to send a message to the soothsayer). (Servant enters) Caesar: Well? What is it then? Servant: They found no heart in the animal that was sacrificed. They have insisted that you do not leave the palace. Calpurnia: See! Now, will you stay, please? Caesar: It is only for your sake that I will stay. You know I do not believe in such mindless superstitions. Decius: Hail Caesar! The senators are asking you to come to the Senate today. I think they are going to enthrone you. This seems like an opportunity you shouldn’t miss. Caesar: Well, let them know that I cannot come because my wife has said so. Decius: Great Caesar, please give a reason. (Caesar talks about the dreams and interpretations.) Decius: Mighty Caesar! This is actually a blessed dream. It probably means that your blood is going to sustain the whole of Roman and great men will wash their hands for your approval in your holy blood. Caesar: Now, that is a better interpretation. You see dear, now you don’t have to worry. Besides, I mustn’t

13 cease this opportunity at the Senate. (Caesar leaves. Scene break) (Caesar walks in with Decius, Brutus, Metellus, Cinna, Cassius, Casca and others) Caesar: I was warned by the soothsayer to avoid the Ides of March. But it rather seems like a day I shouldn’t miss. Decius: You may think so (speaks under his breath). Metellus! Come forward and offer your petition. Metellus: Mighty Caesar. I kneel before you with a humble— Caesar: I’m afraid I have to stop you right there. You see, your kneeling and begging are not going to adulate me; if that is what you need to free your brother from being banished your tactics cannot fool me. He has been banished by decree, and I cannot be unjust. If you don’t stop, I’ll kick you out of my way like a dog. Brutus: My Caesar, what I do is not out of flattery. I request you to consider this petition. Caesar: Not you, Brutus. I’m afraid I have to stop you as well. Cassius: Thousand pardons, my Caesar. Please restore Publius his citizenship. Caesar: If I were like you, I would be convinced. But I’m immovable and fixed like the Northern Star. To show that I am different and worthier than you, I shall stand by my decision. I shall remain firm in my order. Decius: But great Caesar— Caesar: Didn’t you see me even deny Brutus for this matter? Casca: Then, so be it! (Decius, Casca and other betrayers jump in and stab Caesar one by one. Brutus stabs him last.) Caesar: Et tu, Brutus? (Caesar falls to his death) Cinna: Liberty and Freedom! Let everyone know about this! Metellus: Stay together. What if someone dear to Caesar tries to— Brutus: We have done nothing wrong. Let no one suffer for this act except us. Cassius: Some men worry about death and shorten their life by perturbing about it. Brutus: So you see, we are friends of Caesar’s. We have granted him peace from all that torment, by which he would’ve shortened his life anyway. Let every man wash his hands and swords in Caesar’s blood and declare the country liberty! Cassius: Then, let it be so! Brutus, the boldest heart in Rome, now lead the way.

14 Let’s Write I. Read the given extracts and answer the following questions. A. Do not worry yet. Let me ask the soothsayers for the interpretation of your dream. 1. Who said this to whom? 2. What was the dream about? 3. Give the synonym of ‘soothsayers’. B. I’m afraid I have to stop you right there. You see, your kneeling and begging is not going to adulate me; 1. Who said this to whom? 2. What was the person kneeling and begging for? 3. Give the synonym of ‘adulate’. II. Answer the following question in 30-40 words. 1. What omen from the Gods did Cicero think about? Describe the strange events mentioned by Casca. 2. Why did Calpurnia ask Caesar not to leave the house? 3. What was strange about the sacrifice made by the soothsayer? 4. Who wanted to kill Julius Caesar and why? 5. Why did they shout 'Liberty and Freedom' after murdering Caesar? III. Multiple Choice Questions. 1. Casca: “I just saw twenty torches…..What do you make of this?” What do these words refer to? (a) bad omen (b) weather changes (c) Shakespeare’s storyline (d) Casca’s misfortune 2. What according to the story was the superstitious proof that Caesar's life was in danger? (a) Someone died in the chamber. (b) No heart was found in the animal sacrificed. (c) The moon did not shine. (d) It thundered and rained. 3. Caesar: “It is only for your sake….mindless superstitions.” What word describes Caesar best? (a) practical minded (b) argumentative (c) proud (d) courageous

15 4. Whose character incorrectly interprets the dream to Caesar? (a) Brutus (b) Calpurnia (c) Cinna (d) Decius 5. 'Et tu, Brutus?' is a famous line from Julius Caesar. What does it mean? (a) Why did you, Brutus? (b) You too, Brutus? (c) Did you know this, Brutus? (d) Why didn’t you tell me, Brutus? IV. True or False. 1. Caesar’s wife asked him to stay at home. ( T / F ) 2. Caesar had many loyal friends. ( T / F ) 3. Brutus also insisted on giving Publius’s job back. ( T / F ) 4. Caesar was shocked to see Decius stab him. ( T / F ) 5. Brutus was the boldest in Rome after Caesar. ( T / F ) Digging Deep 1. Why does Caesar decide to go to the Senate despite being warned by his wife? 2. Was assassinating Caesar the right decision? 3. Popular and powerful leaders have been assassinated in the past and in recent times. Can you name some of them? 4. Discuss in groups the reasons why the leaders you named in (3) were assassinated. Is assassination the end to a problem? Thinking Hat What’s the Good Word? A. In what condition is a person when he or she is seared? (a) in an intense cold condition (b) in an intensely heated condition (c) in a worried state B. Find out the synonym of the word ‘seared’ and make a sentence. A. When is a person most likely to strut? (a) When he or she is feeling shy. (b) When he or she is feeling proud. (c) When he or she is feeling scared.

16 B. Make a sentence using ‘strut’ or ‘strutted’. A. To what is the word omen usually associated with? (a) religious reference (b) scholarly reference (c) legislative reference B. In what context was the word ‘omen’ used in the story? A. What kind of people are soothsayers? (a) investigators (b) fortune tellers (c) scholars B. Have you ever seen a ‘soothsayer’? If yes, tell about the situation when you saw one. A. What happens when you cease something? (a) it starts from the beginning (b) it stops immediately (c) it takes a pause and starts again B. Make a sentence using the word ‘cease’. Let’s Learn Grammar A. Join the following sentences using ‘though’ or ‘although’. 1. I just saw twenty torches fall from the sky. But not even a common servant’s hand was seared. 2. I was warned by the soothsayer to avoid the Ides of March. But it rather seems like a day I shouldn’t miss. 3. She is very aged. But she is very active. 4. The policeman ran as fast as he could. Still, the thief escaped swiftly. 5. The doctor has given the best medicine for your ailment. But you will have to visit him weekly. B. Imagine yourself as Shakespeare. Think about which part of the play would you like to change to make it a happy ending. Write it in the form of dialogues. Understanding Literary Genres Climax Every story is deemed the best if it has the best climax. Like the icing on the cake in a movie, a good climax makes the reader want to follow the story all the way to the finish. For example: 1. When the little girl had lost all hope, she heard a faint bark from afar…. – This conclusion

17 demonstrates how the protagonist was about to give up when the narrative abruptly turned around and ended up being hopeful for both the protagonist and the reader. 2. As Mark reached the end of the street, he had no other place to run. The man stood in front of him raising his gun at him. Just as he was about to get shot, Mark heard the siren. – Giving an indication about how the characters' story will conclude is the main goal of the climax. The climax is where the suspense or drama in a story reaches its peak. The climax of a story frequently occurs when the lead character, or protagonist, confronts and resolves the primary conflict. The word "climax" comes from the Greek word "klimax," which means "ladder." The climax is at the top of a ladder when reading a novel. Take a look at the following short stories. Example 1: A story about a mother and daughter: • Conflict: An argument has broken out between a character and her mother. The main character is convinced that she should be an artist, but her mother would prefer her to be an accountant. • Climax: A lengthy dispute occurs between the character and her mother during which both parties express their opinions. They resolve to love one another in spite of their differences after their quarrel. Example 2: A story about a boy and his pet dog: • Conflict: Sadie, a boisterous dog, yanks free of his collar and flees as a boy plays with him. The youngster must now locate Sadie before she runs too far to be caught. • Climax: The boy hears the dog barking near the backyard of the house after searching for Sadie for some time. He locates his lost dog there, and they joyfully reconnect. The Importance of Using Climax The climax is a story's pinnacle. Without a climax, a story lacks tension or a larger purpose. Beyond simple stories, the climax is a crucial component of many poems, songs, films, television shows and commercials. One could argue that any composition needs a climax to be engaging or interesting. The same elements we look for in art—emotion and change—are absent from stories without climaxes. In novels, poems, plays, and a variety of other literary genres, the climax is a crucial component of the plot. Q1. Narrate the story’s climax in your own words. Q2. Cassius remarked, "Brutus, the boldest heart in Rome, now lead the way," but what did he mean by that? Q3. In a few lines, create a different climax for the story mentioned above.

18 Understanding Literary Elements Tone The narrator's attitude toward the events, settings, and characters in the story is expressed through tone, which is connected to voice. Conflict Story problems are primarily caused by conflicts. Conflicts can be either large or small. Theme A theme is the main message or idea of a story, and it can be conveyed through characters' actions, transformations, and settings. Flashback A story’s segments can be interrupted so that readers can relive a character’s key moment in time. This is called a flashback. Plot Pattern of events in a story that reveal the main theme. Point of View When the story is told from the character or an outside observer’s perspective. Characterisation The visualising, creation, placement and development of the people in a story. Symbolism A place, person, object or event that is presented with a deeper meaning in contrast to its literal meaning. Allusion When we make a suggestion and count on the other person to get the reference, we are using an allusion. Alliteration When two or more words with the same first consonant sound are combined, as in "fish fry," alliteration takes place. Hyperbole The deliberate use of exaggeration and overstatement for emphasis and impact is known as hyperbole in rhetoric and literature. Imagery The term 'imagery' refers to the use of figurative language to describe things, activities, and concepts in a way that engages our physical senses. Personification A literary technique that communicates abstract concepts in a relevant way by using nonliteral language. Onomatopoeia When we read, we practically hear the sounds that an onomatopoeia creates because it genuinely looks like the sound it makes. Oxymoron A figure of speech known as an oxymoron combines words with opposite meanings that are incompatible with one another. Motif A motif is a recurring pattern—an image, sound, word, or symbol that appears repeatedly throughout a certain story. What is a conflict? A fight between two opposing forces, typically a protagonist and an antagonist, constitutes conflict in literature. Core Conflict There are various conflicts at play in a novel or play since there are numerous characters, occasions, and circumstances. Additionally, they move side by side while maintaining audience and reader interest. However, there is just one main character or protagonist who experiences conflict with the outside

19 world, society, or nature, which heightens the suspense and tension. The conclusion of this so-called core conflict is crucial to the overall world of literary works like Thomas Hardy's 'The Mayor of Casterbridge,' which features Michael Henchard. Character Conflict Only the characters and their interactions can explain why this conflict arises. A conflict between the characters arises when one character encounters difficulties in aligning his goals with those of the other characters. Character conflict is the term for this. It occurs in Khalid Hosseini's novel 'The Kite Runner.' Conflict and Plot One of the plot's most crucial components is conflict. A conflict is a crucial component of the plot since it represents the greater world. If there is no conflict, the plot has likely lost one of its most important elements and may not have a strong plotline. Without a conflict, there can be no settlement. As a result, readers would lose interest in a plot or plotline that had no conflict. The Literary Impact of External Conflict The internal conflict is unrelated to the exterior conflict, which is mostly written as an outer narrative. Character relationships have a significant impact on the story's overall predicament. It functions as a foreign agent that influences the main characters' ideas, relationships, and, ultimately, the outcomes of their efforts. It impedes the protagonists' attempts to resolve ongoing conflicts or unfavourable circumstances if it colludes with the adversaries. Conflict and Tension in Literature: What They Are Not Conflict is a very tense scenario that arises between characters as a result of a disagreement, quarrel, or debate. However, tension does not automatically imply that there is a dispute present. It is merely a sense of something sinister approaching but possibly delaying itself until the very end. It may be the worry about being divorced, the revelation of a secret that might generate friction between the characters, or even the finding of something that haunts them still. What Does Story Conflict Mean? Conflict in a story indicates that the characters are interacting with one another and that they have either positive or negative relationships on which to base their lives. Conflict in a story indicates that the narrative is moving forward. As it encourages the characters to perform and not just sit around, it advances the plot. As a result, conflict is just as crucial to the plot as characters, circumstances and locales. What constitutes the Central or Core Conflict? If a story or narrative features multiple characters or events, there may be multiple conflicts. The primary struggle, however, is what drives the narrative along until its conclusion. The success of the story depends on what is known as the central conflict or the core conflict. In addition to this conflict, there may be a number of smaller or less significant confrontations involving supporting characters, foils, or minor characters. Conflict Function A plot must have both internal and exterior problems. To accomplish the story's objective, a writer must introduce and develop them in his tale, whether they are internal, external, or both. The readers are entertained while the conflict is resolved.

20 Let’s Speak Questions from the story: 1. State the conflict in the above story. 2. What do you think could have helped resolve the issue? 3. Which other Shakespeare story can you find with a similar conflict like in the story? 4. Can you find any moral lesson from the above story? Literature Reading Let’s read a classic tale by Kate Chopin. The Story of an Hour Knowing that Mrs Mallard was afflicted with heart trouble, great care was taken the news of her husband's death to break to her as gently as possible. It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half-concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralysed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had ended, she went away to her room alone. She would have no one follow her. There stood, facing the open window, a comfortable, roomy armchair. Into this to she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul. She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below, a peddler was crying his wares. The notes of a distant song that someone was singing reached her faintly, and countless sparrows were twittering in the eaves. Patches of blue sky showed here and there through the clouds that had met and piled one above the other in the west facing her window. She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried himself to sleep continues to sob in his dreams. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now, there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

21 There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching towards her through the sounds, the scents, the colour that filled the air. Now her bosom rose and fell tumultuously. She was beginning to recognise this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself, a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it was or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and grey and dead. But she saw beyond that bitter moment, a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination. And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion that she suddenly recognised as the strongest impulse of her being? "Free! Body and soul free!" she kept whispering. Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. "Louise, open the door! I beg; open the door--you will make yourself ill. What are you doing, Louise? For heaven's sake open the door." "Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long. She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a Goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom. Someone was opening the front door with a latchkey. It was Brently Mallard who entered, a little travelstained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife. When the doctors came, they said she had died of heart disease--of the joy that kills.

22 THE ECHOING GREEN -WILLIAM BLAKE skylark - a small brown bird, somewhat larger than a sparrow but smaller than a starling, known for its long song which it sings while flying high thrush - a small bird with a brown back, spotted chest, known for its loud song weary - (here) become tired descend - move or fall downwards Get Set Go! Know the keywords and their meanings Understand and Know The Echoing Green, taken from his collection Songs of Innocence, is about the joy and innocence of children playing outdoors and an old man who happily remembers his own childhood. Let’s Read The sun does arise, And make happy the skies. The merry bells ring To welcome the Spring. The sky-lark and thrush, The birds of the bush, Sing louder around, To the bells’ cheerful sound. While our sports shall be seen On the Ecchoing Green. Old John, with white hair 63

23 Does laugh away care, Sitting under the oak, Among the old folk, They laugh at our play, And soon they all say. ‘Such, such were the joys. When we all girls & boys, In our youth-time were seen, On the Ecchoing Green.’ Till the little ones weary No more can be merry The sun does descend, And our sports have an end: Round the laps of their mothers, Many sisters and brothers, Like birds in their nest, Are ready for rest; And sport no more seen, On the darkening Green. Let’s Write I. Read the given extracts and answer the following questions. A. .…the old folk, They laugh at our play, And soon they all say. ‘Such, such were the joys. When we all girls and boys 1. Who is referred to as ‘they’? What are ‘they’ doing? 2. What are they reminded of? 3. What is the tone/mood in these lines? 4. Give the synonym of the word ‘folk’.

24 B. Till the little ones weary No more can be merry The sun does descend, And our sports have an end: 1. How has the poet indicated the time of the day? 2. What has made the little ones weary? 3. What do the little ones do at this time of the day? 4. Give the synonym of the word ‘weary’. II. Answer the following question in 30-40 words. 1. Describe the events that take place when the sun rises. 2. What are the old folk doing? 3. Why has the echoing green become the darkening green? 4. Why is the word ‘happy’ used to describe the skies? 5. In the last stanza, what are the little ones doing? III. Multiple Choice Questions. 1. What is the theme of the poem 'The Echoing Green'? a. the importance of hard work b. the joy of playing outdoors c. the power of dreams 2. Which tree are the old folk sitting under? a. Palm tree 2. Fir tree 3. Oak tree 3. Which are the two birds mentioned in the poem? a. dove and eagle b. skylark and thrush c. thrush and owl 4. In the poem, 'The Echoing Green', what arises at the beginning of the poem and descends at the end? a. the sun b. the moon c. the stars 5. In the poem, why do the merry bells ring ? a. to welcome the autumn b. to welcome the children c. to welcome the spring

25 IV. True or False. 1. Old John has brown hair. ( T / F ) 2. The old people sit and fight with each other. ( T / F ) 3. The mood in the poem is happy and carefree. ( T / F ) 4. The children go back home when the sun sets. ( T / F ) 5. In the final stanza, the poet compares the mother and her children to birds in a nest. ( T / F ) Digging Deep 1. The poet paints the picture of the rising and setting of human life amidst the backdrop of nature. Explain. 2. What does the expression 'the echoing green' suggest? 3. Identify at least three poetic devices from the poem and write them down. 4. Why does the poet use the term ‘the Echoing Green’ twice in the poem? Thinking Hat What’s the Good Word? A. How do you feel when you are weary? (a) happy (b) sad (c) tired B. What do you do when you feel weary? A. What is the antonym of the word 'descend'? (a) dive (b)ascend (c) disembark B. Using the antonym of the word 'descend', write a sentence. A. Frame a sentence with the word 'skylark' B. Name any other bird that can sing like the skylark. Summarising Skills Write the summary of the poem in 80-100 words.

26 Let’s Learn Grammar A. Find the meaning of the given phrases and frame sentences of your own. 1. echo with something 2. cheer someone to the echo 3. green about the gills 4. green with envy 5. green thumb B. Imagine yourself to be Old John. Write down your childhood memories in 80-100 words. Understanding Literary Genres Flashbacks When writing fiction, an author might transport the reader from the present plot to a previous era in the life of a character. A flashback is a storytelling device. Flashbacks, which are also employed in films and television shows, provide depth to a story by exposing insights that assist readers comprehend character motivations. Flashbacks add tension and help move the plot forward. Flashbacks are brief recollections of a character's past. These are typically referenced in the middle of stories that are not currently taking place. Multiple flashbacks are possible. Flashbacks are brief disruptions that allow the reader to see a previously unseen scene. This helps to provide readers with knowledge about people or events so that they can be better understood in light of what is currently happening in the story. A flashback is a scene that occurs before the beginning of a story in fiction. Flashbacks disrupt the main narrative's chronological order to transport the reader back in time to events in a character's life. This literary method is used by a writer to help readers better understand present-day components in the story or to discover more about a character. A flashback scene (also known as an analepsis) is a window into an earlier occurrence that provides vital information to the tale. It can be a vivid memory or a dream sequence. A flash-forward (also known as a prolepsis) is a sneak preview or prediction of future events in the opposite narrative direction. Four Techniques for Using Flashbacks in Your Writing Flashbacks can be brief glimpses into the past or part of a wider narrative thread within a story. Taking readers out of the present moment to learn about an earlier incident can assist a writer in telling a story in a non-linear fashion. 1. Character development is aided by flashbacks. Even briefly delving into a character's past allows authors to provide background information that complements the main plot. Writing flashbacks can reveal the main character's reasoning for the decisions and acts they take. For example, if a character's past involves something significant that occurred in high school that helps explain a current situation, a writer can construct a setting that prompts the character to recollect and dwell on the memory.

27 2. Flashbacks span multiple time periods. Everyone has layers of events in their lives that shape who they are now. Following a storyline's chronological order can leave a plot feeling flat. Flashbacks interrupt a story's chronological flow, making it more engaging and lifelike. 3. Flashbacks let readers connect with the characters. Effective flashbacks reveal more about a person's personality. Perhaps a villain recalls his parents abandoning him—a past experience that has directly influenced his terrible behaviour. Though readers may not be able to justify the character's acts based on his past experiences, the flashback allows them to feel empathy and understand the antagonist's actions. 4. Flashbacks can provide context for the current dispute. Flashbacks can assist a reader comprehend why and how the protagonist got into the circumstance that drives the plot, as well as the motivations behind the primary conflict. A writer can utilise flashbacks to show readers a lengthy history of ill blood between the protagonist and adversary. For example: 1. In a narrative about a girl who is frightened of heights, there is a flashback to when she was a child and went off the top of a swing. 2. A flashback to an event when he was a soldier in a battle occurs in a story about a man who is scared of blood. 3. In a story about a ruined town, a flashback depicts a time when the community was full with joyful people. In the poem 'The Echoing Green', the elderly folk sit and watch the children play on the grass as they happily recall the time when they played in just the same way. Q1. Write the lines from the poem which convey that the old folks remember their young days. Q2. What is the purpose of a flashback? How do the flashbacks in the story/poem help you understand? Understanding Literary Elements Read through the various literary elements that are used in literature: Tone The narrator's attitude toward the events, settings, and characters in the story is expressed through tone, which is connected to voice. Conflict Story problems are primarily caused by conflicts. Conflicts can be either large or small. Theme A theme is the main message or idea of a story, and it can be conveyed through characters' actions, transformations, and settings. Flashback A story’s segments can be interrupted so that readers can relive a character’s key moment in time. This is called a flashback.

28 Plot Pattern of events in a story that reveal the main theme. Point of View When the story is told from the character or an outside observer’s perspective. Characterisation The visualisation, creation, placement and development of the people in a story. Symbolism A place, person, object or event that is presented with a deeper meaning in contrast to its literal meaning. Allusion When we make a suggestion and count on the other person to get the reference, we are using an allusion. Alliteration When two or more words with the same first consonant sound are combined, as in "fish fry," alliteration takes place. Hyperbole The deliberate use of exaggeration and overstatement for emphasis and impact is known as hyperbole in rhetoric and literature. Imagery The term 'imagery' refers to the use of figurative language to describe things, activities, and concepts in a way that engages our physical senses. Personification A literary technique that communicates abstract concepts in a relevant way by using non literal language. Onomatopoeia When we read, we practically hear the sounds that an onomatopoeia creates because it genuinely looks like the sound it makes. Oxymoron A figure of speech known as an oxymoron combines words with opposite meanings that are incompatible with one another. Motif A motif is a recurring pattern—an image, sound, word, or symbol that appears repeatedly throughout a certain story. What is tone? There is a tone to everything you read. Blog articles will be interesting and conversational, whereas textbooks will be informed and matter-of-fact. A satirical article may have a humorous or ironic tone. Tone in literature refers to the wide range of moods, thoughts, and sentiments that authors instill in their work. But what exactly is tone? Where does it originate? And how do authors use various forms of tone in their writing? In literature, tone relates to the author's attitude toward a particular issue. The author conveys his/ her sentiments and opinions to the reader through precise word choice, revealing the author's purpose behind the writing. An adjective is always used to characterise the tone of a story. What tone isn’t? Before we go any further, it's worth noting what tone isn't. The following are not examples of tone in writing: • The attitude of a given character toward something. • The narrator's attitude, including the attitudes of first-person fictional narrators. • The mood(s) evoked by the piece of writing.

29 Tone is primarily concerned with the author's attitude toward the subject of a particular piece of writing. It does not reflect the attitudes of the characters; rather, it suggests the author's attitude at that exact point in the narrative. How to convey tone in writing? Overall, tone is transmitted in literature through two methods: 1. What the author tells the reader. 2. The word choice of the author. To comprehend the author's tone in writing, examine both the details that the narrator focuses on and the language employed to convey those things. The authors can portray their attitude in a variety of ways by using the two methods mentioned above. The importance of tone in writing: A writer's tone is a crucial aspect of their writing style. The author must control word choice, punctuation, sentence length, vernacular usage, and the observational details they choose to include in order to convey a particular tone. Tone Vs. Mood Venn Diagram Why is tone distinct from mood, and how does it work? Their distinctions are outlined in the Venn Diagram given below.. Tone • The apparent attitude of the author. • Created by word choice, dialogue, and description. • A nature byproduct of the author's style and point of view. Both • Tone and mood often influence each other. • Both rely on word choice and detail. • Tone and mood are both described using adjectives. Mood • The emotions evoked by the author. • Created by word choice, subject matter, literary device, and setting. • An intentional component of the author's work.

30 Let’s Speak Questions from the story: 1. What is the tone in this story? 2. How does the tone help you while reading this story? Did it help you set a mood or help you relate to the character? 3. How many times did you find the tone of the story changing? 4. What would you comment on the overall tone of the main character of the above story? Literature Reading Let's read a classic story by Robert Louis Stevenson. The Strange Case of Dr. Jekyll and Mr. Hyde Story of the Door Mr. Utterson the lawyer was a man of a rugged countenance, that was never lighted by a smile; cold, scanty and embarrassed in discourse; backward in sentiment; lean, long, dusty, dreary, and yet somehow lovable. At friendly meetings, and when the wine was to his taste, something eminently human beaconed from his eye; something indeed which never found its way into his talk, but which spoke not only in these silent symbols of the after-dinner face but more often and loudly in the acts of his life. He was austere with himself and though he enjoyed the theatre, had not crossed the doors of one for twenty years. But he had an approved tolerance for others; sometimes wondering, almost with envy, at the high pressure of spirits involved in their misdeeds; and in any extremity inclined to help rather than to reprove. “I incline to Cain’s heresy,” he used to say quaintly: “I let my brother go to the devil in his own way.” In this character, it was frequently his fortune to be the last reputable acquaintance and the last good influence in the lives of down-going men. No doubt the feat was easy to Mr. Utterson; for he was undemonstrative at the best, and even his friendship seemed to be founded in a similar catholicity of good nature. It is the mark of a modest man to accept his friendly circle ready-made from the hands of opportunity; and that was the lawyer’s way. His friends were those of his own blood or those whom he had known the longest; his affections, like ivy, were the growth of time, they implied no aptness in the object. Hence, no doubt, the bond that united him to Mr. Richard Enfield, his distant kinsman, the well-known man about town. It was a nut to crack for many, what these two could see in each other, or what subject they could find in common. It was reported by those who encountered them in their Sunday walks, that they said nothing, looked singularly dull and would hail with obvious relief the appearance of a friend. It chanced on one of these rambles that their way led them down a by-street in a busy quarter of

31 London. The street was small and what is called quiet, but it drove a thriving trade on the weekdays. The inhabitants were all doing well, it seemed, and all emulously hoping to do better still, and laying out the surplus of their gains in coquetry; so that the shop fronts stood along that thoroughfare with an air of invitation, like rows of smiling saleswomen. Even on Sunday, when it veiled its more florid charms and lay comparatively empty of passage, the street shone out in contrast to its dingy neighbourhood, like a fire in a forest; and with its freshly painted shutters, well-polished brasses, and general cleanliness and gaiety of note, instantly caught and pleased the eye of the passenger. Two doors from one corner, on the left-hand going east, the line was broken by the entry of a court; and just at that point, a certain sinister block of building thrust forward its gable on the street. It was two stories high; showed no window, nothing but a door on the lower story and a blind forehead of discoloured wall on the upper; and bore in every feature, the marks of prolonged and sordid negligence. The door, which was equipped with neither a bell nor a knocker, was blistered and distained. Mr. Enfield and the lawyer were on the other side of the by-street; but when they came abreast of the entry, the former lifted up his cane and pointed. “Did you ever remark that door?” he asked; and when his companion had replied in the affirmative, “It is connected in my mind,” added he, “with a very odd story.” “Indeed?” said Mr. Utterson, with a slight change of voice, “and what was that?” “Well, it was this way,” returned Mr. Enfield: “I was coming home from some place at the end of the world, about three o’clock of a black winter morning, and my way lay through a part of town where there was literally nothing to be seen but lamps. Street after street, and all the folks asleep—street after street, all lighted up as if for a procession and all as empty as a church—till at last, I got into that state of mind when a man listens and listens and begins to long for the sight of a policeman. All at once, I saw two figures: one a little man who was stumping along eastward at a good walk, and the other a girl of maybe eight or ten who was running as hard as she was able down a cross street. Well, sir, the two ran into one another naturally enough at the corner; and then came the horrible part of the thing; for the man trampled calmly over the child’s body and left her screaming on the ground. It sounds nothing to hear, but it was hellish to see. It wasn’t like a man; it was like some damned Juggernaut. I gave a viewhalloa, took to my heels, collared my gentleman, and brought him back to where there was already quite a group about the screaming child. He was perfectly cool and made no resistance, but gave me one look, so ugly that it brought out the sweat on me like running. The people who had turned out were the girl’s own family; and pretty soon, the doctor, for whom she had been sent, put in his appearance. Well, the child was not much the worse, more frightened, according to the Sawbones; and there you might have supposed would be an end to it. But there was one curious circumstance. I had taken a loathing to my gentleman at first sight. So had the child’s family, which was only natural. Well, sir, he was like the rest of us; every time he looked at my prisoner, I saw that Sawbones turn sick and white with the desire to kill him. I knew what was in his mind, just as he knew what was in mine; and killing being out of the question, we did the next best. We told the man we could and would make such a scandal out of this, as should make his name stink from one end of London to the other. The next thing was to get the money; and where do you think he carried us but to that place with the door?— whipped out a key, went in, and presently came back with the matter of ten pounds in gold and a cheque for the balance on Coutts’s, drawn payable to bearer and signed with a name that I can’t mention, though it’s one of the points of my story, it was a name at least very well-known and often

32 printed. The figure was stiff; but the signature was good for more than that if it was only genuine. I took the liberty of pointing out to my gentleman that the whole business looked apocryphal, and that a man does not, in real life, walk into a cellar door at four in the morning and come out of it with another man’s cheque for close upon a hundred pounds. But he was quite easy and sneering. ‘Set your mind at rest,’ says he, ‘I will stay with you till the banks open and cash the cheque myself.’ So, we all set off, the doctor, and the child’s father, and our friend and myself, and passed the rest of the night in my chambers; and next day, when we had breakfasted, went in a body to the bank. I gave in the check myself and said I had every reason to believe it was a forgery. Not a bit of it. The cheque was genuine.” “Tut-tut,” said Mr. Utterson. “I see you feel as I do,” said Mr. Enfield. “Yes, it’s a bad story. For my man was a fellow that nobody could have to do with, a really damnable man; and the person that drew the cheque is the very pink of the proprieties, celebrated too, and (what makes it worse) one of your fellows who do what they call good. Black mail, I suppose; an honest man paying through the nose for some of the capers of his youth. Black-Mail House is what I call that place with the door, in consequence. Though even that, you know, is far from explaining all,” he added, and with the words fell into a vein of musing. From this he was recalled by Mr. Utterson asking rather suddenly: “And you don’t know if the drawer of the cheque lives there?” “A likely place, isn’t it?” returned Mr. Enfield. “But I happen to have noticed his address; he lives in some square or other.” “And you never asked about the—place with the door?” said Mr. Utterson. “No, sir: I had a delicacy,” was the reply. “I feel very strongly about putting questions; it partakes too much of the style of the day of judgment. You start a question, and it’s like starting a stone. You sit quietly on the top of a hill; and away the stone goes, starting others; and presently some bland old bird (the last you would have thought of ) is knocked on the head in his own back-garden and the family have to change their name. No, sir, I make it a rule of mine: the more it looks like Queer Street, the less I ask.” “A very good rule, too,” said the lawyer. “But I have studied the place for myself,” continued Mr. Enfield. “It seems scarcely a house. There is no other door, and nobody goes in or out of that one but, once in a great while, the gentleman of my adventure. There are three windows looking on the court on the first floor; none below; the windows are always shut but they’re clean. And then there is a chimney which is generally smoking; so, somebody must live there. And yet it’s not so sure; for the buildings are so packed together about that court, that it’s hard to say where one ends and another begins.” The pair walked on again for a while in silence; and then, “Enfield,” said Mr. Utterson, “that’s a good rule of yours.” “Yes, I think it is,” returned Enfield. “But for all that,” continued the lawyer, “there’s one point I want to ask: I want to ask the name of that man who walked over the child.” “Well,” said Mr. Enfield, “I can’t see what harm it would do. It was a man of the name of Hyde.” “H’m,” said Mr. Utterson. “What sort of a man is he to see?”

33 “He is not easy to describe. There is something wrong with his appearance; something displeasing, something downright detestable. I never saw a man I so disliked, and yet I scarce know why. He must be deformed somewhere; he gives a strong feeling of deformity, although I couldn’t specify the point. He’s an extraordinary-looking man, and yet I really can name nothing out of the way. No, sir; I can make no hand of it; I can’t describe him. And it’s not want of memory; for I declare I can see him this moment.” Mr. Utterson again walked some way in silence and obviously under a weight of consideration. “You are sure he used a key?” he inquired at last. “My dear sir…” began Enfield, surprised out of himself. “Yes, I know,” said Utterson; “I know it must seem strange. The fact is, if I do not ask you the name of the other party, it is because I know it already. You see, Richard, your tale has gone home. If you have been inexact in any point, you had better correct it.” “I think you might have warned me,” returned the other, with a touch of sullenness. “But I have been pedantically exact, as you call it. The fellow had a key; and what’s more, he has it still. I saw him use it, not a week ago.” Mr. Utterson sighed deeply but said never a word; and the young man presently resumed. “Here is another lesson to say nothing,” said he. “I am ashamed of my long tongue. Let us make a bargain never to refer to this again.” “With all my heart,” said the lawyer. “I shake hands on that, Richard.”

34 64 THE BISHOP’S CANDLESTICKS - VICTOR HUGO shallow - not dense coarse - rough creased - marked by creases or wrinkles gleamed - sparkled ivy - a climbing plant Get Set Go! Know the keywords and their meanings Understand and Know You may be familiar with the "The Lady with a Lamp." Florence Nightingale was that admirable person who made many sacrifices to help those who were hurt in war. She developed sympathy for those who had lost limbs or had endured severe wounds. She sacrificed so much for them that she even forgot to take care of herself! Because she made a kind decision. Let’s Read In a shallow forest, there lived a bishop with his sister in a small cottage. One chilly evening, a stranger came storming inside his house, with a wild look in his eyes. He looked coarse with rags as clothes. Convict: You're a dead man if you yell! Bishop: But as you can see, I'm reading. Why should I yell? Can I assist you in any way? Convict: (hoarsely) I'm hungry. I'm hungry because I haven't eaten anything in three days. Give me food now, now, now, curse you. Bishop: (excitedly) But my son, you will have food. I'll ask my sister for the cupboard keys. Convict: Don’t you dare get up!

35 Not at all, my friend! I'm too old to be caught in the chaff. Would you request the keys from your sister? A plausible story! You'd rouse the entire house. Eh? Ha! ha! True, it's a good joke. Come on, where's the food? I don't want any keys. I've got a wolf inside me tearing at my entrails, tearing me apart; tell me where the food is, please. Bishop: Persomé should not have locked the cupboard. (aloud) Come on, my friend; you have nothing to be afraid of. My sister and I are the only ones here. Convict: How can I trust you? Bishop: Well….I just told you. So, believe me. He called out to his sister and asked her to set one more plate at the table. Bishop: You don’t have to worry about anything. Here is a hungry poor traveller. Will you come and open the cupboard, and I will give him some supper? His sister, Persomé‘s brow was creased with worry. Bishop: Compassion, my dear sister. At the table, Jean couldn’t help but notice the six silver plates that the bishop's sister took out. They gleamed at him. Jean tore off the meat and gulped the soup like an untamed animal. After the dinner, his sister gets up to leave. Bishop: Sleep well, Persomé. That night, the Bishop’s sister could not sleep. These words kept ringing in soft tones: Compassion.... compassion....compassion. Convict: Do you even know who I am? Bishop: I can imagine someone who has been through a lot. Convict: Through a lot? Oh my goodness, yes. But that was a long time ago. Ha! ha! That was when I was a man; now I'm not a man; I'm a number: 15729, and I've spent ten years in Hell. Bishop: Why don’t you tell me about it? Convict: Are you planning to call the police on me? Bishop : Of course, not! Convict: I wonder why I feel like believing you on that. Bishop: Well then…tell me now about this – Hell. Convict: I forgot about it because it was so long ago, but I had a little cottage with vines growing on it (dreamily), and they looked pretty with the evening sun on them, and—there was a woman—she was (thinking hard)—she must have been my wife—yes. (quickly and abruptly) Yes, I recall! She was ill, we

36 didn't have food, I couldn't find work, it was a bad year, and my wife, Jeanette, was ill, dying (pause), so I stole to buy her food, (long pause the bishop gently pats his hand) and they caught me. I begged them; I explained why I stole, but they laughed at me and sentenced me to ten years in the prison hulks, (pause) ten years in Hell. The gaoler told me—told me Jeanette was dead—the night I was sentenced. (furiously sobs) Ah, damn them, damn them. God have mercy on them all. This prison ship called Hell…. They feed you in Hell, but you starve when you escape. They were looking for me everywhere, and I didn't have a passport or a name. So, I stole these rags again, I stole my food every day, I slept in the woods, in barns, anywhere. I dare not ask for work, I dare not go into town to beg, so I stole, and they made me what I am, a thief. God have mercy on them all. (empties the bottle and hurls it into the fire, smashing it.) Bishop: Your suffering has been much….but surely there is hope for anyone who seeks it. Convict: That’s a funny thing to hear. Hope… Bishop: Why don’t you rest now. You’ve travelled far. The bishop departed for the night. Now, Jean, the convict, started thinking about those silver plates. “I bet those silver plates will be worth a lot of money. I can start a new life, where no one will ever find me,” thought Jean to himself. And off he sped into the darkness, the silver plates in his hand. The next morning, the bishop’s sister came running to him. “That thief ’s gone, and so are our silver plates,” she cried. “All you could say was compassion.” Soon, a few soldiers came in with Jean. “We found this man with a bag of six silver plates. I recognise these as yours, Sir,” said the policeman, handing back the plates to the bishop. “Indeed. I had gifted these plates to my dear friend here. I had also given you my silver candlesticks too. Why didn’t you take them?’’ asked the Bishop. The soldiers left without any further questions. Jean’s eyes filled with tears. “No one has ever shown me such compassion. I should leave your presence immediately,” said Jean, falling to the Bishop’s feet. “Your heart is not evil anymore, and that is all that matters.’’ Take these plates as well as the candlesticks. You will need them to start over,” said the Bishop. Jean left with a new heart and a new life, while the word compassion kept ringing in the Bishop’s ivycovered cottage.

37 Let’s Write I. Read the given extract and answer the following questions. A. The gaoler told me—Jeanette was dead—the night I was sentenced. 1. Who said this to whom? 2. Who was Jeanette? 3. Why was the speaker sentenced? 4. Give the synonym of ‘gaoler’. B. It is your soul that I buy from you; I withdraw it from black thoughts and I give it to God. 1. Why was Jean brought back to the Bishop’s house? 2. How did the bishop rescue Jean from the soldiers? 3. How did the Bishop have an impact on Jean? 4. Give the synonym of the word 'withdraw'. II. Answer the following question in 30-40 words. 1. Explain: Compassion is a choice. 2. How did the compassion shown by the bishop change Jean’s life? 3. If you could ask the bishop a question, what would it be and why? 4. What is the most important event in the story? Why do you think so? 5. "I told you we shouldn’t have let that convict in our house. Now he’s gone, and so are our silver plates", cried the bishop’s sister. "All you could say was compassion". Which of these words best express how the sister was feeling? III. Multiple Choice Questions. 1. Who showed true compassion? a. the bishop b. the sister c. the policeman d. the jailer 2. What does this line mean from the story? 'They (the silver plates) gleamed at him ( Jean)'. a. They shone as if to say, steal me. b. They scared him. c. They encouraged him to be good. d. none of the above 3. Which important word is repeated again and again in the story? a. trust b. sister c. compassion d. none of the above

38 4. Why did Jean gulp the food like an untamed animal? a. The food was very delicious. b. He had not eaten or had anything to drink in days. c. He had no table manners. d. none of the above 5. What does this line mean? 'Jean left with a new heart and a new life'. a. Jean changed his life and became a good man. b. Jean got a new job. c. Jean went back to stealing. d. none of the above IV. True or False: 1. The police recognised the bishop’s silver plates. ( T / F ) 2. Compassion changed Jean’s life. ( T / F ) 3. Jean stole silver candlesticks from the bishop’s house. ( T / F ) 4. The bishop’s sister was sure that Jean had changed. ( T / F ) 5. The bishop is like the ‘hero’ of the story. ( T / F ) Digging Deep 1. What is the theme of the play “The Bishop’s Candlesticks”? 2. Describe the bishop in your own words with examples from the lesson. 3. The bishop’s sister is more practical than him. Discuss the character of Persomé as seen in the story. 4. The convict says, “They have made me what I am, they have made me a thief.” Explain the circumstances that made the convict a thief. Thinking Hat What’s the Good Word? A. Which among these would you most likely call shallow? (a) a cup (b) a plate (c) a vase

39 B. Which utensil in your kitchen is ‘shallow’? A. Which among these would you say has a coarse surface? (a) a paper (b) a velvet cloth (c) a sandpaper B. Make a sentence using the synonym of the word ‘coarse’. A. What do you do to make creases on a cloth? (a) you fold it (b) you rub it (c) you wash it B. Make a sentence using the word ‘crease’. A. Choose the antonym of the word gleam. (a) sparkle (b) shine (c) dull B. Make a sentence using the antonym of the word ‘gleam’. A. What kind of a plant is an ivy plant? (a) a climber (b) a creeper (c) a desert plant B. Find out the other names of the ‘ivy’ plant. Let’s Learn Grammar A. Tick the sentences that have relative pronouns. 1. I can imagine someone who has been through a lot. 2. Do you even know who I am? 3. Your suffering has been much….but surely there is hope for anyone who seeks it. 4. The girl who lives across the street came to visit us today. 5. Which place should we go to next? B. Consider yourself in the place of the convict. You are now living a better life, thanks to the bishop. Write a letter to him telling him about your current life and thanking him for changing your life. Understanding Literary Genres The book by Norman McKinnel contains the original publication of the tale "The Bishop's Candlesticks." As a play and a drama, it stood on its own. Let's find out more about drama as a genre.

40 What is drama? In literature, a drama is the presentation of written dialogue that portrays actual or hypothetical events (either prose or poetry). Dramas can be staged, filmed, or aired on the radio. Dramas are more commonly referred to as plays, and the authors who write them are called dramatists or playwrights. Since Aristotle (335 BCE), drama has been practised, and its name comes from the Greek phrases (an act, a play), and (to act, to take action). The smiling face and the crying face are two of the traditional masks of theatre that represent them: Thalia, the Muse of comedy, and Melpomene, the Muse of tragedy. What about dramas is so dramatic? Playwrights work to gradually increase the audience's sense of suspense and anticipation as the plot progresses to make their plays dramatic. For instance, in a mystery, the dramatic tension increases over the course of the story until a surprising or exciting conclusion is disclosed. Keeping the audience in suspense is the key to creating dramatic tension. Will Prince Hamlet ever kill the play's villain Claudius to avenge his father's death, exorcise his bothersome spirit, and put an end to his visions of floating daggers? Dramas rely primarily on spoken language to teach the audience about the emotions, personalities, goals, and ambitions of the characters. Playwrights frequently use characters' soliloquies and asides to build dramatic tension since viewers watch characters in a drama go through their experiences without the author providing any explanations. The Different Types of Dramas According to the mood, tone, and activities depicted in the plot, dramatic performances are typically divided into distinct categories. Popular drama genres include: • Comedy: Comedies are lighter in tone and aim to make the audience laugh. They typically have a joyful ending. Comedy characters are put in strange situations, which causes them to act and say in a hilarious way. Comedy can also take a caustic turn, making fun of weighty subjects. There are a number of comedy subgenres as well, such as romantic comedy, sentimental comedy, comedy of manners, and tragic comedy, which refers to plays in which the protagonists use humour to deal with tragedy and resolve dire circumstances. • Tragedy: Tragedies, which are based on darker themes, are thought-provoking and dignified depictions of important topics like death, tragedy, and human suffering. Characters in tragedies, such as Shakespeare's 'Hamlet', rarely have happy endings because of tragic character flaws that ultimately cause their destruction. • Farce: A farce is a nonsensical kind of theatre in which actors purposefully overact and indulge in slapstick or physical humour. Farces often feature exaggerated or absurd forms of comedy. Sam Beckett's play 'Waiting for Godot' and Jim Abrahams' popular 1980 film 'Airplane!' are two examples of farce. • Melodrama: Melodramas are a heightened kind of drama that feature one-dimensional heroes, heroines, and villains in exciting, passionate, and frequently dangerous circumstances. Melodramas, which are also referred to as "tearjerkers," include the Tennessee Williams play 'The Glass Menagerie' and the beloved Civil War romance 'Gone With the Wind,' which is based on Margaret Mitchell's novel.

41 • Opera: This adaptable form of play blends dance, music, theatre, and dialogue to create epic tragedies or comedies. Performers must be competent singers and actors because songs are used to convey emotions and intentions rather than language. Classic operas include Giuseppe Verdi's boisterous farce 'Falstaff ' and Giacomo Puccini's unmistakably sad 'La Bohème'. • Docudrama: Docudramas are dramatic depictions of real-life circumstances or historical events. They are a relatively recent genre. The films 'Apollo 13' and '12 Years a Slave', which are both based on the autobiography written by Solomon Northup, are two instances of docudramas that are frequently seen on television and in movies rather than in live performances. Q.1. Do you think the above story is a drama? Give reasons for your answer. Q.2. You learned about the various types of drama. In which category would you put the above story? Q.3. What about the above story do you think makes it a fictional drama? Understanding Literary Elements Read through the various literary elements that are used in literature: Tone The narrator's attitude toward the events, settings, and characters in the story is expressed through tone, which is connected to voice. Conflict Story problems are primarily caused by conflicts. Conflicts can be either large or small. Theme A theme is the main message or idea of a story, and it can be conveyed through characters' actions, transformations, and settings. Flashback A story’s segments can be interrupted so that readers can relive a character’s key moment in time. This is called a flashback. Plot Pattern of events in a story that reveal the main theme. Point of View When the story is told from the character or an outside observer’s perspective. Characterisation The visualising, creation, placement and development of the people in a story. Symbolism A place, person, object or event that is presented with a deeper meaning in contrast to its literal meaning. Allusion When we make a suggestion and count on the other person to get the reference, we are using an allusion. Alliteration When two or more words with the same first consonant sound are combined, as in "fish fry," alliteration takes place. Hyperbole The deliberate use of exaggeration and overstatement for emphasis and impact is known as hyperbole in rhetoric and literature. Imagery The term 'imagery' refers to the use of figurative language to describe things, activities, and concepts in a way that engages our physical senses.

42 Personification A literary technique that communicates abstract concepts in a relevant way by using nonliteral language. Onomatopoeia When we read, we practically hear the sounds that an onomatopoeia creates because it genuinely looks like the sound it makes. Oxymoron A figure of speech known as an oxymoron combines words with opposite meanings that are incompatible with one another. Motif A motif is a recurring pattern—an image, sound, word, or symbol that appears repeatedly throughout a certain story. What is a THEME? The main topic covered throughout a text is its theme, which can be expressed either explicitly or indirectly. A literary theme is a general idea that permeates the entire text's characters and events. All full literary works have themes that investigate ethereal ideas connected to the human condition. Themes typically transcend boundaries, have universal appeal, and have meaning for certain populations at a given period. The concepts in literary works that have the greatest relevance are known as major themes. They appear repeatedly throughout the text and are crucial to the progression of the plot and character interactions. Minor themes are concepts that temporarily surface and add weight to a section of a story before giving way to a different minor theme later on. Theme vs. Subject The word "subject" is frequently mistaken for "theme." However, it's crucial to realise that these two words cannot be used interchangeably due to significant variances. A story's theme is by definition an ethereal concept or idea. Consider the concepts of love, vengeance, war, and deception. All of these are instances of literary themes. However, the focus of a story is more specific. The topic that an author chooses to write about is simply the subject of the story. Though the concepts behind both terms are similar, the word "theme" encourages a deeper investigation of meaning because it frequently expresses an idea or viewpoint the author wanted the reader to know. In no such way does the topic investigate the meaning. The Importance of Theme By carefully pondering the idea, they wish to convey to readers, writers create a theme. Important characters, their thoughts, and actions are used to illustrate the theme. A successful story must have a theme because it gives readers a lens through which to see all other literary components. Themes have an impact on every aspect of a story. Major literary components are united by theme. In the end, a theme is the author's message to the reader and influences how lessons, messages, and important facts are conveyed to readers. Effective themes affect entire human cultures.

43 When examining how characters interact with their surroundings, the significance of theme becomes very clear. Character interactions and responses to people and events will reflect the author's overarching themes and have an impact on the overall tone of a novel. Let’s Speak Questions from the story: 1. State the theme of the above story. 2. Do you think you can relate to the theme of the story in real life? Why or why not? 3. Which other stories can you find with similar themes like the one in the above story? 4. Do you think the theme of the above story makes it different from the stories that are fantasy based? Literature Reading Let’s read an extract from the classic novel ‘Little Women’ by Louisa May Alcott. Merry Christmas Mr and Mrs March and their four daughters were a wonderful, loving family. Mr March a chaplain was away from home tending to the needs of soldiers at the battlefront. For Christmas, Meg got her mother a pair of gloves, Jo, a pair of army slippers, Amy bought her a bottle of perfume and Beth hemmed her a handkerchief. The family does not have much, yet the girls willingly share their breakfast with a poor family, thus bringing out the spirit of Christmas beautifully... The girls woke up on Christmas morning. Each of them found a Bible under their pillows. Following Meg’s example, they decided to read a little part every day. “Where’s Mother?” asked Meg as the girls ran down for breakfast. “She has gone to see a poor family,” said Hannah, the cook “Where is Amy’s bottle of cologne?” exclaimed Meg as she looked over the basket of presents. “She wanted to tie a ribbon around it,” said Jo dancing around the room to take the stiffness off the army slippers. At that moment Amy came in. “Where have you been up so early?” asked Meg was surprised, for Amy was wearing her hood and cloak. “You see,” said Amy earnestly, “I did not want to be selfish so I went and bought a bigger bottle of scent with all my money.” At this, the girls praised her and Beth plucked her best rose to decorate the bottle. At that moment Mrs March walked into the room. “Thank you Marmee for the gifts,” the girls crowded around her. “Merry Christmas, my daughters,” said Mrs March. “I have just come from visiting a poor mother with a little baby. Six children huddle around the bed and there is no fire. They are shivering and starving. My daughters, can you give them your breakfast as a Christmas present?”

44 For a minute nobody spoke. Then Jo exclaimed, “I’m so glad we did not start eating.” They packed the breakfast and carried it to the poor family’s house. Mrs March fed the mother and dressed the baby while the girls set the table and fed the little children. Four happier girls could not be found than these who willingly gave up their breakfast on Christmas morning. Back home, the girls settled themselves to a breakfast of bread and milk. “That’s loving our neighbour better than ourselves,” said Meg, as they set out their presents while their mother was upstairs collecting clothes for the poor Hummels. As soon as Mrs March entered the room, Beth began playing the piano. Mrs. March was both surprised and touched by the gifts. She read with moist eyes, the little notes full of affection and love. She wore the slippers at once, she slipped Beth’s handkerchief into her pocket well scented with Amy’s cologne. She pinned the rose to her dress and pronounced the gloves a perfect fit. There was a good deal of laughing, kissing and explaining which make these home festivals so pleasant and well-remembered. For the rest of the day, the girls were busy with a play that Jo had written. Some of their friends came over to watch the play which evidently was a grand success judging by the applause. When Hannah came over to announce supper, the girls were surprised at the lavish spread. The table was decorated with four bouquets of beautiful flowers and filled with ice cream, cake, fruit and bonbons. Mrs March explained that Mr Lawrence their rich neighbour had sent it. ” He heard that you girls had given up your breakfast and he sent me a note asking if he could send over a few things as a token of appreciation.” Over dinner, the girls and their friends discussed the Lawrences. “My Mother knows old Mr Lawrence,” said one of the friends, “he is very proud and doesn’t like to mix with the neighbours. He makes his grandson study very hard with his tutor.” “He needs some fun and I mean to get to know him,” said Jo. “Young Mr. Lawrence is a polite and gentlemanly boy. I would not mind you being friends with him,” said Mrs March. “I have never seen such a pretty bouquet,” said Meg. “They are certainly lovely but Beth’s roses are sweeter to me,” smiled Mrs. March. Beth cuddled up to her, “I wish I could send my bunch to Father,” she whispered softly, “I’m afraid he isn’t having such a merry Christmas as we are.”

45 65 FROST, THE WINTER-SPRITE – HANNAH FLAGG GOULD frost - a thin, light covering of ice blustering - blowing or beating fiercely and noisily bustle - to move rapidly and energetically crest - the top of a mountain or hill boughs - the main branches of trees quivering - shaking with a slight rapid motion coat of mail - (here) a protective covering made of linked pieces of ice bevies - a large group of people, animals or things of the same kind sheen - shine pitcher - a container with a handle and a lip, for holding and pouring liquids Get Set Go! Know the keywords and their meanings Understand and Know Hannah F. Gould was born in Lancaster, Massachusetts. She began composing poems in her 30s, and her first book, Poems (1832), was published by her friends without her knowledge. She published 'Gathered Leaves' (1846). Her poetry ranges from children’s verse to religious and political poems. Let’s Read Frost, the Winter-Sprite Hannah Flagg Gould The Frost looked forth on a still, clear night, And whispered, “Now I shall be out of sight; So through the valley, and over the height I’ll silently take my way.

46 I will not go on like that blustering train, The wind and the snow, the hail and the rain, That make so much bustle and noise in vain. But I’ll be as busy as they!” He flew up, and powdered the mountain’s crest; He lit on the trees, and their boughs he drest With diamonds and pearls;—and over the breast Of the quivering Lake he spread A bright coat of mail that it need not fear The glittering point of many a spear That he hung on its margin, far and near, Where a rock was rearing its head. He went to the windows of those who slept, And over each pane, like a fairy crept; Wherever he breathed—wherever he stepped— Most beautiful things were seen By morning’s first light!—there flowers and trees, With bevies of birds, and swarms of bright bees;— There were cities—temples, and towers; and these, All pictured in silvery sheen! But one thing he did that was hardly fair— He peeped in the cupboard, and, finding there That none had remembered for him to prepare, “Now, just to set them a-thinking, I’ll bite their rich basket of fruit,” said he, “This burly old pitcher—I’ll burst it in three! And the glass with the water they’ve left for me Shall ‘tchick!’ to tell them I’m drinking!”

47 Let’s Write I. Read the given extracts and answer the following questions. A. The Frost looked forth, one still, clear night, And whispered, “Now I shall be out of sight; So through the valley and over the height, In silence I’ll take my way:” 1. How does Frost move through the valley? 2. Why does the poet include a description of trains, wind, snow, hail and rain? 3. Why will the Frost be busy? 4. Give the synonym of the word 'whispered'. B. 'Then he went to the mountain, and powdered its crest, He climbed up the trees, and their boughs he dressed With diamonds and pearls, and over the breast Of the quivering lake he spread'. 1. What did the Frost do after going to the mountains? 2. How did the Frost dress up the boughs of the trees? 3. Where did the Frost spread then? 4. Give the synonym of the word 'quivering'. II. Answer the following question in 30-40 words. 1. What could be seen in the morning light wherever the Frost passed by? 2. What did Frost most likely do to the lake? Why? 3. What did Frost do when he realised that people had forgotten to prepare for winter? 4. But I'll be as busy as they! Who is referred to as 'they'? 5. Read the following lines from the poem: “Of the quivering lake he spread A bright coat of mail, that it need not fear The glittering point of many a spear.” What did the Frost most likely do to the lake? Why? III. Multiple Choice Questions. 1. How is the movement of the frost through the valley described in the poem? a. loudly b. nosily c. silently d. chattily 2. He lit on the trees, and their boughs he drest With diamonds and pearls;— What did the frost do to the tree boughs? a. The frost gave life to the trees. b. The frost powdered the trees with snow. c. The frost lit the branches with sparkling ice. d. The frost spread a bright coat of snowflakes.

48 3. The Frost looked forth on a still, clear night, And whispered, “Now I shall be out of sight; So through the valley, and over the height What do the above lines communicate about the setting? a. The frost is awakened by the clear morning sun. b. The frost quietly moves through a clear night. c. The frost was busy on a windy and rainy evening. d. The frost passed through the valley at night. 4. With bevies of birds, and swarms of bright bees;— What does the word ‘bevies’ mean? a. different kinds b. flocks c. nests d. a few 5. What is the poet trying to communicate to the reader regarding frost? a. Frost can move noisily like the wind and snow. b. Frost can get into your house and burst a pitcher into two. c. Frost can be beautiful, but also destructive. d. Frost can freeze lakes and make them look dull. IV. True or False. 1. The frost is awakened by the morning sun. ( T / F ) 2. The frost silently passes through the valleys. ( T / F ) 3. The frost is as busy as the trains, wind, snow, hail and rain. ( T / F ) 4. The frost dresses up the boughs of trees with gold and silver. ( T / F ) 5. The frost crept like a fairy over each window pane. ( T / F ) Digging Deep 1. How has the poet personified frost? 2. Do you think the falling of frost is as joyous as it seems in reality? Give reasons for your answer. 3. Give a character sketch of the frost. 4. On a still, clear night, the frost created beautiful sights by frosting the trees and powdering the mountain’s crest. Who? ______________________ (did) What? _________________________ __________________ When? ___________________________________________________ _____ How? ________________________________________ Thinking Hat

49 What’s the Good Word? A. In which season do you see frost? (a) summer (b) autumn (c) winter B. Write a sentence using the word 'frost'. A. When does the wind start blustering? (a) due to breeze (b) due to a storm (c) due to moderate breeze B. Write the antonym of the word 'blustering'. A. When do you start quivering? (a) When you are happy. (b) When you are sad. (c) When you are scared. B. Write a sentence using the word 'quivering'. A. Choose the synonym of the word bevies. (a) group (b) sections (c) particles B. Write a sentence using the word 'bevies'. A. What is a pitcher used for? (a) cooking (b) pouring liquids (c) drinking B. Write two synonyms of the word 'pitcher'. Summarising Skills Write the summary of the poem in 80-100 words. Let’s Learn Grammar A collective noun refers to a group of people, animals or a collection of things taken as a whole. Example: There were bevies of birds and swarms of bees; A. Write the collective nouns of the following nouns. a) a ___________ of mountains b) a ___________ of trees c) a ___________ of diamonds d) a ___________ of pearls e) a ___________ of rocks f ) a ___________ of flowers g) a ___________ of fruit

50 h) a ___________ of glasses B. Convert the above poem into a short story. Write it in not more than 150-200 words. Poetic Devices/Theme: Imagery When a writer wants the reader to engage with the text and characters in such a way that they become a part of it, imagery is usually used. Imagery consists of powerful descriptive narrations which can be brought about by the use of simile, metaphor or personification but most importantly by using words which are powerful and have a punch of imagination. Readers can see, feel, hear or even smell the landscape of the story. Imagery comes comes from the word image which refers to mental pictures of the imagination. What is imagery? Imagery is a literary technique that enables authors to create mental images in readers' minds that help them more easily visualise the actions, characters, emotions, and surroundings of a novel. Consider the word imagination when trying to grasp imagery. By being precise and concrete and utilising language to engage the reader's five senses, writers create powerful images. The word' imagery' originates from the Old French imagerie, meaning 'figure' (13 c). Imagery first appeared in English in the middle of the 14th century. Types of Imagery Literary imagery actually applies to all five senses, contrary to the popular belief that imagery is only something that can be seen. • Visual imagery: This uses sight to help readers visualise the passage; for instance, "Her lips glistened crimson like ripe cherries." To help readers imagine scenes more clearly, authors use details like colour, size, and others. • Auditory imagery: The sense of sound is evoked by this. Onomatopoeia, in which words imitate the sound they represent: "The alarm clock beeped," is frequently used. Any auditory event, such as speech or a noisy environment like the rumbling ocean. can be described using sounds. The sound can increase a mood, such as turmoil, stress, or peace, depending on how it is portrayed. • Olfactory imagery: Olfactory imagery is phrasing that uses the sense of smell; for instance, "He smelled like the ocean, salty and fresh." Because memory and scent are closely related, authors may utilise olfactory imagery to help readers experience a certain emotion or feeling. • Gustatory imagery: Using the example, "The salty-sweet caramel melted on her tongue," this refers to the sensation of taste. These metaphors might convey a specific taste, such as the metallic flavour of fear, or they can conjure up an emotion or the mood of a scene. • Tactile imagery: "The velvety moss coated the forest floor," for example, appeals to readers' sense of touch. Textures and physical characteristics (rough, smooth, itchy, sharp, dull), temperature (warm, frigid, humid), and movement are frequently used in tactile images (galloping, swimming, hugging).