101 Then you come, And you are quiet like the garden, And white like the alyssum flowers, And beautiful as the silent sparks of the fireflies. Ah, Beloved, do you see those orange lilies? They knew my mother, But who belonging to me will they know When I am gone.
102 610 A FISHY STORY minnows - very small freshwater fish gumption - initiative and resourcefulness angler - a person who fishes with a hook or a line hauls - the amount of fish caught parlour - a shop providing specified goods or services ensued - to happen after or as a result of another event leastways - (informal) at least bleakly - without hope stolid - not showing much emotion or interest solemn - serious query - a question especially for asking for information or expressing doubt about something clutched - held something tightly unaccountable - answerable Get Set Go! Know the keywords and their meanings Understand and Know 'The Fishy Story' narrates the incidents of one evening when three friends who go to a pub in the course of their travels and are taken for a ride by the local people. . The centre of all activity and attention is a huge fish that the three friends marvel at. Several locals enter one after another during this period and each claims to have caught the fish as they watch the surprised pals marvelling at it! The truth about the situation is only revealed at the conclusion of the narrative. Let’s Read An abridged extract from ‘Three Men in a Boat’ by Jerome K Jerome.
103 The neighbourhood of Streatley and Goring is a great fishing centre. The river abounds in pike, roach, dace, gudgeon and eels, and you can sit and fish for them all day. Some people do. They never catch them. I never knew anybody who caught anything up the Thames, except minnows and dead cats, but that has nothing to do with fishing! I am not a good fisherman myself. I devoted a considerable amount of attention to the subject at one time, but the old hands told me that I would never be really good at it. They said that I was an extremely neat thrower; I have plenty of gumption and quite enough constitutional laziness. To gain any position as a Thames angler, I would require more imagination and more power of invention. Some people are under the impression that all that is required to make a good fisherman is the ability to tell lies easily. I knew a young man who had determined never to exaggerate his hauls by more than twenty-five per cent. “When I have caught forty fish, I will tell that I have caught fifty. But I will not lie any more than that, because it is sinful to lie,” he said. But this plan did not work well as the greatest number of fish he ever caught in one day was three, and you can’t add twenty-five per cent to three – at least, not in fish. So, to simplify matters, he would just double the quantity. He stuck to this arrangement for a couple of months, and then he grew dissatisfied. When he had caught three small fish and said he had caught six, it used to make him quite jealous to hear a man, whom he knew for a fact had only caught one, going about telling people he had landed two dozen. Eventually, he made one final arrangement and that was to count each fish that he caught as ten and assume ten, to begin with. For example, if he did not catch any fish at all, then he said he had caught ten – you could never catch less than ten fish by his system; that was the foundation of it. Then, if by any chance he really did catch one fish, he called it twenty, while two fish would count as thirty and so on. One day, George and I went to a parlour and began chatting with an old fellow there. Then, a pause ensued in the conversation, during which our eyes rested upon a dusty old glass case, fixed high up above the chimney-piece and containing a trout. “Ah!” said the old gentleman, following the direction of my gaze, “fine fellow that, ain’t he?” George asked the old man how much he thought it weighed. “Eighteen pounds six ounces,” he said. He continued, “I caught him just below the bridge with a minnow. You don’t see many fish that size about here now.” And out he went and left us alone. We were still looking at the trout when the local carrier, who had just stopped at the parlour, also looked at the fish. “Good-sized trout,” said George, turning around to him. “Maybe you weren’t here, sir when that fish was caught?” asked the man. “No,” we told him. We were strangers in the neighbourhood. “Ah!” said the carrier, “It was nearly five years ago that I caught that trout.” “Oh! Was it you who caught it, then?” said I. “Yes, sir,” he replied. “I caught him just below the lock – leastways. Well, you see, he weighed twenty-six pounds. Good night, gentlemen.”
104 Five minutes afterwards, a third man came in and described how he had bleakly caught it early one morning, and then he left, and a stolid, solemn-looking, middle-aged individual came in and sat down over by the window. None of us spoke for a while; but George turned to the newcomer and said, “Would you tell us how you caught that trout up there?” “Who told you I caught that trout?” was the surprised query. We said that nobody had told us so, but somehow, we felt instinctively that it was he who had done it. And then he went on and told us how it had taken him half an hour to land it, and how it had broken his rod. He said that it had weighed thirty-four pounds. When he was gone, the landlord came into us. We told him the various histories we had heard about his trout, and we all laughed very heartily. And then he told us the real history of the fish. It seemed that he had caught it when he was quite a lad. At this point, he was called out of the room, and we again turned our gaze upon the fish. The more we looked at it, the more we marvelled at it. It excited George so much that he climbed up on the back of a chair to get a better view of it. And then the chair slipped and George clutched wildly at the trout case to save himself, and down it came with a crash, George and the chair on top of it. That trout lay shattered into a thousand fragments. We thought it strange and unaccountable if it had been a stuffed trout, but it was not. That trout was made of plaster-of-Paris. Let’s Write I. Read the given extracts and answer the following questions. A. “When I have caught forty fish, I will tell that I have caught fifty. But I will not lie any more than that, because it is sinful to lie,” he said. But this plan did not work well as the greatest number of fish he ever caught in one day was three, and you can’t add twenty-five per cent to three – at least, not in fish. 1. According to people, what was the only thing required to become a fisherman? 2. Why wouldn’t the twenty-five percent formula work well for the young man? 3. When the twenty-five percent formula failed, what did the young man do? 4. Give the synonym of the word ’sinful’. B. At this point, he was called out of the room, and we again turned our gaze upon the fish. The more
105 we looked at it, the more we marvelled at it. It excited George so much that he climbed up on the back of a chair to get a better view of it. 1. What does ‘it’ refer to in the above extract? 2. Why did George climb up on the back of the chair? 3. What happened when the chair slipped? 4. Give the synonym of the word ‘marvelled’. II. Answer the following question in 30-40 words. 1. What is the main theme of the story? 2. Describe the neighbourhood of Streatley and Goring. 3. Why could the author not become a great angler? 4. What story did the local carrier tell the author about the trout? 5. How did the author find out that the trout was made of plaster-of-Paris? III. Multiple Choice Questions. 1. The neighbourhood of Streatley and Goring was a great __________________ centre. a. marketing b. mountaineering c. fishing d. recreational 2. The carrier said that he caught the trout _____________ years ago. a. three b. five c. six d. two 3. The old man said that the trout weighed _____________ pounds. a. eighteen pounds and six ounces b. twenty-six pounds c. eighteen pounds d. thirty-four pounds 4. Why did George climb up on the back of a chair? a. To see the view outside the window. b. To get a better view of the fish. c. To see the old man. d. To get a better view of the hotel. 5. Where was the trout kept? a. on the table b. a dusty old metal case c. on top of the shelf d. a dusty old glass case
106 IV. True or False. 1. According to people, all that is required to become a good fisherman is the ability to tell lies easily. ( T / F ) 2. The river had a huge amount of pike, roach, dace, gudgeon and eels. ( T / F ) 3. The old man told the real history of the trout to George and the author. ( T / F ) 4. The old man had caught the fish when he was a lad. ( T / F ) 5. When the chair slipped, George clutched the trout case to save himself. ( T / F ) Digging Deep 1. Describe the false tales of catching the trout. 2. How was the truth behind the huge trout finally discovered? 3. Do you think the title of the story is justified? Give reasons. 4. Write a short summary of the story. Thinking Hat What’s the Good Word? A. What does an angler do? a. feeds fish b. fishes with a hook or line c. cooks fish B. Write a sentence using the word 'angler'. A. Which of the following is a synonym of the word 'gumption'? a. ignorance b. stupidity c. cleverness B. Write the antonym of the word 'gumption'. Using the antonym , frame a sentence. A. If you do something bleakly, you do it with __________. a. happiness b. enthusiasm c. no hope B. Write a sentences using the word 'bleakly'. A. What happens when you clutch something? a. you hold someone or something tightly b. you release someone or something c. you unfasten something
107 B. Write the antonym of the word 'clutched'. A. What part of speech is unaccountable? a. adverb b. noun c. adjective B. Who is an accountable person? Let’s Learn Grammar A. Fill in the blanks with appropriate articles. 1. ____________ neighbourhood of Streatley and Goring is _____________ great fishing centre. 2. They said that I was ________________ extremely neat thrower. 3. George asked _______________ old man how much he thought it weighed. 4. ____________ chair slipped and George clutched wildly at __________ trout case to save himself. 5. Down it came with __________ crash, George and ___________ chair on top of it. B.Write a short note on how to help clean the beaches in your city to save the marine life. Understanding Literary Genres Travelogue Travel literature is a kind of travel writing having some significance and literary values. An individual’s travel experience is called a travelogue. The literary travelogues exhibit coherent narratives. It has also aesthetic values. The travelogue – which means literary exposition of travel experience – may conveniently be classified again as: (a) fantasy described or given as exposition of fact (b) literature of recorded fact (c) literature of artistic presentation of recorded impressions and feelings during travel. The examples that readily come up to our minds are R.L. Stevenson’s ‘Treasure Island ‘of the 19th century of foreign travellers to India like Megasthanese’s ‘Indica’ (of ancient times) and ‘Scinde’ or the Unhappy Valley ‘by Richard Burton of the 18th century.
108 Q.1. In what way is this story a travelogue? Q.2. In what ways do you think the writing by Jerome K. Jerome is different from other classic writers? Q.3. What is the climax of this story? 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. 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.
109 What is SYMBOLISM? Symbolism A literary device known as symbolism is employed in writing to allow a character, object, or plot subject to represent something other than its literal meaning. Anything can serve as a symbol, including a character from the story, a setting, an item, a term, or even an abstract concept. A thing is a symbol if it conveys significance beyond what is immediately apparent. Examples of Symbolism in Everyday Life Take instances from daily life into consideration to better comprehend the definition of symbolism. A nation's flag's colours, such as the American flag's red, white, and blue, stand for patriotism, whereas the holiday season is symbolised by the colours red and green. Even though you don't literally change colours when you're unhappy, you can still "feel blue" in such situation. Since the beginning of writing, symbolism has been a component of literature. Here are a few instances: · Ancient hieroglyphs: In ancient cave paintings, pictures represented stories and beliefs without words. · Ancient Greeks:The Gods that were being discussed in ancient Greek plays were symbolised by symbolic props. · Christian Bible: In the Bible, Jesus spoke in parables, which are everyday stories that represent spiritual truths. Examples of Symbolism in Popular Literary Works In literary works, symbolism frequently appears in addition to in history. Students dig deep to uncover the symbolism as they examine these in literature studies. · William Shakespeare: Shakespeare represented his characters' inner thoughts with a variety of symbols, including blood in his play 'Macbeth.' In his sonnets, he included symbolism as well. · Edgar Allen Poe:An animal representing mortality was a bird in his poem 'The Raven.' · F. Scott Fitzgerald: Fitzgerald uses symbolism extensively in 'The Great Gatsby,' one of his most wellknown books. The story's central image, the green light, stands in for the protagonist's aspirations, while the Valley of Ashes is a metaphor for the decline of contemporary civilisation. The emptiness of society in the 1920s is represented throughout the entire book. · Harper Lee: Even the title of 'To Kill a Mockingbird is symbolic.' Mockingbirds stand in for innocent people, and the title refers to the killing of innocent people. Types of Symbolism in Literature Despite the fact that symbolism can appear anywhere, literature is where it is most frequently encountered. The writer uses symbolism when a term or item has a deeper meaning than it actually does. The three primary sorts of symbols that authors employ are as follows: · Religious Symbolism: This use of symbols by religious authorities aims to persuade the public to support their beliefs. John Milton retells the biblical tale of Genesis in Paradise Lost using symbolism.
110 · Romantic Symbolism: Shakespeare frequently compares love to various ordinary everyday objects in his sonnets. · Emotional Symbolism: This sort of symbolism, which is a favourite among poets, use symbols to depict feelings. The Effect of Symbolism A story can be connected quite a bit through symbolism. It can: · Help define characters: The well-known character from Harry Potter has a scar on his forehead that represents the love that saved him from Voldemort. · Connect themes: A story's recurring symbol can link the various topics in the piece together. · Create a darker undertone: In 'The Scarlet Letter,' Pearl, the daughter of Hester, first represents sin, guilt, and secrets before evolving into an empowering figure as the narrative progresses. · Include emotion: The emotional resonance that symbols provide is what gives a story its ability to leave an impression on the reader. Symbolism makes that link even when the reader is unable to pinpoint why the narrative resonated with them. How to Write Using Symbolism? Look for ways to include more meaning into your writing if you wish to use symbolism. However, adding meaning to written works requires talent. Writing a short story or novel with a gripping narrative and interesting characters is the first step in making this work properly. Don't worry about the symbolism in your piece's first draught since it will overpower the narrative. Insert symbols into the story once you have a strong draught and a solid plot that you adore. Add details that have additional meaning, such as a person listening to music that represents their emotions or the weather reflecting the scene's mood. Make a conscious effort to include symbolism, but keep it understated so that the reader delves further into the narrative to discover it. Let’s Speak Questions from the story: 1. What does literary symbolism mean? 2. Can you identify any symbols in the above story? 3. What does symbolism serve to represent? 4. How did symbolism add interest to the story?
111 Literature Reading Let’s read the first chapter of the classic ‘The Scarlet Letter’ by Nathaniel Hawthorne. The prison door symbolises the Puritan’s strict ideology and unforgiving nature. The symbolism is created by the severe and unyielding image of this austere portal. The Scarlet Letter The Prison Door A throng of bearded men, in sad-coloured garments and grey steeple-crowned hats, intermixed with women, some wearing hoods, and others bareheaded, was assembled in front of a wooden edifice, the door of which was heavily timbered with oak and studded with iron spikes. The founders of a new colony, whatever Utopia of human virtue and happiness they might originally project, have invariably recognized it among their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison. In accordance with this rule, it may safely be assumed that the forefathers of Boston had built the first prison house somewhere in the vicinity of Cornhill, almost as seasonably as they marked out the first burial-ground, on Isaac Johnson's lot, and roundabout his grave, which subsequently became the nucleus of all the congregated sepulchres in the old churchyard of King's Chapel. Certain it is that some fifteen or twenty years after the settlement of the town, the wooden jail was already marked with weather stains and other indications of age, which gave a yet darker aspect to its beetle-browed and gloomy front. The rust on the ponderous ironwork of its oaken door looked more antique than anything else in the New World. Like all that pertains to crime, it seemed never to have known a youthful era. Before this ugly edifice, and between it and the wheel track of the street, was a grass plot, much overgrown with burdock, pig-weed, apple-Peru, and such unsightly vegetation, which evidently found something congenial in the soil that had so early borne the black flower of civilized society, a prison. But on one side of the portal, and rooted almost at the threshold, was a wild rose bush, covered, in this month of June, with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of Nature could pity and be kind to him. This rose bush, by a strange chance, has been kept alive in history; but whether it had merely survived out of the stern old wilderness, so long after the fall of the gigantic pines and oaks that originally overshadowed it,--or whether, as there is fair authority for believing, it had sprung up under the footsteps of the sainted Ann Hutchinson as she entered the prison-door, we shall not take upon us to determine. Finding it so directly on the threshold of our narrative, which is now about to issue from that inauspicious portal, we could hardly do otherwise than pluck one of its flowers, and present it to the reader. It may serve, let us hope, symbolize some sweet moral blossom that may be found along the track, or relieve the darkening close of a tale of human frailty and sorrow.
112 611 THE FLIGHT OF ICARUS sublime - most excellent and beautiful artisan - worker in a skilled trade/craftsman flabbergasted - very astonished imprisonment - being captive/bound harness - a set of straps or fittings with which an animal is attached to a vehicle contraption - invention or machine Get Set Go! Know the keywords and their meanings Understand and Know Take the bull by the horns! Many of our English proverbs have their origins in mythology. How did this phrase become popular? Hercules of Greece rescued Crete from a roaring bull by gripping its horns. Mythology is more than just 'larger-than-life' animals and people performing astonishing and remarkable feats. Check out this old Greek mythology. Let’s Read King Minos was way ahead of his era. All the people in the whole world visited him to see the wonderful inventions of machines he had in his kingdom. But all this wasn’t the wonder of his mind, but the mind of Daedalus. Daedalus was an exceptional artisan, who worked with metal and wheels and pulleys, like they were soft clay in his hand, shaping it whichever way he liked. Daedalus had once made a mechanical bird for the princess, which chirped whenever the sun came up. The marvellous invention by Daedalus left the King baffled and flabbergasted. Nevertheless, greed took over the King’s heart and mind, and he decided to keep Daedalus locked up in a cave over the sea forever. Now, Daedalus didn’t live alone. He had a son named Icarus. The King provided everything Daedalus asked for, be it tools, food, new clothes, etc. All this kept Daedalus content and satisfied with his life in a cave that was supposed to be imprisonment. Even Icarus was happy, as he got delicious food and
113 amazing toys made by his father, whenever he demanded. But as Icarus came of age, he started to understand that this life, in just one place day and night, was not what he wanted for himself. “Father, I don’t want to live in this cave anymore. I want to go out, make friends, probably find a girl for myself and got married and have children. But how can I do that from here? I can’t even bring any girl up here to live with me. Why are you being so unreasonable to me?” Icarus argued. “Give me one chance my boy. The King visits us every second week. He will be coming tomorrow. I will talk to him,” his father convinced him for the moment. The next day, Daedalus trembled to approach the king with his request but knew he had to gather courage for his son. “My king, if it befits you, please allow my son to leave this cave and become one of your guards for your service. Let him have a life,” Daedalus begged before the king. “Well, I’ll consider your request and think about it.” But the King had already set his mind to never let Daedalus or his son go. He did not want any other kingdom to have Daedalus or his son’s gift in inventions. Daedalus sat beside his gloomy son. “Look at these seagulls. I envy their freedom. They can away from this hideous cave whenever they wish to,” he said, while staring at the baby seagulls being fed by their mother. Daedalus stopped and looked at his son with a big smile. His son couldn’t understand why he was smiling. “My son, in two weeks you will have a new toy prepared for you.” “But I’m too old for toys now father,” Icarus said. “Well, this one will give you freedom.” Daedalus gathered his tools, metal scraps, wax and fallen wings of seagulls. He was about to make a harness, that would have huge wings made of leather and feathers put together with wax. And so it was, as promised, Daedalus had prepared two sets of harnesses with large wings. “Oh, this is a wonderful gift father. This is what you have been preparing and not telling me about?” Icarus asked. “Son, you deserve freedom, and these wings will help you fly away from this cave. Now, remember, do not fly too close to the sea, as the waves might crash onto you and bring you down. And don’t fly too high close to the sun, it will melt the wax on your wings. Just follow me.” They put on their harness and stood at the edge of the cave, looking down deep at the sea below. “We must leave now. The king will be here any minute,” Daedalus instructed. Off they flew like seagulls. Daedalus was happy that his invention did not fail him and that they were at the right height. Or so he thought. He turned behind and saw Icarus fly too high up in the sky. “Icarus, don’t go too high. The sun’s heat will melt the wax on your wings.”
114 Icarus paid no heed to his father, as he was enjoying the breeze of freedom. But as expected, the wax started to melt and Icarus came crashing down into the sea. Oh, the horror! Daedalus had to watch his son get lost in the sea, with only the feathers of his wing floating on the surface. For years Daedalus stood by the sea watching the horrid scene in his mind. And so, in memory of his son, he named an island after him, Icaria, and vowed never to fly again. Let’s Write I. Read the given extract and answer the following questions. A. The marvellous invention by Daedalus left the King baffled and flabbergasted. 1. Who was Daedalus? 2. What was the marvellous invention made by Daedalus? 3. What did the King decide to do? 4. Give the synonym of the word ‘flabbergasted’. B. “Well, this one will give you freedom.” Daedalus gathered his tools, metal scraps, wax and fallen wings of seagulls. . 1. Why did Icarus want to leave the cave? 2. What did Daedalus gather to make the new toy? 3. Which toy did Daedalus make for his son? 4. Give the antonym of the word ‘freedom’. II. Answer the following question in 30-40 words. 1. What was the reason behind Minos locking Daedalus in a cave over the sea forever? 2. What did Daedalus make for Minos' daughter? 3. What instructions did Daedalus give to Icarus before the flight? 4. How did Icarus die? 5. What lesson does this story teach you? III. Multiple Choice Questions. 1. From which country does this mythological story originate? a. Spain b. Greece c. Poland d. Rome
115 2. What is the main tone or mood of the story? a. tragic b. humourous c. lonely d. joyful 3. What did the Daedalus’ son long for the most? a. super powers like his father b. freedom c. to become the king d. to become the king’s friend 4. Why did the king imprison Daedalus and his son? a. He wanted to make sure that Daedalus’ skills were used only by him. b. It was Daedalus’ wish. c. They were traitors. d. The king didn’t want Deadalus to leave his side. 5. What was Daedalus good at? a. making artistic machinery b. building aircrafts c. leading the king’s army d. training in the army IV. True or False. 1. The story is about Daedalus’ skills and the tragic end of his son. ( T / F ) 2. Daedalus named an island, Icaria, in memory of his son. ( T / F ) 3. The King is the hero of the story. ( T / F ) 4. Daedalus understood the misery of his son. ( T / F ) 5. Daedalus’ son died tragically. ( T / F ) Digging Deep 1. Why do you think Daedalus was comfortable being imprisoned in a cave, while his son was not? 2. Read these lines from the story: Daedalus was happy that his invention did not fail him and they were at the right height. Or so he thought. What do you think the lines in bold foreshadow? 3. Write a note on King Minos. 4. What are some fantastical elements in the story? Write and quote those lines. Thinking Hat
116 What’s the Good Word? A. What is the appearance of something described as sublime? a. horrid b. beautiful c. lacking B. Make a sentence using the word ‘sublime’. A. What kind of person is an artisan? a. skilled and professional b. lazy and adamant c. shy yet powerful B. Make sentence using the synonym of the word ‘artisan’. A. How do you feel when you are flabbergasted? a. scared b. astonished c. impressed B. When was the last time you were ‘flabbergasted’? A. On which of the following can you put a harness? a. a chair b. a dog c. a cloud B. Have you ever seen an animal with a ‘harness’? A. What is the synonym of the word contraption from the following? a. machine b. storage c. inventory B. Make a sentence using the synonym you selected in the A section. Let’s Learn Grammar A. Underline all the adjectives in the following sentences from the story: 1. The marvellous invention by Daedalus left the King baffled and flabbergasted. 2. Even Icarus was happy, as he got delicious food and amazing toys made by his father, whenever he demanded. 3. Daedalus sat beside his gloomy son. 4. They can fly away from this hideous cave whenever they wish to. 5. He was about to make a harness that would have huge wings made of leather and feathers put together with wax. B. Imagine yourself to be Icarus. Write a dialogue conversation between you and your father Daedalus the reasons why you want to leave the cave and see the outside world.
117 Understanding Literary Genres Myth Myth is a kind of folklore consisting of narratives or stories that play a crucial role in a society, showing the importance or origins of culture, traditions and natural events. The main characters in myths are usually Gods, demigods or supernatural humans.They create a fantastical elements, yet showing how people long ago thought and perceived nature, society, life and the nature and origin of the world. Greek mythology is a collection of all the myths that originated from Greece, giving us a peek into their rituals, understanding, the daily life and activities of the Gods . Greek myths were simply stories that were passed on from generation to generation by word of mouth. There are two main purposes of a myth: 1. To have answers to difficult questions like: how do we have trees, what happens to us when we die, etc. 2. To base life, rituals and practices on some sort of understanding. A mythology is a collection of myths or stories about a particular individual, society, religion, or group of people who share common beliefs. Most people do not believe mythology is really true, yet they nonetheless take it seriously. A myth is a story about the past, frequently with supernatural figures, and a mythology is a collection of myths that are tied to one another. Greek mythology is rife with stories of Gods and people interacting, with Gods frequently performing pranks. The account of God creating the Earth and everything that follows is told in Christian mythology. While the outline of myths from a different time period or society can usually be recognised rather clearly, recognising myths that are prominent in one's own time and society is always challenging. This is hardly surprising because myths gain authority by presenting themselves rather than proving themselves. Myth's Nature, Functions, and Types Every community has had a myth. Indeed, it appears to be a fundamental component of human culture. Because of the diversity, it is impossible to generalise about the nature of myths. However, it is apparent that people's myths, both in general and in detail, reflect, express, and explore the people's self-image. Thus, the study of myth is critical in the understanding of both particular communities and human culture as a whole. Q1. In what ways is the story a myth? Q2. Most Greek myths were tragic. In what way is this Greek myth a tragedy? Q3. Underline the correct sentences. 1. Greek myths started off as oral stories. 2. They have been passed on from one generation to another. 3. Greek myths are usually humourous. 4. Greek myths are stories for children.
118 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. 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 HYPERBOLE? Writers and presenters can utilise hyperbole to great effect because it is a simple and uncomplicated strategy. Learning how to use exaggeration successfully will help enhance your text and effectively engage your readers.
119 What Exactly Is Hyperbole? Hyperbole is a rhetorical and literary style in which an author or speaker utilises exaggeration and overstatement to emphasise and create effect. The term hyperbole comes from the Greek word huperbole, which means "to fling above." Although hyperbole is a classic literary trope, it can also be seen in ordinary narrative and common figures of speech. How to Make Use of a Hyperbole in Poetry? Poets think abstractly and frequently employ exaggeration to make exaggerated parallels. Make a list of compelling pictures and parallels that you can incorporate into your poetry to make it more impactful. You can be as abstract as you like, letting your mind wander: • Consider what aspects of your subject matter speak to you and what images come to mind. • Make a list of phrases or images that you believe would be evocative and strong in a poem. • Select the most relevant and effective instances of hyperbole to include in your poem. Some examples of Hyperbole: • He feels buried under mountains of work. • I'm so hungry that I could eat a horse. • Ryan went on forever about the city he lived in. Let’s Speak Questions from the story: 1. If you had to use the literary device ‘hyperbole’ in the above story, how would you use it? 2. How does hyperbole add an element of interest in any story? 3. Are there any instances from the story that contain hyperbole? 4. Find out stories or poems that have used hyperbole in their writing. Literature Reading Let's read a story about the first of the 12 tasks of Hercules. The First Task Hercules, the greatest of the Greek heroes, was half god and half man since his father was Zeus, the God of Gods and his mother was Alcmene, a mortal. When he was a child, he was sent by his father to live on Earth. Hercules grew into a strong and handsome lad but was very uncomfortable in the human form. He, therefore, decided to consult the *Oracle of Delphi. She told him that he could free himself from human form by performing twelve daunting tasks, also known as ‘The 12 Labours of Hercules’.
120 *Pythia, the priestess at the temple of Apollo in Delphi was commonly referred to as the ‘Oracle of Delphi.’ Hercules, the greatest of the Greek heroes, was half god and half man since his father was Zeus, the God of Gods and his mother was Alcmene, a mortal. When he was a child, he was sent by his father to live on Earth. Hercules grew into a strong and handsome lad but he was very uncomfortable in the human form. He, therefore, decided to consult the *Oracle of Delphi. She told him that he would be able to free himself from human form by performing twelve daunting tasks, also known as ‘The 12 Labours of Hercules’. The story that we are about to read was the first of these twelve tasks. *Pythia, the priestess at the temple of Apollo in Delphi was commonly referred to as the ‘Oracle of Delphi.’* King Eurystheus told Hercules that his first task was to kill the Nemean lion and get its skin. The lion had been terrorising the area around Nemea and had become the cause of suffering for the people living there since it wasn’t just attacking and preying on animals, but humans as well. Eurystheus warned Hercules that it was going to be a task beyond the bounds of possibility, and thus, to prove himself, Hercules had to carry back the dead lion’s skin to Eurystheus. Hercules travelled to Nemea and asking directions from the local shepherds, reached the lion’s cave. He positioned himself behind a boulder and waited for the lion to make an appearance. In the evening, the lion emerged from the cave. Hercules took out an arrow from his quiver, placed it on his bow and taking aim, shot the arrow. The arrow reached its target perfectly, but to Hercules’ surprise, instead of piercing its skin, the arrow just bounced off the lion’s chest. He quickly shot another arrow, only to witness the same reaction. Now Hercules understood why Eurystheus had referred to the task as an impossible feat. The lion’s skin was impervious to weapons! The lion, sensing that the attacker was as strong as himself, retreated into his cave. Now apart from the lion’s skin being immune to weapons, there was another obstacle. The cave had two entrances. The shepherds had already warned Hercules about this fact and he knew, that if he tried to stalk the lion through one entrance, he would escape through the other. Hercules walked around the mountain, looking for the other entrance. Once he managed to find it, he pushed a boulder into the opening to close the escape route of the lion. He then walked back to the first entrance and tiptoed his way inside. He soon caught sight of the lion’s eyes, gleaming in the dark. What Hercules did now came as a complete surprise to the lion. Hercules pounced on the lion, and wrestled with the man-eater, eventually killing it by thrusting his arm down his throat and choking it. Hercules then ripped the lion’s skin and wore it over his shoulders. He then reported back to King Eurystheus. Eurystheus was so terrified looking at Hercules wearing the lion’s skin and having completed such a daunting feat, that he ordered a giant-sized bronze jar to be made especially for him to hide from Hercules if required. Thereafter, Hercules wore the hide of the Nemean lion as armour, with its head and mane as a hood. As for Eurystheus, he developed such a fear of Hercules that he forbade him from entering the kingdom. He sent all his commands in future through a herald and refused to see the hero ever again.
121 612 THE LAST BARGAIN hire - recruit (someone) to work for pay nought - nothing pondered - think carefully before making a decision regarding (anything) Get Set Go! Know the keywords and their meanings Understand and Know We don't need strength, wealth, or beauty to find true and lasting happiness. A person's life can be made pleasant and competitive by freedom and innocence. Rabindranath Tagore, a well-known poet from India, wrote the moving poem 'The Last Bargain.' In the poem, the speaker discusses the futility of material possessions, including beauty, power, and wealth. Note that all people on Earth strive to accomplish these three goals. Let’s read this beautiful poem to know more. Let’s Read The Last Bargain by Rabindranath Tagore "Come and hire me," I cried, while in the morning I was walking on the stone-paved road. Sword in hand, the King came in his chariot. He held my hand and said, "I will hire you with my power." But his power counted for nought, and he went away in his chariot. In the heat of the midday the houses stood with shut doors. I wandered along the crooked lane.
122 An old man came out with his bag of gold. He pondered and said, "I will hire you with my money." He weighed his coins one by one, but I turned away. It was evening. The garden hedge was all a flower. The fair maid came out and said, "I will hire you with a smile." Her smile paled and melted into tears, and she went back alone into the dark. The sun glistened on the sand, and the sea waves broke waywardly. A child sat playing with shells. He raised his head and seemed to know me, and said, "I hire you with nothing." From thenceforward that bargain struck in child's play made me a free man. Let’s Write I. Read the given extract and answer the following questions. A. "Come and hire me," I cried, while in the morning I was walking on the stone-paved road. Sword in hand, the King came in his chariot. He held my hand and said, "I will hire you with my power." But his power counted for nought, and he went away in his chariot. 1. Where was the poet walking? 2. How did the king come to him? 3. Why did the king go away? 4. Give the synonym of the word ‘chariot’. B. It was evening. The garden hedge was all a flower. The fair maid came out and said, "I will hire you with a smile." Her smile paled and melted into tears, and she went back alone into the dark. 1. Where did the poet go in the evening? 2. What did the maid offer to pay? 3. Why was the maid’s smile pale? 4. Give the antonym of the word ‘melted’.
123 II. Answer the following question in 30-40 words. 1. The old man made a generous offer to the speaker. Why did he decline the offer, though? 2. How did the speaker feel after talking to the child on the beach? 3. Who is the poem's speaker? 4. What was the speaker’s last bargain? Why did he call it the best? III. Multiple Choice Questions. 1. How did he react when he accepted the child's offer? a. boredom b. sadness c. happiness d. sacrifice 2. What did the young person propose to pay him with? a. money b. nothing c. power d. smile 3. Whose proposition did he take? a. old man b. king c. young maiden d. Rabindranath Tagore 4. Read the following lines: The sun glistened on the sand, and the sea waves broke waywardly. A child sat playing with shells. He raised his head and seemed to know me, and said, "I hire you with nothing." From thenceforward that bargain struck in child's play made me a free man. What task was the child busy doing? a. playing with sea animals b. playing with flowers c. playing with sea shells d. playing with sand 5. The man accepts the child's offer, but why? a. It made him feel valued. b. It made him feel free. c. It made him feel selfless. d. It made him feel loved. 6. What did the young woman propose as payment for his services? a. money b. power c. nothing d. smile 7. Read the following lines: In the heat of the midday the houses stood with shut doors. I wandered along the crooked lane.
124 An old man came out with his bag of gold. He pondered and said, "I will hire you with my money." He weighed his coins one by one, but I turned away. What did the old man’s bag have? a. silver b. gold c. sword d. notes 8. Read the lines: "Come and hire me," I cried, while in the morning I was walking on the stone-paved road. Sword in hand, the King came in his chariot. He held my hand and said, "I will hire you with my power." But his power counted for nought, and he went away in his chariot. What did the poet want? a. work b. freedom c. both a and b d. only power Digging Deep 1. What does a bargain mean? What tries does the man make to bargain? 2. What's the speaker's most recent bargain? He calls it the best, but why? 3. What point is made in Tagore's poem? What does he aim to emphasise? Thinking Hat What’s the Good Word? A. What does a person do when he or she hires someone? a. they keep them for a job b. they let them go c. they punish them B. Make a sentence using the word ‘hire’. A. What value is shown in the word nought? a. millions b. one c. zero B. What other word can you use in the place of ‘nought’? A. What does a person do when he or she is pondering? a. trying to look for something b. trying to think deeply c. trying to invent something
125 B. Make a sentence using the word ‘ponder’. Summarising Skills Write the summary of the poem in 80-100 words. Let’s Learn Grammar A. Choose the abstract nouns from the following stanzas from the poem and make sentences by using them. In the heat of the midday the houses stood with shut doors. I wandered along the crooked lane. An old man came out with his bag of gold. He pondered and said, "I will hire you with my money." He weighed his coins one by one, but I turned away. It was evening. The garden hedge was all a flower. The fair maid came out and said, "I will hire you with a smile." Her smile paled and melted into tears, and she went back alone into the dark. The sun glistened on the sand, and the sea waves broke waywardly. A child sat playing with shells. He raised his head and seemed to know me, and said, "I hire you with nothing." From thenceforward that bargain struck in child's play made me a free man. B. With the use of the Internet, find out about the life of Rabindranath Tagore. Note down his achievements and some famous works. Share your report in no more than 200 - 250 words. Poetic Devices/Theme: Alliteration What is Alliteration? Most people think of alliteration as a literary technique in which the first letter of each word is the same. Although this is true, there is a little more to alliteration than that.
126 Alliteration is more dependent on the sounds of the combination of the first letters than it is on the repetition of the same letter alone. Alliteration would result, for instance, from the sounds that the words "cat" and "kick" make at the beginning of each syllable. Contrarily, although sharing the same first letter, the words "cat" and "ceremony" would not alliterate. Alliteration is more specifically the recurrence of consonant sounds at the start of words. Consonance is the repeating of consonant sounds in any portion of the word, whereas assonance is the recurrence of vowel sounds. Many common phrases contain alliteration. Think about the following instances: · Peter Piper selected a handful of jarred peppers. · By the water's edge, Sally sells seashells. • If a woodchuck could throw wood, how much would it throw? Popular Examples of Alliteration Alliteration is frequently employed for a number of purposes. Alliteration is frequently used in speeches and advertisements because it can help to boost audience engagement and make a specific phrase or saying more memorable. Alliteration Examples “She might have inherited it. It might be Maybelline.” This is a product line from the well-known makeup brand Maybelline. The majority of people who have owned a TV will be able to recall this sentence from their cable TV advertising efforts. The brand name is memorable and appealing due to the repetition of the "m" sound. In order to make this statement more impactful at the end, Barack Obama added alliteration of the "s" sounds in his inaugural speech. • "We, the people, announce today that the most obvious truth—that we are all created equal—is the star that still serves as our navigational beacon, just as it did for our ancestors in Seneca Falls, Selma, and Stonewall. • "I have a dream that one day my four young children will live in a country where they will be assessed on the content of their character rather than the colour of their skin." The Importance of Alliteration The use of alliteration in writing and speaking is crucial. Its applications extend across both prose and poetry. Alliteration produces a melodic or poetic effect in terms of tone and rhythm, which can improve the overall reading or listening experience. Alliteration in poetry gives poems vitality and makes them more enjoyable to recite aloud and to hear aloud. The poem's creativity is enhanced by the reader's dual interaction with the words. This also applies to commercial jingles. Alliteration makes it more enjoyable to recite the words and helps us to remember them. Whether in poetry or prose, alliteration frequently improves the aesthetics and effects of writing. In
127 prose, the goal is typically to emphasise key concepts more so than to offer aesthetic value. Alliteration Examples in Literature Alliteration is employed in both poetry and prose, as we just mentioned. Here are some literary works where alliteration has been used: 1. Edgar Allan Poe’s 'The Raven' Closed my lids, and kept them close, And the balls like pulses beat; For the sky and the sea, and the sea and the sky Lay like a load on my weary eye, And the dead were at my feet. 2. Vladimir Nabokov’s 'Conclusive Evidence' “A moist young moon hung above the mist of a neighboring meadow.” Let’s Speak Questions from the story: 1. Spot the alliteration instances 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 lesson. 4. Spot other poetic devices that the poet might have used in the poem. Literature Reading Let’s read another poem by Rabindranath Tagore. Colored Toys When I bring to you colored toys, my child, I understand why there is such a play of colors on clouds, on water, and why flowers are painted in tints —-when I give colored toys to you, my child.
128 When I sing to make you dance I truly know why there is music in leaves, and why waves send their chorus of voices to the heart of the listening earth —-when I sing to make you dance. When I bring sweet things to your greedy hands I know why there is honey in the cup of the flowers and why fruits are secretly filled with sweet juice —-when I bring sweet things to your greedy hands. When I kiss your face to make you smile, my darling, I surely understand what pleasure streams from the sky in morning light, and what delight that is that is which the summer breeze brings to my body —-when I kiss you to make you smile.
129 613 THE BROOK coot and hern - in the context of the poem, it means ponds and marshes sally - an unexpected attack against the enemy when under siege fern - a plant with feathery or leafy fronds but no flowers ridges - a long, narrow mountain range, or watershed Get Set Go! Know the keywords and their meanings Understand and Know What do you consider to be the true definition of peace? Do you find peace when you hear a brook's water flowing? Why? Let’s Read The Brook by Lord Alfred Tennyson I come from haunts of coot and hern, I make a sudden sally And sparkle out among the fern, To bicker down a valley. By thirty hills I hurry down, Or slip between the ridges, By twenty thorpes, a little town, And half a hundred bridges.
130 Till last by Philip's farm I flow To join the brimming river, For men may come and men may go, But I go on for ever. I chatter over stony ways, In little sharps and trebles, I bubble into eddying bays, I babble on the pebbles. With many a curve my banks I fret By many a field and fallow, And many a fairy foreland set With willow-weed and mallow. I chatter, chatter, as I flow To join the brimming river, For men may come and men may go, But I go on for ever. I wind about, and in and out, With here a blossom sailing, And here and there a lusty trout, And here and there a grayling, And here and there a foamy flake Upon me, as I travel With many a silvery waterbreak Above the golden gravel, And draw them all along, and flow To join the brimming river For men may come and men may go, But I go on for ever.
131 I steal by lawns and grassy plots, I slide by hazel covers; I move the sweet forget-me-nots That grow for happy lovers. I slip, I slide, I gloom, I glance, Among my skimming swallows; I make the netted sunbeam dance Against my sandy shallows. I murmur under moon and stars In brambly wildernesses; I linger by my shingly bars; I loiter round my cresses; And out again I curve and flow To join the brimming river, For men may come and men may go, But I go on for ever. Let’s Write I. Read the given extract and answer the following questions. A. By thirty hills I hurry down, Or slip between the ridges, By twenty thorpes, a little town, And half a hundred bridges. 1. Who is referred to ‘I’? 2. What do the words ‘thirty hills’, twenty thorpes’ and ’half a hundred bridges’ suggest? 3. What does ‘I’ describe in the above lines? 4. Give the synonym of the word ‘slip’. B. I wind about, and in and out, With here a blossom sailing,
132 And here and there a lusty trout, And here and there a grayling, 1. What are the different things carried by the brook? 2. What is found in the brook? 3. Why does the poet call the trot lusty? 4. Give the synonym of the word ‘blossom’. II. Answer the following question in 30-40 words. 1. What are the various words the poet uses to describe the sound of the brook? How does it contribute to the effect of the poem? 2. What are the words which tell how the brook sounded on different parts of its journey? 3. How many villages does the brook cross while flowing? 4. Who is referred to as 'I' in the poem and what does he do throughout the poem? III. Multiple Choice Questions. 1. The message of the poem is that the life of a brook is ___________. a. temporary b. short-lived c. eternal d. momentary 2. The poet draws a parallel between the journey of the brook and ___________. a. the life of a man b. the death of a man c. the difficulties in a man’s life d. the endless talking of human beings 3. The poem is narrated in the first person by the brook. This figure of speech is ___________. a. personification b. metaphor c. simile d. transferred epithet 4. In the poem, below mentioned line: “And here and there a lusty trout, And here and there a grayling” suggests that __________________. a. the brook is a source of life b. people enjoy the brook c. fishes survive because of water d. the brook witnesses all kinds of experiences 5. Who is the poet of the poem? a. R L Stevenson b. Robert Frost c. William Wordsworth d. Alfred, Lord Tennyson
133 IV. True or False. 1. The brook meets the brimming river by Philip’s farm. ( T / F ) 2. The poem is about a river’s journey. ( T / F ) 3. The brook moves very slowly. ( T / F ) 4. During its journey, the brook passes through thirty hills and fifty bridges. ( T / F ) 5. The poem is a reflection of life. ( T / F ) Digging Deep 1. What is 'refrain' in the poem? What effect does it create? 2. Briefly describe the brook's journey in the poem's first few stanzas. 3. What stands for the brook? Is it nature or human life? 4. What happens when the brook goes downwards? Thinking Hat What’s the Good Word? A. What does a person do when they sally? a. they pounce b. they attack c. they slide B. Make a sentence using the word ‘sally’. A. What type of species is a fern? a. a plant b. an animal c. a fungus B. Where do you think you can find ‘ferns’? A. In which of these places do you think you can find ridges? a. valleys b. plains c. mountain side B. Make a sentence using the word ‘ridges’. Summarising Skills Write the summary of the poem in 80-100 words.
134 Let’s Learn Grammar A. Spot all the onomoetopeia words from the poem. List them down below. Then, choose any three and make sentences using them. B. Find out about the life of Lord Alfred Tennyson and make a short report on his life. Write your biographical report in not more than 200-250 words. You can use the library in your school or the Internet to find out about him. Poetic Devices/Theme: Personification Alfred Lord Tennyson’s poem ‘The Brook’ has the poetic device personification. Let us read more about it. Personification is not limited to items; it also extends to less tangible things like natural forces (such as love and death), as well as living creatures like animals. Personification is an extremely common literary device that appears in all genres of writing. It can be found in fiction, prose, and poetry (novels and short stories). Definition of Personification When poets, fiction writers, or playwrights lend human characteristics to animals, inanimate objects, or forces, this literary technique known as personification is applied. Whatever the "thing" may be, it is discussed or written about as if it were a person. It is a figure of speech and a particular kind of metaphor that enables the author to give something non-human a new kind of life and movement. It makes these "objects" easier for the reader to relate to by giving them instantly recognisable human traits. Personification or Anthropomorphism? At first, it's difficult to find the difference between these two literary devices, but after seeing a few examples, it becomes clear. These methods differ despite sharing a number of fundamentally similar components. Anthropomorphism is the representation of an animal or a deity with human qualities, but not with intimate objects or forces (like love). In these instances, the animal or deity behaves like a person. Animals can talk and dress themselves. For example - the movie 'Happy Feet,' the television programme, and the novel 'Winnie-the-Pooh.' Contrarily, personification does not transform creatures such as animals, deities, inanimate things, or forces into human-like beings. It is merely a method of describing something so that the reader would comprehend it better.
135 Why Do Writers Use Personification? In the case of "I Wandered Lonely as a Cloud," Wordsworth was hoping to clarify the scenario for the reader. He correctly thought that "dancing" would help the reader visualise the scene more clearly. Not only that, but by using this term rather than one like "shivering" or "quivering," the tone and atmosphere of the text are improved. Dancing is a fantastic fit because the poetry is nostalgic and playful. It enables the poet to improve the reader's capacity for scene-imagination while also forcing them to use their imagination in a different way. It should be enjoyable to go through this. Personification can occasionally be employed in writing to provide humour. Typically, this is focused on children's literature. Personification in literature Personification can be found in every literary work that has ever been written. It encourages readers to utilise their imagination, and when done effectively, it may give a story depth and emotion. Personifying is a literary technique that can be quite effective. Consider the works of renowned author John Steinbeck. Steinbeck penned "Flight" as a short fiction. “Five-fingered ferns hung over the water and dropped spray from their fingertips.” The human trait of hands is used to personify the ferns. Actually, the water falling off of a fern is being described. By doing this, Steinbeck gave vitality to a scenario that otherwise may have been fairly dull. Let’s Speak Questions from the story: 1. Spot the lines where you can find personification in the poem. 2. Pick one stanza and explain the personification mentioned in it. 3. With the help of the Internet, find out another poem that has similar poetic device than the one in the lesson. 4. Find out that other poetic devices have been used in the poem. Literature Reading Let’s read another poem by Alfred Lord Tennyson. The Charge of the Light Brigade I Half a league, half a league, Half a league onward,
136 All in the valley of Death Rode the six hundred. “Forward, the Light Brigade! Charge for the guns!” he said. Into the valley of Death Rode the six hundred. II “Forward, the Light Brigade!” Was there a man dismayed? Not though the soldier knew Someone had blundered. Theirs not to make reply, Theirs not to reason why, Theirs but to do and die. Into the valley of Death Rode the six hundred. III Cannon to right of them, Cannon to left of them, Cannon in front of them Volleyed and thundered; Stormed at with shot and shell, Boldly they rode and well, Into the jaws of Death, Into the mouth of hell Rode the six hundred. IV Flashed all their sabres bare, Flashed as they turned in air Sabring the gunners there, Charging an army, while All the world wondered.
137 Plunged in the battery-smoke Right through the line they broke; Cossack and Russian Reeled from the sabre stroke Shattered and sundered. Then they rode back, but not Not the six hundred. V Cannon to right of them, Cannon to left of them, Cannon behind them Volleyed and thundered; Stormed at with shot and shell, While horse and hero fell. They that had fought so well Came through the jaws of Death, Back from the mouth of hell, All that was left of them, Left of six hundred. VI When can their glory fade? O the wild charge they made! All the world wondered. Honour the charge they made! Honour the Light Brigade, Noble six hundred!
138 614 THE LAST CLASS sumptuous - splendid and expensive looking Monsieur - a formal address to a French-speaking man comrades - colleagues or fellow mates solemn - dignified and formal gnawed - nibbled, eaten askew - not in a level position penetrated - gone through Saar - river flowing from Vosges mountains in France hoarse - rough or harsh sounding voice Vive La France - (in French) ‘Long live France’ chasm - a long deep pit in the earth’s surface servitude - the state of being a slave to someone powerful Get Set Go! Know the keywords and their meanings Understand and Know When one's country is at war with another, it is amazing how often great changes can occur. A shift may be social, cultural, financial, or result in extensive devastation. For instance, the employment of many women during World War II altered their social status. Read about a young boy's encounter with a lifealtering experience in his French lesson when his nation was at war. Let’s Read It was a lovely, warm day, with the blackbirds whistling on the edge of the wood, and on the Rippert fields behind the sawmill, the Prussians going through their drill. The day was setting onto the sumptuous green fields, and I was running late for my class, yet again! I just don’t understand how I repeatedly fell into that situation.
139 I couldn’t afford to be tempted by that beautiful scenario, as I had to rush for my test. Oh! The participles on one hand, and Monsieur Hamel on other, it was like I was trapped between a cliff and a chasm! He was always ready to grill me on my lack of knowledge and understanding of the French language and that day was his lucky day. I passed the Mayor’s office, glancing in as I ran and saw a few men standing and glaring at the little board on which notices were posted. For two years, all our bad news had come from that board—battles lost, conscriptions, orders from headquarters and so on. But I had no time to stop and inspect the real matter. I was late! ‘Hey! Go slow, you’ll reach on time!’ shouted Wachter, the blacksmith! He always sought the opportunity to mock me in some way or the other. Usually, at the beginning of school, there was a great uproar which could be heard on the street, like desks opening and closing, or lessons repeated aloud in unison, with our ears stuffed in order to learn quicker and the teacher's stout ruler beating on the desk. I counted on all this noise to reach my bench unnoticed but as it happened, that day everything was quiet like a Sunday morning. Through the open window, I saw my comrades already in their places, and Monsieur Hamel walking back and forth with the terrible iron ruler under his arm. I had to open the door and enter in the midst of that perfect silence. I was expecting Monsieur to be ready with his iron rod, which would fly towards my head. But he was in a totally new form. I noticed that our teacher had on his handsome blue coat, his plaited ruff, and the black embroidered breeches. He was dressed in his finest suit and tie, which he wore on days of inspection or distribution of prizes. His appearance had a solemn effect on the class. And so was the atmosphere, not just inside the class, you could feel the tension around the premises of the city itself. ‘It’s alright little Frantz, take your seat at once. We were just about to start our lessons.’ There was something extraordinary, something solemn about the whole class. What surprised me most was the last benches that mostly remained empty were filled with people from the village: the ex-mayor, the old Hauser with his funny three-cornered hat, the watchman, the ex-postman and many others. They all seemed depressed; and Hauser had brought an old spellingbook with gnawed edges which he held wide-open on his knee, with his great spectacles askew. ‘Dear children, this might seem like a minor crisis, but I recently received the news that French will no longer be part of our education and curriculum. As of now, you will only learn German as part of the mandatory language. The orders have come from Berlin to be applied to all schools of Lorraine and Alsace. And so today is my last day of teaching you. Let’s get started,’ Monsieur said in the midst of utter silence. Those words overwhelmed my soul. I felt like a sword had penetrated through my heart.
140 Now, it hit me how many hours I had simply wasted in roaming around the fields catching butterflies or paper planes, but never bothering myself to learn my mother tongue. I considered riding the Saar more valuable than my participles in French language. And poor Monsieur Hamel. He was in his finest Sunday clothes for us, for that moment, for that precious class to the students who weren’t worthy of his love. I was at that point reflecting on the times gone by when I heard my name called out. It was now my turn to recite. It felt like my heart was about to implode. My only choice now was to learn these participles, the verbs and the grammar! I fumbled on the first few words and then lost my way between the lines. I couldn’t raise my eyes towards Monsieur Hamel as he gently spoke to me in his hoarse voice. ‘I won’t scold you today little Frantz. But you must consider this as a punishment. We say to ourselves every day, ‘Who has the time to learn the language we already know how to speak? I will mind myself with it tomorrow.’ And that way tomorrow never comes, and we land ourselves at the same place you are right now. You believed chasing paper planes was a better use of time but it has turned out to be the biggest misfortune of France today as you are not alone guilty. Your parents are to be blamed too. They too preferred sending you out on the fields and factories in order to have a few more sous. And have I nothing to reproach myself for? Have I not often made you water my garden instead of studying? And when I wanted to go fishing for trout, have I ever hesitated to dismiss you? French is the most beautiful language in the world, the most substantial; we must always retain it among ourselves and never forget it because when people fall into servitude, so long as it clings to its language, it is as if it held the key to its prison.’ Monsieur’s words hit everyone in the room as he came to the end of his lesson. Suddenly, the church struck twelve. At the same moment, the bugles of the Prussians returning from drill blared under our windows. Monsieur Hamel rose, pale as death, from his chair. Never had he seemed to me so tall.Think of it! For forty years he had dedicated his life in the same place, with his yard in front of him and his class just as it was! But the benches and desks were polished and rubbed by use; the walnuts in the yard had grown, and the hopvine which he himself had planted now festooned the windows even to the roof. To have these visuals in front of you could get you carried away in emotions very easily. What a heartrending thing. No one would desire such a situation. It must have been for that poor man to leave all those things and to hear his sister walking back and forth in the room overhead, packing their trunks! For they were to go away the next day—to leave the province forever. ‘My friends,’ he said, ‘my friends, I—I—‘ But something suffocated him. He could not finish the sentence. Thereupon he turned to the blackboard, took a piece of chalk and bearing on with all his might, he wrote in the largest letters he could: ‘Vive La France’
141 Let’s Write I. Read the given extract and answer the following questions. A. What a thunderclap these words were to me! 1. What does ‘these words’ refer to? 2. How was this piece of information conveyed to everyone? 3. What effect did these words have on Franz? B ‘Hey! Go slow, you’ll reach on time!’ 1. Who said these words and to whom? 2. Why was the narrator hurrying to school? 3. How was the narrator hoping to get into the classroom? Why was he not able to do so? II. Answer the following question in 30-40 words. 1. What did Franz notice that was unusual about the school that day? 2. Explain the reason behind Monsieur Hamel’s decision of wearing his finest clothes for his last class. 3. How would you describe the author’s emotions in this story? 4. Explain the relevance of the people sitting on the last bench for Monsieur’s last class. III. Multiple Choice Questions. 1. What was the author late for? a. his class b. his game c. his concert d. his vacation 2. What penetrated the author’s heart? a. the fact that he won't be able to attend school b. the fact that French won’t be taught anymore c. Monsieur Hamel’s scolding d. Monsieur Hamel’s resignation 3. Why was Monsieur Hamel in his finest clothes? a. He was going for his Sunday church service. b. He was dressed for his last class. c. Many people from the village were visiting him.
142 d. He was going to a wedding. 4. Why was Monsieur Hamel’s class his last class? a. French was not to be taught anymore in France. b. He was going to join another school. c. He was retiring. d. He was being promoted. 5. What important thing did Hamel say about the language? a. One can forget one’s language. b. We should learn new languages. c. Language is the key to survival for a class of people. d. Language is the communication used between people. IV. True or False. 1. The author was usually late for his class. ( T / F ) 2. Monsieur Hamel was in his finest clothes for his last class. ( T / F ) 3. Wachter, the blacksmith, always encouraged the author. ( T / F ) 4. The ex-watchman was present for Monsieur Hamel’s last class. ( T / F ) 5. The author didn’t believe his class deserved Monsieur’s love. ( T / F ) Digging Deep 1. Define how the story highlights the value of French language, with examples. 2. Explain: “And poor Monsieur Hamel. He was in his finest Sunday clothes for us, for that moment, for that precious class to the students who weren’t worthy of his love.” 3. After reading the story, how can you describe Monsieur Hamel’s attachment with the class? Thinking Hat What’s the Good Word? A. How would an item look if it is called sumptuous? a. cheap b. expensive c. broad
143 B. Find an item in your house that you think can be called ‘sumptuous’. A. Who is addressed a monsieur? a. a man b. a woman c. a child B. In what language is the word ‘monsieur’ used? A. Who do you call a comrade? a. your enemy b. your friend c. yourself B. Who in your class would you want to call your ‘comrade’? A. What happens when you penetrate a pin in a balloon? a. it puffs up b. it blows c. it bursts B. Make a sentence using the word ‘penetrate’. A. How does a person with a hoarse voice sound? a. very sweet b. rough c. melodious B. Make a sentence using the antonym of the word ‘hoarse’. Let’s Learn Grammar A. Rewrite the following sentences in future tense. 1. Monsieur’s words hit everyone in the room as he came to the end of his lesson. 2. To have these visuals in front of you could get you carried away in emotions very easily. 3. I was at that point reflecting of the times gone by, when I heard my name called out. 4. Now it hit me how many hours I had simply wasted in roaming around the fields catching butterflies or paper planes, but never bothering myself to learn my mother tongue. 5. It was now my turn to recite. It felt like my heart was about to implode. B. World War II was one of the biggest events in the history. Find out how many countries were affected during this war with the use of the Internet. Write a short essay on your findings.
144 Understanding Literary Genres Speech Let’s talk about ‘speech’. Speech Writing What is writing speeches? Speech writing is a technique for expressing ideas or messages to readers while employing appropriate grammar and expression. There are few differences between speech writing and other types of narrative writing. What does the word "Speech" mean in English writing? Speech writing is a technique for expressing ideas or messages to readers while employing appropriate grammar and expression. There are a few differences between speech writing and other types of narrative writing. What are speeches and when are they used? The most popular type of public address is a speech, which is typically given by a politician or other person in authority with the intention of influencing the audience. Speeches are an example of persuasive writing. How do you start a speech in English language? The tone of your speech in English can be determined by how you start it. This term, there are several options for you to begin speeches in class. Try some of these interesting English speech openers, for instance. · Rhetorical questions: A rhetorical question is a figure of speech that has the form of a query but serves no purpose other than to convey a point. A rhetorical inquiry may have a clear answer, but the asker wants to emphasise a certain point. Students can effectively start their English speeches with rhetorical questions. With this start, you can grab the reader's attention and get them to consider how they can relate to your subject on a personal level. · Statistics: Using statistics, you can support the speaker's authority and depth of knowledge when crafting an informative or persuasive speech for an English class. To get your point through quickly and get an emotional response from the audience, try using a startling statistic or fact. · Set up an imaginary scene: Try imagining a scene that will convince them to agree with you if you want them to listen to what you have to say. Opening with an unusual situation that you desire to happen in real life can assist each audience member in picturing your speech. How to write a good speech? Want to make the world a better place? Here are some crucial pointers and methods that effective public presenters employ. Structure The structure of your speech should be your main concern. Outstanding speechwriters build their
145 speeches similarly to a narrative. The speech will serve as the guide for the audience while they travel on this adventure. Typically, speeches will adhere to a three-part framework. You need a compelling beginning, an in-depth middle, and an impacting conclusion. The Opening This demands grasping. Immediately get people's attention. Engaging audiences and persuading them to share your point of view or take action are the goals of a speech. The greatest place to begin is with an introduction that defines your purpose, poses a query, or presents a startling fact. The Middle You get into the flow of your argument in the middle. It is the main part of every speech. You should give the audience a number of justifications and arguments for supporting your position. Any concerns that might be raised during the speech itself can be addressed by a persuasive speech. In this manner, you can respond to audience queries as they arise. An additional benefit of managing objections is that it provides you a sense of authority. An audience must be able to recognise you as an authority figure before you can persuade them. You ought to look like a person people want to follow. The End You want your speech to leave a lasting impression on the audience. The conclusion of your speech is typically what people remember the most. You might summarise your main ideas, tie your entire speech together, or close with a call to action. Calls to action are effective because they motivate the audience to take action. This can be asked as a question, such "Will you help?" and is meant to elicit a positive response from the audience. The call to action for the majority of political speeches could be to support a candidate or change. Remember that the conclusion of a speech will be discussed, so make it interesting! Q.1. If you had to write a speech in the place of the main character in the story, what would you write? Q.2. How are speeches effective in today’s world? Give reasons for your answer. 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.
146 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 Allusion? In literature, an allusion is a subtle, indirect reference to a moment or idea that your reader will recognise. This allusion could be to another piece of writing, a movie, a hit song, a social movement, a historical period, or even an experience from the author's own life. Examples of Allusion: • "She opened Pandora’s box with that question." This refers to the Greek myth, “Pandora’s Box,” in which Pandora opened a box that released suffering into the world. This allusion is used to refer to any time someone opens a situation up to trouble. • “That kid is a regular Einstein.” This refers to famous scientist Albert Einstein. A statement like this would be used to imply that the kid is incredibly smart by alluding to one of the most famous scientists. • “Don’t be such a Scrooge!” It alludes to Charles Dickens 'A Christmas Story.' The character Ebenezer Scrooge hated Christmas and was miserable and spiteful all throughout the season. This kind of statement would describe someone who is not in the holiday spirit.
147 Let’s Speak Questions from the story: 1. Can you spot instances of allusion from the story? 2. Do you think adding allusion to the above story would help make it more interesting? Why or why not? 3. What literary devices can you spot in the story above? 4. Find out other stories that have used allusion in them. Literature Reading Let’s read another classic story by Ambrose Bierce. A Horseman in the Sky I One sunny afternoon in the autumn of the year 1861, a soldier lay in a clump of laurel by the side of a road in western Virginia. He lay at full length upon his stomach, his feet resting upon the toes, his head upon the left forearm. His extended right hand loosely grasped his rifle. But for the somewhat methodical disposition of his limbs and a slight rhythmic movement of the cartridge-box at the back of his belt, he might have been thought to be dead. He was asleep at his post of duty. But if detected, he would be dead shortly afterward, death being the just and legal penalty of his crime. The clump of laurel in which the criminal lay was in the angle of a road which after ascending southward a steep acclivity to that point turned sharply to the west, running along the summit for perhaps one hundred yards. There it turned southward again and went zigzagging downward through the forest. At the salient of that second angle was a large flat rock, jutting out northward, overlooking the deep valley from which the road ascended. The rock capped a high cliff; a stone dropped from its outer edge would have fallen sheer downward one thousand feet to the tops of the pines. The angle where the soldier lay was on another spur of the same cliff. Had he been awake, he would have commanded a view, not only of the short arm of the road and the jutting rock, but of the entire profile of the cliff below it. It might well have made him giddy to look. The country was wooded everywhere except at the bottom of the valley to the northward, where there was a small natural meadow, through which flowed a stream scarcely visible from the valley's rim. This open ground looked hardly larger than an ordinary door-yard, but was really several acres in extent. Its green was more vivid than that of the inclosing forest. Away beyond it rose a line of giant cliffs similar to those upon which we are supposed to stand in our survey of the savage scene, and through which the road had somehow made its climb to the summit. The configuration of the valley, indeed, was such that from this point of observation, it seemed entirely shut in, and one could but have wondered how the road which found a way out of it had found a way into it, and whence came and whither went the waters of the stream that parted the meadow more than a thousand feet below.
148 No country is so wild and difficult but men will make it a theatre of war; concealed in the forest at the bottom of that military rat-trap, in which half a hundred men in possession of the exits might have starved an army to submission, lay five regiments of Federal infantry. They had marched all the previous day and night and were resting. At night, they would take to the road again, climb to the place where their unfaithful sentinel now slept, and descending the other slope of the ridge fall upon a camp of the enemy at about midnight. Their hope was to surprise it, for the road led to the rear of it. In case of failure, their position would be perilous in the extreme; and fail they surely would should accident or vigilance apprise the enemy of the movement. II The sleeping sentinel in the clump of laurel was a young Virginian named Carter Druse. He was the son of wealthy parents, an only child, and had known such ease and cultivation and high living as wealth and taste were able to command in the mountain country of western Virginia. His home was but a few miles from where he now lay. One morning, he had risen from the breakfasttable and said, quietly but gravely: "Father, a Union regiment has arrived at Grafton. I am going to join it." The father lifted his leonine head, looked at the son a moment in silence, and replied: "Well, go, sir, and whatever may occur do what you conceive to be your duty. Virginia, to which you are a traitor, must get on without you. Should we both live to the end of the war, we will speak further of the matter. Your mother, as the physician has informed you, is in a most critical condition; at the best she cannot be with us longer than a few weeks, but that time is precious. It would be better not to disturb her." So Carter Druse, bowing reverently to his father, who returned the salute with a stately courtesy that masked a breaking heart, left the home of his childhood to go soldiering. By conscience and courage, by deeds of devotion and daring, he soon commended himself to his fellows and his officers; and it was to these qualities and to some knowledge of the country that he owed his selection for his present perilous duty at the extreme outpost. Nevertheless, fatigue had been stronger than resolution and he had fallen asleep. What good or bad angel came in a dream to rouse him from his state of crime, who shall say? Without a movement, without a sound, in the profound silence and the languor of the late afternoon, some invisible messenger of fate touched with unsealing finger the eyes of his consciousness--whispered into the ear of his spirit the mysterious awakening word which no human lips ever have spoken, no human memory ever has recalled. He quietly raised his forehead from his arm and looked between the masking stems of the laurels, instinctively closing his right hand about the stock of his rifle. His first feeling was a keen artistic delight. On a colossal pedestal, the cliff,--motionless at the extreme edge of the capping rock and sharply outlined against the sky,--was an equestrian statue of impressive dignity. The figure of the man sat the figure of the horse, straight and soldierly, but with the repose of a Grecian God carved in the marble which limits the suggestion of activity. The gray costume harmonized with its arial background; the metal of accoutrement and caparison was softened and subdued by the shadow; the animal's skin had no points of high light. A carbine strikingly foreshortened lay across the pommel of the saddle, kept in place by the right hand grasping it at the "grip"; the left hand, holding the bridle rein, was invisible. In silhouette against the sky the profile of the horse was cut with the sharpness of a cameo; it looked across the heights of air to the confronting cliffs beyond. The face of the rider, turned slightly away, showed only an outline of temple and beard; he was looking downward to the bottom of the valley. Magnified by its lift against the sky and by the soldier's testifying sense of the formidableness of a near enemy, the group appeared of heroic, almost colossal, size. For an instant, Druse had a strange, half-defined feeling that he had slept to the end of the war and was
149 looking upon a noble work of art reared upon that eminence to commemorate the deeds of an heroic past of which he had been an inglorious part. The feeling was dispelled by a slight movement of the group: the horse, without moving its feet, had drawn its body slightly backward from the verge; the man remained immobile as before. Broad awake and keenly alive to the significance of the situation, Druse now brought the butt of his rifle against his cheek by cautiously pushing the barrel forward through the bushes, cocked the piece, and glancing through the sights covered a vital spot of the horseman's breast. A touch upon the trigger and all would have been well with Carter Druse. At that instant, the horseman turned his head and looked in the direction of his concealed foeman--seemed to look into his very face, into his eyes, into his brave, compassionate heart. Is it then so terrible to kill an enemy in war--an enemy who has surprised a secret vital to the safety of one's self and comrades--an enemy more formidable for his knowledge than all his army for its numbers? Carter Druse grew pale; he shook in every limb, turned faint and saw the statuesque group before him as black figures, rising, falling, moving unsteadily in arcs of circles in a fiery sky. His hand fell away from his weapon, his head slowly dropped until his face rested on the leaves in which he lay. This courageous gentleman and hardy soldier was near swooning from intensity of emotion. It was not for long; in another moment his face was raised from earth, his hands resumed their places on the rifle, his forefinger sought the trigger; mind, heart, and eyes were clear, conscience and reason sound. He could not hope to capture that enemy; to alarm him would but send him dashing to his camp with his fatal news. The duty of the soldier was plain: the man must be shot dead from ambush-- without warning, without a moment's spiritual preparation, with never so much as an unspoken prayer, he must be sent to his account. But no--there is a hope; he may have discovered nothing--perhaps he is but admiring the sublimity of the landscape. If permitted, he may turn and ride carelessly away in the direction whence he came. Surely, it will be possible to judge at the instant of his withdrawing whether he knows. It may well be that his fixity of attention--Druse turned his head and looked through the deeps of air downward, as from the surface to the bottom of a translucent sea. He saw creeping across the green meadow a sinuous line of figures of men and horses--some foolish commander was permitting the soldiers of his escort to water their beasts in the open, in plain view from a dozen summits! Druse withdrew his eyes from the valley and fixed them again upon the group of men and horse in the sky, and again it was through the sights of his rifle. But this time, his aim was at the horse. In his memory, as if they were a divine mandate, rang the words of his father at their parting: "Whatever may occur, do what you conceive to be your duty." He was calm now. His teeth were firmly but not rigidly closed; his nerves were as tranquil as a sleeping babe's--not a tremor affected any muscle of his body; his breathing, until suspended in the act of taking aim, was regular and slow. Duty had conquered; the spirit had said to the body: "Peace, be still." He fired. III An officer of the Federal force, who in a spirit of adventure or in quest of knowledge had left the hidden bivouac in the valley, and with aimless feet had made his way to the lower edge of a small open space near the foot of the cliff was considering what he had to gain by pushing his exploration further. At a distance of a quarter-mile before him, but apparently at a stone's throw, rose from its fringe of pines the gigantic face of rock, towering to so great a height above him that it made him giddy to look up to where its edge cut a sharp, rugged line against the sky. It presented a clean, vertical profile against a background of blue sky to a point half the way down, and of distant hills, hardly less blue, thence to the tops of the trees at its base. Lifting his eyes to the dizzy altitude of its summit the officer saw an astonishing sight--a man on horseback riding down into the valley through the air!
150 Straight upright sat the rider, in military fashion, with a firm seat in the saddle, a strong clutch upon the rein to hold his charger from too impetuous a plunge. From his bare head his long hair streamed upward, waving like a plume. His hands were concealed in the cloud of the horse's lifted mane. The animal's body was as level as if every hoof-stroke encountered the resistant earth. Its motions were those of a wild gallop, but even as the officer looked they ceased, with all the legs thrown sharply forward as in the act of alighting from a leap. But this was a flight! Filled with amazement and terror by this apparition of a horseman in the sky--half believing himself the chosen scribe of some new Apocalypse, the officer was overcome by the intensity of his emotions; his legs failed him and he fell. Almost at the same instant he heard a crashing sound in the trees--a sound that died without an echo--and all was still. The officer rose to his feet, trembling. The familiar sensation of an abraded shin recalled his dazed faculties. Pulling himself together, he ran rapidly obliquely away from the cliff to a point distant from its foot; thereabout he expected to find his man; and thereabout he naturally failed. In the fleeting instant of his vision, his imagination had been so wrought upon by the apparent grace and ease and intention of the marvelous performance that it did not occur to him that the line of march of arial cavalry is directly downward, and that he could find the objects of his search at the very foot of the cliff. A half-hour later he returned to camp. This officer was a wise man; he knew better than to tell an incredible truth. He said nothing of what he had seen. But when the commander asked him if in his scout he had learned anything of advantage to the expedition he answered: "Yes, sir; there is no road leading down into this valley from the southward." The commander, knowing better, smiled. IV After firing his shot, Private Carter Druse reloaded his rifle and resumed his watch. Ten minutes had hardly passed when a Federal sergeant crept cautiously to him on hands and knees. Druse neither turned his head nor looked at him, but lay without motion or sign of recognition. "Did you fire?" the sergeant whispered. "Yes." "At what?" "A horse. It was standing on yonder rock--pretty far out. You see it is no longer there. It went over the cliff." The man's face was white, but he showed no other sign of emotion. Having answered, he turned away his eyes and said no more. The sergeant did not understand. "See here, Druse," he said, after a moment's silence, "it's no use making a mystery. I order you to report. Was there anybody on the horse?" "Yes." "Well?" "My father." The sergeant rose to his feet and walked away. "Good God!" he said.