Reporting Verbs Did You Know? Sometimes It is Not Necessary to Report Everything that is Said Word for Word. - English - Communicative

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Answer in Brief

Reporting verbs

Did you know?
Sometimes it is not necessary to report everything that is said word for word. It may be better to use “reporting verbs” which summarise what was communicated. Below are some of the most commonly used verbs of this kind.

accept advice apologise ask assure blame
complain compliment congratulate explain greet hope
introduce invite offer order persuade promise
refuse regret remind say suggest tell
sympathise thank threaten answer warn encourage

 

can you hear me? (speaker)

what did she say? (you) she asked if you could hear her? (friend)                     (ask)
you should go to the doctor now? (speaker) what did he say? (you) he advice you to go to the doctor now? (friend)         (advice)
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Solution

For self attempt

Concept: Reading
  Is there an error in this question or solution?
Chapter 7.1: Reported Speech - Exercises [Page 91]

APPEARS IN

CBSE Class 9 English Communicative - Workbook Interact in English
Chapter 7.1 Reported Speech
Exercises | Q 2 | Page 91

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Working 12 to 18 hours a day was not uncommon for scientists at the rocket launching station, Thumba. A group of such scientists was frustrated due to the work pressure and meeting their boss's demands; however, they were loyal to him. 
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This boss was none other than Dr APJ Abdul Kalam. 


Based on your reading of the story, answer the following question by choosing the correct options.

Private Quelch was nick-named ‘Professor’ because of ____


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Mrs Bramble (Para 12) "Bill we must keep it from Harold" She was not honest and open with her son; concerned mother
Mrs Bramble (Para 33)  
Percy (Para 109)  
Jerry Fisher (Para 110)  

  


Now read the story.

  1. One day last summer, I went to Pittsburgh-well, I had to go there on business.
  2. My chair-car was profitably well-filled with people of the kind one usually sees on chair-cars. Most of them were ladies in brown-silk dresses cut with square yokes, with lace insertion and dotted veils, who refused to have the windows raised. Then there was the usual number of men who looked as if they might be in almost any business and going almost anywhere. I leaned back idly in chair No. 7, and looked with tepidest curiosity at the small, black, bald-spotted head just visible above the back of No.9.
  3.  Suddenly No.9 hurled a book on the floor between his chair and the window, and, looking, I saw that it was "The Rose Lady and Trevelyan," one of the best-selling novels of the present day. And then, the critic veered his chair toward the window, and I knew him at once for John A. Pescud of Pittsburgh, travelling salesman for a plate-glass company - an old acquaintance whom I had not seen in two years.
  4. In two minutes we were faced, had shaken hands, and had finished with such topics as rain, prosperity, health, residence, and destination. Politics might have followed next; but I was not so ill-fated.
  5.  I wish you might know John A. Pescud. He is of the stuff that heroes are not often lucky enough to be made of. He is a small man with a wide smile, and an eye that seems to be fixed upon that little red spot on the end of your nose.
  6.  He believes that "our" plate-glass is the most important commodity in the world, The Cambria Steel Works, the best company and that when a man is in his home town, he ought to be decent and law-abiding.
  7.  During my acquaintance with him earlier I had never known his views on life, romance, literature and ethics. We had browsed, during our meetings, on local topics and then parted.
  8. Now I was to get more of his ideas. By way of facts, he told me that business had picked up since
    the party conventions and that he was going to get off at Coketown.
  9. "Say," said Pescud, stirring his discarded book with the hand, "did you ever read one of these
    best-sellers? I mean the kind where the hero is an American swell-sometimes even from Chicago - who falls in love with a royal princess from Europe who is travelling under an alias and follows her to her father's kingdom or principality? I guess you have. They're all alike.
  10.  ____"Well, this fellow chases the royal chair-warmer home as I said, and finds out who she is. He meets her in the evening and gives us ten pages of conversation. She reminds him of the difference in their stations and that gives him a chance to ring in three solid pages about America's uncrowned sovereigns.
  11. "Well, you know how it runs on, if you've read any of 'em-he slaps the king's Swiss bodyguards around like every thing whenever they get in his way. He's a great fencer, too.
  12. "Yes," said Pescud, "but these kind of love-stories are rank on-the-level. I know something about literature, even if I am in plate-glass.
  13. "When people in real life marry, they generally hunt up somebody in their own station. A fellow usually picks out a girl who went to the same high-school and belonged to the same singing-society that he did."
  14.  Pescud picked up the best-seller and hunted his page.
  15.  "Listen to this," said he. "Trevelyan is sitting with the Princess Alwyna at the back end of the tulip-garden. This is how it goes:
  16. "Say not so, dearest and sweetest of earth's fairest flowers. Would I aspire? You are a star set high above me in a royal heaven; I am only-myself. Yet I am a man and I have a heart to do and dare. I have no title save that of an uncrowned sovereign; but I have an arm and a sword that yet might free Schutzenfestenstein from the plots of traitors."
  17. "Think of a Chicago man packing a sword, and talking about freeing anything that sounded as much like canned sardines!"
  18. "I think I understand you, John," said I. "You want fiction- writers to be consistent with their scenes and characters. They shouldn't mix Turkish pashas with Vermont farmers, or English Dukes with Long Island clamdiggers or Cincinnati agents with the Rajahs of India." "Or plain business men with aristocracy high above 'em," added Pescud. "It doesn't jibe. I don't see why people go to work and buy hundreds of thousands of books which are best sellers. You don't see or hear of any such capers in real life."
  19. "Well John," said I, "I haven't read a best-seller in a long time. May be I've had notions about them somewhat like yours. But tell me more about yourself. Getting along all right with the company?"
  20. "Bully," said Pescud, brightening at once. "I've had my salary raised twice since I saw you, and I get a commission, too. I've bought a neat slice of real estate. Next year the firm is going to sell me some shares of stock. Oh, l'm in on the line of General Prosperity.
  21.  "Met your affinity yet, John?" I asked.
  22.  "Oh, I didn't tell you about that, did I?" said Pescud with a broader grin.
  23.  "O-ho!" I said. "So you've taken off enough time from your plate-glass to have a romance?"
  24.  "No, no," said John. "No romance-nothing like that! But I'll tell you about it,
  25.  "I was on the south-bound, going to Cincinnati, about eighteen months ago, when I saw, across the aisle, the finest looking girl I'd ever laid eyes on. Nothing spectacular, you know, but just the sort you want for keeps."
  26. She read a book and minded her business, which was, to make the world prettier and better just by residing in it. I kept on looking out of the side-doors of my eyes, and finally the proposition got out of the carriage into a case of cottage with a lawn and vines running over the porch. I never thought of speaking to her, but I let the plate glass business go to smash for a while."
  27. "She changed cars at Cincinnati and took a sleeper to Louisville. There she bought another ticket and went on through Shelbyville, Frankford, and Lexington. Along there, I began to have a hard time keeping up with her. The trains came along when they pleased, and didn't seem to be going anywhere in particular, except to keep on the track and on the right way as much as possible. Then they began to stop at junctions instead of towns, and at last they stopped altogether
  28.  "I contrived to keep out of her sight as much as I could, but I never lost track of her. The last station she got off at was away down in Virginia, about six in the evening. There were about fifty houses.
  29. "The rest was red mud, mules, and speckled hounds.
  30.  "A tall old man, with a smooth face and white hair, looking as proud as Julius Caesar was there to meet her. His clothes were frazzled but I didn't notice that till later. He took her little satchel, and they started over the plank walks and went up a road along the hill. I kept along a pace behind 'em, trying to look like I was hunting a garnet ring in the sand that my sister had lost at a picnic, the previous Saturday.
  31.  "They went in a gate on top of the hill. It nearly took my breath away when I looked up. Up there in the biggest grove, I had ever seen was a huge house with round white pillars, about a thousand feet high, and the yard was so full of rose-bushes and box-bushes and lilacs that you couldn't have seen the house if it hadn't been as big as the Capitol at Washington.
  32.  " 'Here's where I have to trail,' say I to myself. I thought before that she seemed to be in moderate circumstances, at least. This must be the Governor's mansion, or the Agricultural Building of a new World Fair, anyhow. I'd better go back to the village and get posted by the postmaster, for some information.
  33.  "In the village, I found a fine hotel called the Bay View House. The only excuse for the name was a bay horse grazing in the front yard. I set my sample-case down, and tried to be ostensible. I told the landlord, I was taking orders for plate-glass".
  34.  "By-and-by, I got him down to local gossip and answering questions.
  35.  _"'Why?', says he, 'I thought everybody knew who lived in the big white house on the hill. It's Colonel Allyn, the biggest man and finest quality in Virginia, or anywhere else. They're the oldest family in the State. That was his daughter who had got off the train. She's been up to Illinois to see her aunt, who is sick.'
  36. "I registered at the hotel, and on the third day I caught the young lady walking in the front yard, down next to the paling fence. I stopped and raised my hat - there wasn't any other way.
  37. 'Excuse me,' says I, 'can you tell me where Mr. Hinkle lives?'
  38.  "She looks at me as cool as if I was the man come to see about the weeding of the garden, but I thought I saw just a slight twinkle of fun in her eyes.
  39. 'No one of that name lives in Birchton,' says she. 'That is,' she goes on, 'as far as I know'.
  40. "Well, that tickled me. 'No kidding,' says I. 'I'm not looking for smoke, even if I do come from Pittsburgh.'
  41.  'You are quite a distance from home,' says she.
  42.  'I'd have gone a thousand miles farther,' says I.
  43.  'Not if you hadn't woken up when the train started in Shelbyville,' says she; and then she turned almost as red as one of the roses on the bushes in the yard. I remembered I had dropped off to sleep on a bench in the Shelbyville station, waiting to see which train she took, and only just managed to wake up in time.
  44.  "And then I told her why I had come, as respectful and earnest as I could. And I told her everything about myself, and what I was making, and how that all I asked was just to get acquainted with her and try to get her to like me.
  45.  "She smiles a little, and blushes some, but her eyes never get mixed up. They look straight at whom so ever she's talking to.
  46.  'I never had any one talk like this to me before, Mr. Pescud,' says she. 'What did you say your name is-John?'
  47. 'John A.,' says I.
  48.  " 'And you came mighty near missing the train at Powhatan Junction, too,' says she, with a laugh that sounded as good as a mileage-book to me."
  49. " 'How did you know?' I asked.
  50. " 'Men are very clumsy,' said she. 'I know you were on every train. I thought you were going to speak to me, and I'm glad you didn't.
  51.  "Then we had more talk; and at last a kind of proud, serious look came on her face, and she turned and pointed a finger at the big house. 
  52.  'The Allyns,' says she, 'have lived in Elmcroft for a hundred years. We are a proud family. Look at that mansion. It has fifty rooms. See the pillars and porches and balconies. The ceilings in the reception-rooms and the ball-room are twenty-eight feet high. My father is lineal descendant of the Belted Earls.'
  53. " 'Of course,' she goes on, 'my father wouldn't allow a drummer to set his foot in Elmcroft. If he knew that I was talking to one over the fence, he would lock me in my room.'
  54.  " 'Would you let me come there?' says I. 'Would you talk to me if I was to call? For,' I goes on, 'if you said yes,I might come and see you?'
  55.  " 'I must not talk to you,' she says, 'because we have not been introduced. It is not exactly proper. So I will say good-bye, Mr.--'
  56. 'Say the name,' says I. 'You haven't forgotten it.'"
  57.  'Pescud,' says she, a little mad.
  58.  'The rest of the name!' I demands, as cool as I could be."
  59.  'John,' says she.
  60.  'John-what?' I says.
  61.  'John A.,' says she, with her head high. 'Are you through, now?'
  62.  'I'm coming to see the belted earl tomorrow,' I says.
  63.  'He'll feed you to his fox-hounds,' says she, laughing.
  64.  'If he does, it'll improve their running,' says I. 'I'm something of a hunter myself.'"
  65.  'I must be going in now,' says she. 'I oughtn't to have spoken to you at all. I hope
    you'll have a pleasant trip back to Minneapolis-or Pittsburgh, was it? Good-bye!'
  66.  " 'Good-night,' says I, 'and it wasn't Minneapolis. What's your name, first, please?'
  67.  "She hesitated. Then she pulled a leaf off a bush, and said:
  68.  " 'My name is Jessie,' says she.
  69.  " 'Good-night, Miss Allyn', says I.
  70.  "The next morning at eleven, sharp, I rang the doorbell of that World Fair main building. After about three quarters of an hour, an old man of about eighty showed up and asked what I wanted. I gave him my business card, and said I wanted to see the Colonel. He showed me in.
  71.  "Say, did you ever crack open a wormy English walnut? That's what that house was like. There wasn't enough furniture in it to fill an eight-dollar flat. Some old horsehair lounges and three-legged chairs and some framed ancestors on the walls were all that met the eye. But when Colonel Allyn comes in, the place seemed to light up. You could almost hear a band playing, and see a bunch of oldtimers in wigs and white stockings dancing a quadrille. It was the style of him, although he had on the same shabby clothes I saw him wear at the station. For about nine seconds he had me rattled, and I came mighty near getting cold feet and trying to sell him some plate-glass. But I got my nerve back pretty quick. He asked me to sit down, and I told him everything. I told him how I had followed his daughter from Cincinnati, and what I did it for, and all about my salary and prospects, and explained to him my little code of living - to be always decent and
    right in your home town. At first, I thought he was going to throw me out of the window, but I kept on talking.
  72.  "Well, that got him laughing, and I'll bet that was the first laugh those ancestors and horsehair sofa had heard in many a day.
  73.  "We talked two hours. I told him everything I knew; and then he began to ask questions and I told him the rest. All I asked of was to give me a chance. If I couldn't make a hit with the little lady, I'd clear out, and not bother them any more. At last he says:
  74.   'There was a Sir Courtenay Pescud in the time of Charles I, if I remember rightly.'
  75.   'If there was,' says I 'he can't claim kin with our bunch. We've always lived in and around Pittsburgh. I've got an uncle in the real-estate business, and one in trouble somewhere out in Kansas. You can inquire about any of the rest of us from anybody in the old Smoky Town, and get satisfactory replies. Did you ever run across that story about the captain of the whaler, who tried to make a sailor say his prayers?' says I.
  76.  'It occurs to me that I have never been so fortunate,' says the Colonel.
  77. "So I told it to him. Laugh! I was wishing to myself that he was a customer. What a bill of glass, I'd sell him! And then he says:
  78.   'The relating of anecdotes and humorous occurrences has always seemed to me, Mr. Pescud, to be a particularly agreeable way of promoting and perpetuating amenities between friends. With your permission, I will relate to you a fox-hunting story with which I was personally connected, and which may furnish you some amusement
  79.  "Two evenings later, I got a chance to speak a word with Miss Jessie alone on the porch while the Colonel was thinking up another story.
     " 'It's going to be a fine evening,' says I.
  80.  'He's coming,' says she. 'He's going to tell you, this time, the story about the old African and the green watermelons. It always comes after the one about the Yankees and the game rooster. There was another time; she goes on, 'that you nearly got left- it was at Pulaski City.'
  81.  " 'Yes,' says I, 'I remember. My foot slipped as I was jumping on the step, and I nearly tumbled off.'
  82.  " 'I know,' says she. 'And - and I- I was afraid you had, John A. I was afraid you had. '
  83.  "And then she skips into the house through one of the big windows."
  84.  "Coketown!" droned the porter, making his way through the slowing car.
  85.  Pescud gathered his hat and baggage with the leisurely promptness of an old traveller.
  86.  "I married her a year ago," said John, "I told you I built a house in the East End. The belted- I mean the Colonel-is there, too. I find him waiting at the gate whenever I get back from a trip to hear any new story, I might have picked up on the road,"
  87.  I glanced out of the window. Coketown was nothing more than a ragged hillside dotted with a score of black dismal huts propped up against dreary mounts of slag and clinkers. It rained in slanting torrents, too and the rills foamed and splashed down through the black mud to the railroad- tracks.
  88. "You won't sell much plate-glass here, John," said I. "Why do you get off at this end-o'-the-world?"
  89.  "Why?," said Pescud, "the other day I took Jessie for a little trip to Philadelphia, and coming back she thought she saw some petunias in a pot in one of those windows over there just like some she used to raise down in the old Virginia home. So I thought, I'd drop off here for the night, and see if I could dig up some of the cuttings or blossoms for her. Here we are. Good-night, old man. I gave you the address. Come out and see us when you have time."
  90. The train moved forward. One of the dotted brown ladies insisted on having windows raised, now that the rain had started beating against them. The porter came along with his mysterious wand and began to light the car.
  91.  I glanced downward and saw the best-seller. I picked it up and set it carefully farther along on the floor of the car, where the raindrops would not fall upon it. And then, suddenly, I smiled, and seemed to see that life has no geographical bounds
  92. "Good-luck to you, Trevelyan," I said. "And may you get the petunias for your
    princess!"
    About the Author
    O. Henry is the pseudonym of William Sydney Porter (1862-1910),an American writer
    of short stories, best known for his ironic plot twists and surprise endings. Born and
    raised in Greensboro, North Carolina, O. Henry was fascinated by New York street
    life, which provided a setting for many of his later stories. During the last ten years of
    his life, O. Henry became one of the most popular writers in America publishing over
    500 short stories in dozens of widely read periodicals. His style of storytelling became
    a model not only for short fiction, but also for American motion pictures and television
    programmes. Writing at the rate of more than one story per week, O. Henry published
    ten collections of stories during a career that barely spanned a decade. In 1919, the
    O. Henry Memorial Awards were founded by the Society of Arts and Science for the
    best American short stories published each year.

Read the song once again.

 I am dotted silver threads dropped from heaven
By the gods. Nature then takes me, to adorn
Her fields and valleys.

 I am beautiful pearls, plucked from the
Crown of Ishtar by the daughter of Dawn
To embellish the gardens.


When I cry the hills laugh;
When I humble myself the flowers rejoice;
When I bow, all things are elated.


 The field and the cloud are lovers
And between them I am a messenger of mercy.
I quench the thirst of the one;
I cure the ailment of the other.


 The voice of thunder declares my arrival;
The rainbow announces my departure.
I am like earthly life which begins at
The feet of the mad elements and ends
Under the upraised wings of death.


 I emerge from the heart of the sea and
Soar with the breeze. When I see a field in
Need, I descend and embrace the flowers and
The trees in a million little ways.


I touch gently at the windows with my
Soft fingers, and my announcement is a
 Welcome song. All can hear, but only
The sensitive can understand.

 

I am the sigh of the sea;
The laughter of the field;
The tears of heaven.


 So with love -
Sighs from the deep sea of affection; Laughter from the colourful
field of the spirit; Tears from the endless heaven of memories.

About the Poet
Kahlil Gibran (1883-1931) was a Lebanese-American artist, poet and writer. His
poetry is notable for its use of formal language as well as insights on topics of life using
spiritual terms. One of his most notable lines of poetry in the English-speaking world is
from Sand and Foam (1926) which reads 'Half of what I say is meaningless, but I say
it so that the other half may reach you.'


 Now, read the play.
List of Characters.

Julliette - The owner of the villa
Maid - Juliette’s maid
Gaston - A shrewd businessman
Jeanne - His young wife
Mrs Al Smith - A rich American lady

Maid: Won't Madame be sorry?
Juliette: Not at all. Mind you, if someone had bought it on the very day I placed it for sale, then I might have felt sorry because I would have wondered if I hadn't been a fool to sell at all. But the sign has been hanging on the gate for over a month now and I am beginning to be afraid that the day I bought it, was when I was the real fool.
Maid: All the same, Madame, when they brought you the 'For Sale' sign, you wouldn't let them put it up. You waited until it was night. Then you went and hung it yourself, Madame.
Juliette: I know! You see, I thought that as they could not read it in the dark, the house would belong to me for one more night. I was so sure that the next day the entire world would be fighting to purchase it. For the first week, I was annoyed every time I passed that 'Villa for Sale' sign. The neighbours seemed to look at me in such a strange kind of way that I began to think the whole thing was going to be much more of a sell than a sale. That was a month ago and now, I have only one thought, that is to get the wretched place off my hands. I would sacrifice it at any price. One hundred thousand francs if necessary and that's only twice what it cost me. I thought, I would get two hundred thousand but I suppose I must cut my loss. Besides, in the past two weeks, four people almost bought it, so I have begun to feel as though it no longer belongs to me. Oh! I'm fed up with the place, because nobody really wants it! What time did those agency people say the lady would call?
Maid: Between four and five, Madame.
Juliette: Then we must wait for her.
Maid: It was a nice little place for you to spend the weekends, Madame.
Juliette: Yes . . . but times are hard and business is as bad as it can be.
Maid: In that case, Madame, is it a good time to sell?
Juliette: No, perhaps not. But still. . . there are moments in life when it's the right time to buy, but it's never the right time to sell. For fifteen years everybody has had money at the same time and nobody wanted to sell. Now nobody has any money and nobody wants to buy. But still. .. even so ... it would be funny if I couldn't manage to sell a place here, a stone's throw from Joinville, the French Hollywood, when all I'm asking is a paltry hundred thousand!

Maid: That reminds me, there is a favour I want to ask you, Madame.
Juliette: Yes, what is it my girl?
Maid: Will you be kind enough to let me off between nine and noon tomorrow morning?
Juliette: From nine till noon?
Maid: They have asked me to play in a film at the Joinville Studio.
Juliette: You are going to act for the cinema?
Maid: Yes, Madame.
Juliette: What kind of part are you going to play?
Maid: A maid, Madame. They prefer the real article. They say maids are born; maids not made maids. They are giving me a hundred francs a morning for doing it.
Juliette: One hundred francs!
Maid: Yes, Madame. And as you only pay me four hundred a month, I can't very well refuse, can I, Madame?
Juliette: A hundred francs! It's unbelievable!
Maid: Will you permit me, Madame, to tell you something I've suddenly thought of?
Juliette: What?
Maid: They want a cook in the film as well. They asked me if I knew of anybody suitable. You said just now, Madame, that times were hard. ... Would you like me to get you the engagement?
Juliette: What?
Maid: Every little helps, Madame. Especially, Madame, as you have such a funny face.
Juliette: Thank you.
Maid (taking no notice). They might take you on for eight days, Madame. That would mean
eight hundred francs. It's really money for nothing. You would only have to peel
potatoes one minute and make an omlette the next, quite easy. I could show you
how to do it, Madame.
Juliette: But how kind of you. ... Thank God I'm not quite so hard up as that yet!
Maid: Oh, Madame, I hope you are not angry with me ?
Juliette: Not in the least.
Maid: You see, Madame, film acting is rather looked up to round here. Everybody wants to do it. Yesterday the butcher didn't open his shop, he was being shot all the morning. Today, nobody could find the four policemen, they were taking part in Monsieur Milton's fight scene in his new film. Nobody thinks about anything else round here now. You see, they pay so well. The manager is offering a thousand francs for a real beggar who has had nothing to eat for two days. Some people have all the luck! Think it over, Madame.
Juliette: Thanks, I will.
Maid: If you would go and see them with your hair slicked back the way you do when you are dressing, Madame, I am sure they would engage you right away. Because really, Madame, you look too comical!
Juliette: Thank you! (The bell rings.) I am going upstairs for a moment. If that is the lady, tell
her I will not be long. It won't do to give her the impression that I am waiting for her.
Maid: Very good, Madame. (Exit JULIETTE, as she runs off to open the front door.) Oh, if I could become a Greta Garbo! Why can't I? Oh! (Voices heard off, a second later, the MAID returns showing in GASTON and JEANNE.)
Maid: If you will be kind enough to sit down, I will tell Madame you are here.
Jeanne: Thank you.
(Exit MAID)
Gaston: And they call that a garden! Why, it's a yard with a patch of grass in the middle!
Jeanne: But the inside of the house seems very nice, Gaston.
Gaston: Twenty-five yards of Cretonne and a dash of paint… you can get that anywhere.
Jeanne: That's not fair. Wait until you've seen the rest of it.
Gaston: Why should I? I don't want to see the kitchen to know that the garden is a myth and that the salon is impossible.
Jeanne: What's the matter with it?
Gaston: Matter? Why, you can't even call it a salon.
Jeanne: Perhaps there is another.
Gaston: Never mind the other. I'm talking about this one.
Jeanne: We could do something very original with it.
Gaston: Yes, make it an annex to the garden.
Jeanne: No, but a kind of study.
Gaston: A study? Good Lord! You're not thinking of going in for studying are you?
Jeanne: Don't be silly! You know perfectly well what a modern study is.  Gaston: No, I don't.
Jeanne: Well . .. er.. . it's a place where . .. where one gathers . ..
Gaston: Where one gathers what?
Jeanne: Don't be aggravating, please! If you don't want the house, tell me so at once and we'll say no more about it.
Gaston: I told you before we crossed the road that I didn't want it. As soon as you see a sign 'Villa for Sale', you have to go inside and be shown over it.
Jeanne: But we are buying a villa, aren't we?
Gaston: We are not!
Jeanne: What do you mean, 'We are not'? Then we're not looking for a villa?
Gaston: Certainly not. It's just an idea you've had stuck in your head for the past month.
Jeanne: But we've talked about nothing else....
Gaston: You mean, you've talked about nothing else. I've never talked about it. You see, you've talked about it so much, that you thought that we are talking. . .. You haven't even noticed that I've never joined in the conversation. If you say that you are looking for a villa, then that's different!
Jeanne: Well... at any rate . . . whether I'm looking for it or we're looking for it, the one thingthat matters anyway is that I'm looking for it for us!
Gaston: It's not for us . . . it's for your parents. You are simply trying to make me buy a villa so that you can put your father and your mother in it. You see, I know you. If you got what you want, do you realize what would happen? We would spend the month of August in the villa, but your parents would take possession of it every year from the beginning of April until the end of September. What's more, they would bring the whole tribe of your sister's children with them. No! I am very fond of your family, but not quite so fond as that.
Jeanne: Then why have you been looking over villas for the past week?
Gaston: I have not been looking over them, you have, and it bores me.
Jeanne: Well...
Gaston: Well what?
Jeanne: Then stop being bored and buy one. That will finish it. We won't talk about it any
more.
Gaston: Exactly!
Jeanne: As far as that goes, what of it? Suppose I do want to buy a villa for papa and mamma? What of it? 

Gaston: My darling. I quite admit that you want to buy a villa for your father and mother. But
please admit on your side that I don't want to pay for it.
Jeanne: There's my dowry.
Gaston: Your dowry! My poor child, we have spent that long ago.
Jeanne: But since then you have made a fortune.
Gaston: Quite so. I have, but you haven't. Anyway, there's no use discussing it. I will not buy a villa and that ends it.
Jeanne: Then it wasn't worth while coming in.
Gaston: That's exactly what I told you at the door.
Jeanne: In that case, let's go.
Gaston: By all means.
Jeanne: What on earth will the lady think of us.
Gaston: I have never cared much about anybody's opinion. Come along. (He takes his hat and goes towards the door. At this moment JULIETTE enters.)
Juliette: Good afternoon, Madame... Monsieur....
Jeanne: How do you do, Madame?
Gaston: Good day.
Juliette: Won't you sit down? (All three of them sit.) Is your first impression a good one?
Jeanne: Excellent.
Juliette: I am not in the least surprised. It is the most delightful little place. Its appearance is modest, but it has a charm of its own. I can tell by just looking at you that it would suit you admirably, as you suit it, if you will permit me to say so. Coming from me, it may surprise you to hear that you already appear to be at home. The choice of a frame is not so easy when you have such a delightful pastel to place in it. (She naturally indicates JEANNE who is flattered.) The house possesses a great many advantages. Electricity, gas, water, telephone, and drainage. The bathroom is beautifully fitted and the roof was entirely repaired last year.
Jeanne: Oh, that is very important, isn't it, darling?
Gaston: For whom?
Juliette: The garden is not very large . . . it's not long and it's not wide, but…
Gaston: But my word, it is high!

Juliette: That's not exactly what I meant. Your husband is very witty, Madame. As I was saying, the garden is not very large, but you see, it is surrounded by other gardens. . . .
Gaston: On the principle of people who like children and haven't any, can always go and live near a school.
Jeanne: Please don't joke, Gaston. What this lady says is perfectly right. Will you tell me, Madame, what price you are asking for the villa?
Juliette: Well, you see, I must admit, quite frankly, that I don't want to sell it any more.
Gaston : (rising) Then there's nothing further to be said about it.
Juliette: Please, I...
Jeanne: Let Madame finish, my dear.
Juliette: Thank you. I was going to say that for exceptional people like you, I don't mind giving it up. One arranges a house in accordance with one's own tastes - if you understand what I mean - to suit oneself, as it were - so one would not like to think that ordinary people had come to live in it. But to you, I can see with perfect assurance, I agree. Yes, I will sell it to you.
Jeanne: It's extremely kind of you.
Gaston: Extremely. Yes ... but ...er… what's the price, Madame?
Juliette: You will never believe it...
Gaston: I believe in God and so you see ...
Juliette: Entirely furnished with all the fixtures, just as it is, with the exception of that one
little picture signed by Carot. I don't know if you have ever heard of that painter,
have you ?
Gaston: No, never.
Juliette: Neither have I. But I like the colour and I want to keep it, if you don't mind. For the villa itself, just as it stands, two hundred and fifty thousand francs. I repeat, that I would much rather dispose of it at less than its value to people like yourselves, than to give it up, even for more money, to someone whom I didn't like. The price must seem...
Gaston: Decidedly excessive....
Juliette: Oh, no!
Gaston: Oh, yes, Madame.
Juliette: Well, really, I must say I'm.. Quite so, life is full of surprises, isn't it?
Juliette: You think it dear at two hundred and fifty thousand? Very well, I can't be fairer than this, Make me an offer.
Gaston: If I did, it would be much less than that.
Juliette: Make it anyway.
Gaston: It's very awkward ... I... Jeanne. Name some figures, darling .., just to please me.
Gaston: Well I hardly know ... sixty thousand....
Jeanne: Oh!
Juliette: Oh!
Gaston: What do you mean by 'Oh!'? It isn't worth more than that to me.
Juliette: I give you my word of honour, Monsieur, I cannot let it go for less than two hundred thousand.
Gaston: You have perfect right to do as you please, Madame.
Juliette: I tell you what I will do. I will be philanthropic and let you have it for two hundred thousand.
Gaston: And I will be equally good-natured and let you keep it for the same price.
Juliette: In that case, there is nothing more to be said, Monsieur.
Gaston: Good day, Madame.
Jeanne: One minute, darling. Before you definitely decide, I would love you to go over the upper floor with me.
Juliette: I will show it to you with the greatest pleasure. This way, Madame. This way, Monsieur. . .
Gaston: No, thank you . . . really... I have made up my mind and I'm not very fond of
climbing stairs.
Juliette: Just as you wish, Monsieur. (To JEANNE.) Shall I lead the way?
Jeanne: If you please, Madame.
(Exit JULIETTE)
Jeanne (to her husband): You're not over-polite, are you? 

Gaston: Oh, my darling! For Heaven's sake, stop worrying me about this shanty. Go and
examine the bathroom and come back quickly.
(Exit JEANNE following JULIETTE)
Gaston (to himself): Two hundred thousand for a few yards of land . . . She must be thinking I'm crazy. . . . (The door bell rings and, a moment later, the MAID re-enters showing in Mrs Al Smith)
Maid: If Madame would be kind enough to come in. Mrs Al Smith: See here, now I tell you I'm in a hurry. How much do they want for this house?
Maid: I don't know anything about it, Madame. Mrs Al Smith: To start off with, why isn't the price marked on the signboard? You French people have a cute way of doing business! You go and tell your boss that if he doesn't come right away, I'm going. I haven't any time to waste. Any hold up makes me sick when I want something. (MAID goes out.) Oh, you're the husband, I suppose. Good afternoon. Do you speak American?
Gaston: Sure . . . You betcha. Mrs Al Smith: That goes by me. How much for this house?
Gaston: How much?... Well... Won't you sit down? Mrs Al Smith: I do things standing up.
Gaston: Oh! Do you? Mrs Al Smith: Yes! Where's your wife?
Gaston: My wife? Oh, she's upstairs. Mrs Al Smith: Well, she can stay there. Unless you have to consult her before you make a sale?
Gaston: Me? Not on your life! Mrs Al Smith: You are an exception. Frenchmen usually have to consult about ten people before they get a move on. Listen! Do you or don't you want to sell
this house?
Gaston: I? ... Oh, I'd love to! Mrs Al Smith: Then what about it? I haven't more than five minutes to spare.

Gaston: Sit down for three of them anyway. To begin with, this villa was built by my
grandfather...
Mrs Al Smith: I don't care a darn about your grandfather!
Gaston: Neither do I. ... But I must tell you that... er...

Mrs Al Smith: Listen, just tell me the price.
Gaston: Let me explain that... Mrs Al Smith: No!
Gaston: We have electricity, gas, telephone...
Mrs Al Smith: I don't care! What's the price?
Gaston: But you must go over the house...
Mrs Al Smith: No!... I want to knock it down and build a bungalow here.
Gaston: Oh, I see!
Mrs Al Smith: Yep! It's the land I want. I have to be near Paramount where I'm going to shoot some films.
Gaston: Oh!
Mrs Al Smith: Yep. You see I'm a big star.
Gaston: Not really?
Mrs Al Smith: (amiably): Yes! How do you do? Well now, how much?
Gaston: Now let's see. ... In that case, entirely furnished, with the exception of that little picture by an unknown artist ... it belonged to my grandfather and I want to keep it. ...
Mrs Al Smith: Say! You do love your grandparents in Europe!
Gaston: We have had them for such a long time!
Mrs Al Smith: You folk are queer. You think about the past all the time. We always think about the future.
Gaston: Everybody thinks about what he's got.
Mrs Al Smith: What a pity you don't try and copy us more.
Gaston: Copies are not always good. We could only imitate you and imitations are no better than parodies. We are so different. Think of it.... Europeans go to America to earn money and Americans come to Europe to spend it.

Mrs Al Smith: Just the same, you ought to learn how to do business
Gaston: We are learning now. We are practising...
Mrs Al Smith: Well then, how much?
Gaston: The house! Let me see. ... I should say three hundred thousand francs. . . . The same for everybody, you know. Even though you are an American, I wouldn't dream of raising the price.
Mrs Al Smith: Treat me the same as anybody. Then you say it is three hundred thousand?
Gaston (to himself): Since you are dear bought - I will love you dear.
Mrs Al Smith: Say you, what do you take me for?
Gaston: Sorry. That's Shakespeare. ... I mean cash. . ,
Mrs Al Smith: Now I get you . . . cash down! Say! You're coming on. (She takes her cheque book from her bag.)
Gaston (fumbling in a drawer): Wait... I never know where they put my pen and ink...
Mrs Al Smith: Let me tell you something, you'd better buy yourself a fountain pen with the money you get for the villa. What date is it today?
Gaston: The twenty- fourth.
Mrs Al Smith: You can fill in your name on the cheque yourself. I live at the Ritz Hotel., Place Vendome. My lawyer is...
Gaston: Who ...?
Mrs Al Smith: Exactly!
Gaston: What?
Mrs Al Smith: My lawyer is Mr. Who, 5, Rue Cambon. He will get in touch
with yours about the rest of the transaction. Good-bye.
Gaston: Good-bye.
Mrs. Al Smith: When are you leaving?
Gaston: Well...er ... I don't quite know . . . whenever you like.
Mrs. Al Smith: Make it tomorrow and my architect can come on Thursday. Good-bye. I'm
delighted.

Gaston: Delighted to hear it, Madame. (She goes and he looks at the cheque.) It's a very good thing in business when everyone is delighted! (At that moment, JEANNE and JULIETTE return)
Gaston: Well?
Jeanne: Well... of course ...it's very charming. ...
Juliette: Of course, as I told you, it's not a large place. I warned you. There are two large bedrooms and one small one.
Gaston: Well now! That's something.
Jeanne : (to her husband). You are quite right, darling. I'm afraid it would not be suitable. Thank you, Madame, we need not keep you any longer.
Juliette: Oh, that's quite alright.
Gaston: Just a moment, just a moment, my dear. You say there are two large bedrooms and a small one....
Juliette: Yes, and two servants' rooms.
Gaston: Oh! There are two servants' rooms in addition, are there?
Juliette: Yes.
Gaston: But that's excellent!
Juliette: Gaston, stop joking!
Gaston: And the bathroom? What's that like?
Juliette: Perfect! There's a bath in it. ...
Gaston: Oh, there's a bath in the bathroom, is there?
Juliette: Of course there is!
Gaston: It's all very important. A bathroom with a bath in it. Bedrooms, two large and one small, two servants' rooms and a garden. It's really possible. While you were upstairs, I have been thinking a lot about your papa and mamma. You see, I am really unselfish, and then the rooms for your sister's children. . . . Also, my dear, I've been thinking . . . and this is serious... about our old age. . . . It's bound to come sooner or later and the natural desire of old age is a quiet country life. . . . (To JULIETTE:) You said two hundred thousand, didn't you?
Jeanne: What on earth are you driving at?
Gaston: Just trying to please you, darling.
Juliette: Yes, two hundred thousand is my lowest. Cash, of course.

Gaston: Well, that's fixed. I won't argue about it. (He takes out his cheque book.)
Juliette: But there are so many things to be discussed before…
Gaston: Not at all. Only one thing. As I am not arguing about the price, as I'm not bargaining with you . . . well, you must be nice to me, you must allow me to keep this little picture which has kept me company while you and my wife went upstairs.
Juliette: It's not a question of value...
Gaston: Certainly not . . . just as a souvenir...
Juliette: Very well, you may keep it.
Gaston: Thank you, Madame. Will you give me a receipt, please? Our lawyers will draw up the details of the sale. Please fill in your name. . . . Let us see, it's the twenty-third, isn't it?
Juliette: No, the twenty-fourth. . . .
Gaston: What does it matter? One day more or less. (She signs the receipt and exchanges it for his cheque.) Splendid!
Juliette: Thank you, Monsieur.
Gaston: Here is my card. Good-bye, Madame. Oh, by the way, you will be kind enough to leave tomorrow morning, won't you.
Juliette: Tomorrow! So soon?
Gaston: Well, say tomorrow evening at the latest.
Juliette: Yes, I can manage that. Good-bye Madame.
Jeanne: Good day, Madame.
Gaston: I'll take my little picture with me, if you don't mind? (He unhooks it.) Just a beautiful souvenir, you know. .
Juliette: Very well. I'll show you the garden, on the way out.
(Exit JULIETTE)
Jeanne: What on earth have you done?
Gaston: I? I made a hundred thousand francs and a Carot!
Jeanne: But how?
Gaston: I'll tell you later.
CURTAIN

About the Author
Sacha Guitry (1885-1957) son of a French actor, was born in St. Petersburg (Later
Leningrad) which accounts for his Russian first name. Given his father's profession,
he became a writer of plays and films. Some of his own experiences with people
engaged in film production may be reflected in Villa for Sale.
Guitry was clever, irrepressible and a constant source of amusement. He claimed that
he staged a 'one-man revolt' against the dismal French theatre of his time. He was
equally successful on screen and stage. Besides being a talented author and actor, he
earned recognition as a highly competent producer and director.


Both, all, neither, none


Read the following story
There lived a wise old man in Purkul, Dehradun. The villagers looked up to him and approached him for all their problems. Three naughty boys Amar, Naveen and Praveen wanted to test the old man's wisdom.  One fine morning they caught a butterfly while playing in the garden. Amar had the
butterfly in his hand. He said, "We will go to the old man and ask him ifthe butterfly is dead or alive. If the old man says, 'the butterfly is dead', I will open my hands and release the butterfly. It will fly away." "If he says it is alive?" asked N aveen looking at Amar with a smirk. "I will crush the butterfly and show him the dead insect," said Amar. The three of them set forth with their wonderful plan.
Amar went to the old man and said, "Sir, the villagers say you can predict the future. Now tell us if the butterfly in my hand is dead or alive?" The old man looked at the three boys with a serene smile and said, "It is in your hands."


Read these sentences from the story.
1. We will go to the old man.
2. Iwillopenmyhands.
3. It will flyaway.
4. I will crush the butterfly.

The modal will is used to talk about a temporary event in progress at some
point in future.
Will is used to denote _________ time.
Did you know?
There are different constructions in English which can be used to refer to
future time.

1. Use of the simple present tense.
a. The IPL begins on 20th April.
b. If the newly introduced vaccine works, AIDS can be cured.
2. Use of shall/will
Will/shall is used to make a prediction about future events, in
advertisements, posters etc.
e.g. a. You will win the 1st prize.
b. The Nano car will be on the roads soon.
c. You shall lead a happy life.
3. Use of going to
Going to is normally used to refer to future events in two cases
(a) If there is a present indication of the future event.
e.g. India is going to emerge as a Super Power in 2020.
(b) to express intention
e.g. Smitha is going to marry Akshay.
4. Use of present continuous tense (be+ verb+ ing)
Present continuous tense is used to refer to future events that have been
already planned.
e.g. a. I'm meeting the Project Manger this evening.
b. I'm sorry I can't meet you tomorrow. I'm visiting my friend.
5. Use of be + about to + infinitive.
e.g. The train is about to leave.
6. Useofbe+to+v
e.g. Obama is to visit India in October.


This is a meeting of the school's Parent-Teacher Association. Some student representatives have also been invited to participate to discuss the role that Information Technology I Computers play in the growth and development of children. 


Six humans trapped by happenstance
In black and bitter cold.
Each one possessed a stick of wood,
Or so the story's told.
Their dying fire in need of logs;
The first man held his back.
For on the faces around the fire,
He noticed one was black.

Read the lines given above and answer the question that follow:

What does happenstance mean?


"My father lived at Blenheim then,
Yon little stream hard by;
They burnt his dwelling to the ground,
And he was forced to fly;
So with his wife and child he fled,
Nor had he where to rest his head.
"With fire and sword the country round
Was wasted far and wide,
And many a childing mother then,
And new-born baby died;
But things like that, you know, must be
At every famous victory;

Read the lines given above and answer the question that follow.

What does Kasper’s attitude signify?


A free bird leaps on the back
Of the wind and floats downstream
Till the current ends and dips his wing
In the orange suns rays
And dares to claim the sky.

Read the above lines and answer the question that follow.

What does the caged bird’s singing reveal about him?


To us the ashes of our ancestors are sacred and their resting place is hallowed ground. You wander far from the graves of your ancestors and seemingly without regret. Your religion was written upon tablets of stone by the iron finger of your God so that you could not forget. The Red Man could never comprehend or remember it. Our religion is the traditions of our ancestors — the dreams of our old men, given them in solemn hours of the night by the Great Spirit; and the visions of our sachems, and is written in the hearts of our people.

Your dead cease to love you and the land of their nativity as soon as they pass the portals of the tomb and wander away beyond the stars. They are soon forgotten and never return. Our dead never forget this beautiful world that gave them being. They still love its verdant valleys, its murmuring rivers, its magnificent mountains, sequestered vales and verdant lined lakes and bays, and ever yearn in tender fond affection over the lonely hearted living, and often return from the happy hunting ground to visit, guide, console, and comfort them.

Day and night cannot dwell together. The Red Man has ever fled the approach of the White Man, as the morning mist flees before the morning sun. However, your proposition seems fair and I think that my people will accept it and will retire to the reservation you offer them. Then we will dwell apart in peace, for the words of the Great White Chief seem to be the words of nature speaking to my people out of dense darkness.

Read the extract given below and answer the question that follow.

What is the religion of the Tribal men? How is it different?


He looked at me very blankly and tiredly, and then said, having to share his worry with someone, “The cat will be all right, I am sure. There is no need to be unquiet about the cat. But the others. Now what do you think about the others?”
“Why they’ll probably come through it all right.”
“You think so?”
“Why not,” I said, watching the far bank where now there were no carts.
“But what will they do under the artillery when I was told to leave because of the artillery?”
“Did you leave the dove cage unlocked?” I asked.
“Yes.”
“Then they’ll fly.”
“Yes, certainly they’ll fly. But the others. It’s better not to think about the others,” he said.

Read the extract given below and answer the question that follow.

Why is the old man not worried about the birds?


“So that is what you are doing out here? A marshal!” “My dear Miss Fairchild,” said ’ Easton, calmly, “I had to do something. Money has & way of taking wings unto itself, and

you know it takes money to keep step with our crowd in Washington. I saw this opening in the West, and—well, a marshalship isn’t quite as high a position as that of ambassador, but—” “The ambassador,” said the girl, warmly, “doesn’t call any more. He needn’t ever have done so. You ought to know that. And so now you are one of these dashing Western heroes, and you ride and shoot and go into all kinds of dangers. That’s different from the Washington life. You have been missed from the old crowd.” The girl’s eyes, fascinated, went back, widening a little, to rest upon the glittering handcuffs. “Don’t you worry about them, miss,” said the other man. “All marshals handcuff themselves to their prisoners to keep them from getting away. Mr. Easton knows his business.” “Will we see you again soon in Washington?” asked the girl. “Not soon, I think,” said Easton. “My butterfly days are over, I fear.”

Read the extract given below and answer the question that follow.

What does Mr Easton say to Miss Fairchild to confirm that he is a marshal?


Easton, with a little laugh, as if amused, was about to speak again when the other forestalled him. The glum-faced man had been watching the girl’s countenance with veiled glances from his keen, shrewd eyes.

“You’ll excuse me for speaking, miss, but, I see you’re acquainted with the marshall here. If you’ll ask him to speak a word for me when we get to the pen he’ll do it, and it’ll make things easier for me there. He’s taking me to Leavenworth prison. It’s seven years for counterfeiting.”

“Oh!” said the girl, with a deep breath and returning color. “So that is what you are doing out here? A marshal!”

“My dear Miss Fairchild,” said Easton, calmly, “I had to do something. Money has a way of taking wings unto itself, and you know it takes money to keep step with our crowd in Washington. I saw this opening in the West, and—well, a marshalship isn’t quite as high a position as that of ambassador, but—”

Read the extract given below and answer the question that follow.

How did the young woman react when she saw the handcuffs on her friend’s wrist?


 

The boy looked up. He took his hands from his face and looked up at his teacher. The light from Mr. Oliver’s torch fell on the boy’s face, if you could call it a face. He had no eyes, ears, nose or mouth. It was just a round smooth head with a school cap on top of it.

And that’s where the story should end, as indeed it has for several people who have had similar experiences and dropped dead of inexplicable heart attacks. But for Mr. Oliver, it did not end there. The torch fell from his trembling hand. He turned and scrambled down the path, running blindly through the trees and calling for help. He was still running towards the school buildings when he saw a lantern swinging in the middle of the path. Mr. Oliver had never before been so pleased to see the night watchman. He stumbled up to the watchman, gasping for breath and speaking incoherently.

What is it, Sahib? Asked the watchman, has there been an accident? Why are you running?

I saw something, something horrible, a boy weeping in the forest and he had no face.
No face, Sahib?
No eyes, no nose, mouth, nothing.
Do you mean it was like this, Sahib? asked the watchman, and raised the lamp to his own face. The watchman had no eyes, no ears, no features at all, not even an eyebrow. The wind blew the lamp out and Mr. Oliver had his heart attack.

Read the extract given below and answer the question that follow.

Why did Mr Oliver tell the boy that he should not be out at that hour?


 

The boy looked up. He took his hands from his face and looked up at his teacher. The light from Mr. Oliver’s torch fell on the boy’s face, if you could call it a face. He had no eyes, ears, nose or mouth. It was just a round smooth head with a school cap on top of it.

And that’s where the story should end, as indeed it has for several people who have had similar experiences and dropped dead of inexplicable heart attacks. But for Mr. Oliver, it did not end there. The torch fell from his trembling hand. He turned and scrambled down the path, running blindly through the trees and calling for help. He was still running towards the school buildings when he saw a lantern swinging in the middle of the path. Mr. Oliver had never before been so pleased to see the night watchman. He stumbled up to the watchman, gasping for breath and speaking incoherently.

What is it, Sahib? Asked the watchman, has there been an accident? Why are you running?

I saw something, something horrible, a boy weeping in the forest and he had no face.
No face, Sahib?
No eyes, no nose, mouth, nothing.
Do you mean it was like this, Sahib? asked the watchman, and raised the lamp to his own face. The watchman had no eyes, no ears, no features at all, not even an eyebrow. The wind blew the lamp out and Mr. Oliver had his heart attack.

Read the extract given below and answer the question that follow.

What was Mr Oliver’s reaction when he saw the faceless boy? Whom did he stumble into?


But even as he approached the boy, Mr. Oliver sensed that something was wrong. The boy appeared to be crying. His head hung down, he held his face in his hands, and his body shook convulsively. It was a strange, soundless weeping, and Mr. Oliver felt distinctly uneasy.

Well, what’s the matter, he asked, his anger giving way to concern. What are you crying for? The boy would not answer or look up. His body continued to be wracked with silent sobbing.

Oh, come on, boy. You shouldn’t be out here at this hour. Tell me the trouble. Look up.

Read the extract given below and answer the question that follow.

Why did Mr Oliver’s anger change to concern?


Joe did not see the Guardians of the Poor on that day, on the next, nor on the day following. In fact, he never saw them at all on Maggie’s account, for in less than a week Mrs. Joe Thompson would as soon leave thought of taking up her own abode in the almshouse as sending Maggie there.

What light and blessing did that sick and helpless child bring to the home of Joe Thompson, the poor wheelwright! It had been dark, and cold, and miserable there for a long time just because his wife had nothing to love and care for out of herself, and so became soar, irritable, ill-tempered, and self-afflicting in the desolation of her woman’s nature. Now the sweetness of that sick child, looking ever to her in love, patience, and gratitude, was as honey to her soul, and she carried her in her heart as well as in her arms, a precious burden. As for Joe Thompson, there was not a man in all the neighbourhood who drank daily of a more precious wine of life than he. An angel had come into his house, disguised as a sick, helpless, and miserable child, and filled all its dreary chambers with the sunshine of love.

Read the extract given below and answer the question that follow.

Why did Joe not see the Guardians of the poor on that day or ever again?


Most terribly cold it was; it snowed, and was nearly quite dark, and evening— the last evening of the year. In this cold and darkness there went along the street a poor little girl, bareheaded, and with naked feet. When she left home she had slippers on, it is true; but what was the good of that? They were very large slippers, which her mother had hitherto worn; so large were they; and the poor little thing lost them as she scuffled away across the street, because of two carriages that rolled by dreadfully fast.

One slipper was nowhere to be found; the other had been laid hold of by an urchin, and off he ran with it; he thought it would do capitally for a cradle when he some day or other should have children himself. So the little maiden walked on with her tiny naked feet, that were quite red and blue from cold. She carried a quantity of matches in an old apron, and she held a bundle of them in her hand. Nobody had bought anything of her the whole livelong day; no one had given her a single farthing. She crept along trembling with cold and hunger—a very picture of sorrow, the poor little thing!

Read the extract given below and answer the question that follow.

Does the author give us a glimpse into the Victorian society?


Lights were shining from every window, and there was a savoury smell of roast goose, for it was New-year’s eve—yes, she remembered that. In a corner, between two houses, one of which projected beyond the other, she sank down and huddled herself together. She had drawn her little feet under her, but she could not keep off the cold; and

she dared not go home, for she had sold no matches, and could not take home even a penny of money. Her father would certainly beat her; besides, it was almost as cold at home as here, for they had only the roof to cover them, through which the wind howled, although the largest holes had been stopped up with straw and rags. Her little hands were almost frozen with the cold. Ah! perhaps a burning match might be some good, if she could draw it from the bundle and strike it against the wall, just to warm her fingers. She drew one out—“scratch!” how it sputtered as it burnt! It gave a warm, bright light, like a little candle, as she held her hand over it. It was really a wonderful light. It seemed to the little girl that she was sitting by a large iron stove, with polished brass feet and a brass ornament. How the fire burned! and seemed so beautifully warm that the child stretched out her feet as if to warm them, when, lo! the flame of the match went out, the stove vanished, and she had only the remains of the half-burnt match in her hand.

Read the extract given below and answer the question that follow.

Why could the girl not go home?


Margot stood alone. She was a very frail girl who looked as if she had been lost in the rain for years and the rain had washed out the blue from her eyes and the red from her mouth and the yellow from her hair. She was an old photograph dusted from an album, whitened away, and if she spoke at all her voice would be a ghost. Now she stood, separate, staring at the rain and the loud wet world beyond the huge glass. “What’re you looking at ?” said William. Margot said nothing. “Speak when you’re spoken to.” He gave her a shove. But she did not move; rather she let herself be moved only by him and nothing else. They edged away from her, they would not look at her. She felt them go away. And this was because she would play no games with them in the echoing tunnels of the underground city. If they tagged her and ran, she stood blinking after them and did not follow. When the class sang songs about happiness and life and games her lips barely moved. Only when they sang about the sun and the summer did her lips move as she watched the drenched windows.

Read the extract given below and answer the question that follow.

Why did they behave in this manner towards Margot?


Given below are four words and phrases. Find the words which have a similar meaning in the passage:
(1) Coming near 
( 2 ) Disappeared suddenly
(3) Awakening from sleep
(4) Moved slowly and gradually


I could hear the squeaking that heralded the evening arrival of the bats. I listened to the noises of the approaching night. Every day my hearing grew sharper. I was learning to filter out whatever I did not need to listen to, and giving no sign that I could hear everything that went on in the house.

I could not sleep. The air was heavy and still, the moon hidden behind thick banks of cloud. Lord Otori was sound asleep. I did not want to leave the house I'd come to love so much, but I seemed to be bringing nothing but trouble to it. Perhaps it would be better for everyone if I just vanished in the night.    [5]

 
Now I heard the hiss of hot water as the bath was prepared, the clatter of dishes from the kitchen, the sliding sigh of the cook's knife, a dog barking two streets away, and the sounds of feet on the wooden bridges on the canals. I knew the sounds of the house, day and night, in the sunshine and under the rain. This evening I realized I was always listening for something more. I was waiting too. For what?        [10]


I began to wonder if I could get out of the house without setting the dogs barking and arousing the guards. I started consciously listening to the dogs. Usually, I heard them bark on and off throughout the night, but I'd learned to distinguish their barks and to ignore them. I set my ears for them but heard nothing. Then I started listening for the guards: the sound of a foot on stone or a whispered conversation. Nothing. Sounds that should have been there been missing from the night's familiar web.        [20]


Now I was wide-awake, straining my ears to hear. There came the slightest of sounds, hardly more than a tremor, between the window and the ground.    


For a moment I thought it was the earth-shaking, as it so often did. Another tiny tremble followed, then another. Someone was climbing up the side of the house        [25]


My first instinct was to yell out, but cunning took over. I rose from the mattress and crept silently to Lord Otori's side. I knelt beside him and whispered in his ear, "Lord Otori, someone is, outside."      [30]


He woke instantly and then reached for the sword and knife that lay beside him. I gestured to the window. The faint tremor came again.


Lord Otori passed the knife to me and stepped to the wall. I moved to the other side of the window. We waited for the assassin to climb in.


Step by step he came up the wall, stealthy and unhurried as if he had all the time in the world. We waited for him with the same patience.    [35]

He paused on the sill to take out the knife he planned to use on us and then stepped inside. Lord Otori took him in a stranglehold. The intruder wriggled backwards. I leaped at him, and the three of us fell into the garden like a flurry of fighting cats.  [40]


The man fell first, across the stream, striking his head on a boulder. Lord Otori landed on his feet. My fall was broken by one of the shrubs. The intruder groaned, tried to rise, but slipped back into the water.


"Get a light," Lord Otori said.


I ran to the house, took a light that still burned in one of the candle stands and carried it back to the garden.    [45]


The assassin had died without regaining consciousness. It turned out he had a poison pellet in his mouth and had crushed it as he tell. He was dressed in black, with no marking on his clothes. I held the light over him. There was nothing to tell us who he was.    [50]

 

(i) Given below are four words and phrases. Find the words which have a similar meaning in the passage:
(1) Coming near 
( 2 ) Disappeared suddenly
(3) Awakening from sleep
(4) Moved slowly and gradually 

(ii) For each of the words given below, write a sentence of at least ten words using the same word unchanged in form, but with a different  meaning from that which it carries in the passage:
(1) Bats ( line 1 )
( 2 ) Sign ( line 4 )
( 3 ) Banks (  line 6 )
( 4 )  Back ( line 43 )


Read the following passage carefully and answer the questions that follow:
Richard Parker was so named because of a clerical error.
A panther was terrorizing the Khulna district of Bangladesh, just outside the Sundarbans. It had recently carried off a little girl. She was the seventh person killed in two months by the animal. And it was growing bolder. The previous victim was a man who had been attacked in broad daylight in his field. The beast dragged him off into the forest, and his corpse was later found hanging from a tree. The villagers kept a watch nearby that night, hoping to surprise the panther and kill it, but it never appeared.
The Forest Department hired a professional hunter. He set up a small, hidden platform in a free near a river where two of the attacks had taken place. A goat was tied to a stake on the river’s bank. The hunter waited several nights. He assumed the panther would be an old, wasted male with worn teeth, incapable of catching anything more difficult than a human. But it was a sleek tiger that stepped into the open one night: a female with a single cub. The goat bleated. Oddly, the cub, who looked to be about three months old, paid little attention to the goat. It raced to the water’s edge, where it drank eagerly. Its mother followed it. Of hunger and thirst, thirst is the greater urge. Only once the tiger had quenched her thirst did she turn to the goat to satisfy her hunger.
The hunter had two rifles with him: one with real bullets, the other with immobilizing darts. This animal was not the man-eater, but so close to human habitation she might pose a threat to the villagers, especially as she was with cub. He picked up the gun with the darts. He fired as the tiger was about to attack the goat. The tiger reared up and snarled and raced away. But immobilizing darts don’t bring on sleep gently—they knock the creature out without warning. A burst of activity on the animal’s part makes it act all the faster. The hunter called his assistants on the radio. They found the tiger about two hundred yards from the river. She was still conscious. Her back legs had given way and her balance on her front legs was shaky. When the men got close, she tried to get away but could not manage it. She turned on them, lifting a paw that was meant to kill. It only made her lose her balance. She collapsed and the Pondicherry Zoo had two new tigers. The cub was found in a bush close by, meowing with fear.
The hunter, whose name was Richard Parker, picked it up with his bare hands and, remembering how it had rushed to drink in the river, named it Thirsty. But the shipping clerk at the Howrah train station was evidently a man both confused and diligent. All the papers received with the cub clearly stated that its name was Richard Parker, that the hunter’s first name was Thirsty add that his family name was None Given. Richard Parker’s name stuck. I don’t know if the hunter was ever called Thirsty None Given!

(a) Give the meaning of each of the following words as used in the passage.
One word answers ob short phrases will be accepted.

  1. corpse (line 6)
  2. quenched (line 16)
  3. reared (line 20)

(b) Answer the following questions briefly in your own words.

  1. Why does the author say that the panther ‘was getting bolder’? 
  2. Why did the Forest Department hire a professional hunter? 
  3. What did the hunter expect to encounter? What did he actually encounter? 
  4. What did the tiger do before turning to attack the goat? Why did it do that? 
  5. Why did the hunter decide to shoot the tiger though he knew it was not the man-eater?
  6. What name did the hunter give to the cub? Why? 

(c)

(i) In not more than 60 words narrrate how the hunter and his assistants captured the tiger and her cub. 
(ii) Give a suitable title to your summary in 3(c). Give a reason to justify your choice. 


Read the extract given below and answer the questions that follow: 

"Now tell us what it was all about"
Young Peterkin, he cries.
And little Willhelmines looks up
With wonder - waiting eyes,
"Now tell us all about the war,
And what they fought each other for".
       - After Blenheim, Robert Southey 

(i) Who are Peterkin and Wilhelmine? How does the poet describe the scene at the beginning of the poem? 

(ii) What did Young Peterkin find and where? Describe it?

(iii) Who is referred to as "each other"? What did they fight for?

(iv) To whom are the words in the extract addressed? How was this person's family affected by the war? 

(v) What, according to the poet, are the consequences that are often associated with great and famous victories? What message does the poet want to convey to the readers? 


Read the extract give below and answer the questions that follow:

All around the field spectators were gathered Cheeril!g on all the young women and men Then the final event of the day was approaching The last race about the beginning. 
- Nine Gold Medals, David Roth 

(i) Where had the 'young women and men' come from? What had brought them together? How had they prepared themselves for the event?

(ii) What was the last event of the day? How many athletes were participating in this event? What signal were they waiting for? 

(iii) What happened to the youngest athlete halfway through the race? How did he respond? 

(iv) What 'strange' tum did the story take at this point? 

(v) Why does the poet say that the banner - 'Special Olympics' could not have been nearer the mark? What human quality does the poem celebrate?


Read the following passage carefully and answer the questions that follow:

Every Monday, on his way back from work, Bipin Chowdhury would drop in at New Market to buy books. He had to buy at least five at a time to last him through the week. He lived alone, was not a good mixer, had few friends, and didn't like spending time in idle chat. Those who called in· the evening got through their business quickly and left. Those who didn't show signs of leaving would be told around eight o'clock by Bipin Babu that he was under doctor's orders to have dinner at eight-thirty. After dinner, he would rest for half an hour and then tum in with a book. This was a routine that had persisted unbroken for years
Today, Bipin Babu had the feeling that someone was observing him from close quarters. He turned around and found himself looking at a round-faced, meek-looking man who now broke into a smile.
"I don't suppose you recognize me." Bipin Babu felt ill at ease. It didn't seem that he had ever encountered this man before. The face seemed quite unfamiliar. 
"Have we met before ?" asked Bipin Babu. 
The man looked greatly surprised. "We met every day for a whole week. I arranged for a car to take you to the Hudroo falls. My name is Parimal Chose." 
"Ranchi?" 
Now Bipin Babu realized this man was making a mistake. Bipin Babu had never been to Ranchi. He smiled and said, "Do you know who I am?"  
The man raised his eyebrows, and said, "Who doesn't know Bipin Chowdhury ?"
Bipin Babu turned towards the bookshelves and said, "You've to make a mistake. I've never been to Ranchi."
The man now laughed aloud.
"What are you saying, Mr. Chowdhury? You had a fall in Hudroo and cut your right knee. I brought you iodine. I had fixed up a car for you to go to Netarhat the next day, but you couldn't because of the pain in the knee. Can't you recall anything? Someone else you know was also in Ranchi at that time. Mr. Dinesh Mukherjee. You stayed in a bungalow. You said you didn't like hotel food. I'll tell you more; you always carried a bag with your books in it on your sightseeing trips. Am I right or not ?"
Bipin Babu spoke quietly, his eyes still on the books. "Which month in Nineteen fifty-eight are you talking about?"
The man said, "October."
"No, sir," said Bipin Babu. "I spent October Nineteen fifty-eight with a friend in Kanpur. You're making a mistake. Good day."
But the man didn't go, nor did he stop talking.
"Very strange. One evening I had tea with you on the verandah of your bungalow. 
You spoke about your family. You said you had no children, and that you had lost your wife a decade ago."
When Bipin Babu had paid for the books and was leaving the shop, the man was still looking at him in utter disbelief.
Bipin Babu's car was safely parked in Bertram Street. He told the driver as he got into the car, "Just drive by the Ganga, will you, Sitaram." Driving up the Strand Road, Bipin Babu regretted having paid so much attention to the intn1der. He had never been to Ranchi. He had an excellent memory.
Unless he was losing his mind! 

(a) Give the meaning of the following words as used in the passage.
One word answers or short phrases will be accepted. 
(i) persisted (line 7)
(ii) decade (line 38)
(iii) intruder (line 43) 

(b) Answer the following questions briefly in your our words: 
(i) How did Bipin Chowdhury find time to read five books a week?
(ii) How did he get rid of visitors who stayed late? 
(iii) Which sentence tells you that Bipin Babu will uncomfortable?
(iv) What strong argument did Bipin Babu give to prove that he was not in Ranchi at that time?
(v)What does Bipin Babu regret?
(vi) What is Bipin Babu's feelings at the end of the passage?

(c) (i) What memories of the trip does Parimal Ghose evoke to prove that Bipin Babu was indeed in Ranchi? Answer in not more than 60 words.
(ii) Give a title to your summary in 3(c) (i), Give a reason to justify your choice.


Discuss the following topic in groups.

What problems are you likely to face if you keep ants as pets?


Answer the following question

Whom does Golu ask, “Why don’t you ever fly like other birds?”


Why is Mr. Purcell compared to an owl?


What changes had occurred, which forced people to live in underground homes?


Walking towards the kitchen with Mridu and Meena, RukkuManni began to laugh. What made her laugh?


How do desert plants and animals differ from most plants and animals?


Why did the customer free the imprisoned doves?


Give the character sketch of the bear in The Bear Story’.


What made the farmer’s wife blind with rage?


How did Ray communicate with him?


What do you think the man said to his friend who waited at the door?


Do you think the man would ever come back to pick up the watch?


When did “the unfriendly face” of the visitor turn truly friendly?


Sketch the character of Ray in about 80 words. What qualities of Ray do you admire most?


What did the other courtiers feel about Tansen?


What did the specialist prescribe in addition to medicine?


Who made the pact with the sun? What was it about?


Give the list of the animals the Dog agreed to accompany and serve. Why did it reject them all?


Who was Taro? What was his most endearing quality?


Answer the following question:

What abilities must an astronaut have, according to the journalist?


Match the following.

1.

unprecedented space tragedy

  • something that causes feelings of respect and wonder

2.

certified flight instructor

  • having knowledge of a wide variety of subjects

3.

space mission

  • nowadays, in these times

4.

super specialisation

  • a set of jobs to be done in space by a group

5.

encyclopaedic knowledge

  • a person with the correct qualification to teach people to fly planes

6.

awe-inspiring

  • a sad accident of a kind that has never happened before in space

7.

in this age

  • great expertise in a limited field or a particular subject


With your partner, complete the following sentence in your own word using the ideas in the poem.
Words are the __________________ of thought.


Look at the following phrases and their meanings. Use the phrase to fill in the blank in the sentence given below.
Why don’t you __________________ your ideas on paper?


Why do rebels always contradict the others?


Write ‘True’ or ‘False’ against each of the following sentences.

Gopal was too poor to afford decent clothes.________


Read the lines given below and answer the following question:

Iris: Of her society
Be not afraid. I met her deity
Cutting the clouds towards Paphos, and her son
Dove-drawn with her.

Whom does Iris refer to as ‘her’?


Read the lines given below and answer the following question:

Iris: Of her society
Be not afraid. I met her deity
Cutting the clouds towards Paphos, and her son
Dove-drawn with her.

Why was the person addressed afraid of “her”?


Read the lines given below and answer the following question:

Iris: Of her society
Be not afraid. I met her deity
Cutting the clouds towards Paphos, and her son
Dove-drawn with her.

What is meant by “dove drawn”?


Read the lines given below and answer the following question:

“But my darling, if you love me,” thought Miss Meadows, “I don’t
Mind how much it is. Love me as little as you like.”

What had the “darling” informed Miss Meadows?


Read the lines given below and answer the following question:

“But my darling, if you love me,” thought Miss Meadows, “I don’t
Mind how much it is. Love me as little as you like.”

What was the effect of Basil’s letter on Miss Meadows?


Read the lines given below and answer the following question:

Sophocles long ago
Heard it on the Agean…

Who is Sophocles?


Read the extract given below and answer the questions that follow:

GRATIANO: O learned judge! – Mark, Jew: a learned judge!
SHYLOCK: I take this offer, then; pay the bond thrice, And let the Christian go.
  1. Why does Shylock suddenly decide to accept this offer?      [2] 
  2. Who has made this offer? Who stops Shylock from accepting this offer?      [2]
  3. Shylock decides to leave the court without even receiving the principal amount. What other crime is he accused of? What further punishment does he face for this crime?        [3] 
  4. Later in this scene, how does the Duke show that he is merciful? What does Shylock say in response to the Duke’s act of mercy?         [3]

Answer the following question.

Who advised Golu to go to the Limpopo River?


Read the passage given below and answer the questions (i), (ii) and (iii) that follow:

(1)

Something happens to cats after we have enjoyed a delicious meal. Call it a feline sugar hit or a rush of good feelings. Abandoning our usually sedentary nature, we transform into crazy beasts who thunder down corridors, spring from one piece of furniture to another, or pounce from behind half-closed doors to attack the shoelaces of unsuspecting passersby. It is as though we are temporarily possessed.

 

 

5

(2)

That, at least, is my excuse, dear reader - and the only explanation I can offer for my entirely unplanned global TV debut.

 

(3)

To be fair, I had no way of knowing that my master was receiving visitors that particular afternoon. Nor that he was being interviewed live, let alone by one of America’s most famous journalists.

10

(4)

All I knew was that, a few minutes after gorging myself on a favourite treat of creamy pudding, I felt that sudden, primal explosion of energy. I made my way back to the suite of rooms that I shared with my master and felt an overpowering compulsion to do something completely mad. I wanted to run like a furious jungle cat, at that particular moment.

 

 

 

15

(5)

Bursting through the door of the room in which my master received visitors, I tore up the carpet as I raced towards the sofa opposite where he was sitting. I ripped its fabric as I scrambled up its side like a savage creature clawing its way up a perilous cliff. Then with a final, frenzied burst, I launched myself off one arm of the sofa, leaping towards the other.

 

 

20

(6)

It was only at this point that I realised the sofa was occupied by the journalist. She was halfway through a sentence, and my abrupt appearance caught my master's guest completely by surprise.

 

(7)

You know, when something truly unexpected happens, time can seem to slow down. Well, that’s how it was. As I flew past the woman's face, her expression turned from one of calm engagement to that of total surprise.

25

(8)

I As she pushed back in her seat to avoid me, the shock on her face could not have been more evident.

 

(9)

But, dear reader, she was not more shaken than me. I had not been expecting anyone on the sofa, let alone a TV celebrity, nor one who was mid-interview. As I headed towards the opposite end of the sofa, for the first time I observed the lighting, the cameras and the crew watching the action from the shadows. By the time I landed on the other arm of the sofa, all the energy that had propelled me was gone.

30

 

 

35

(10)

I was, no longer, a furious jungle cat.

 

(11)

The journalist looked at me. I looked at her. Both of us were taking in what had just happened. I was also conscious of the cameras still rolling as well as many pairs of eyes watching me at that moment. My moment of global glory.

 

 

Adapted from: The Dalai Lama's Cat Omnibus
By David Michie

 

(i)

  1. Given below are three words and phrases. Find the words which have a similar meaning in the passage: [3]
    1. inactive
    2. eating in a greedy manner
    3. dangerous
  2. For each of the words given below, write a sentence of at least ten words using the same word unchanged in form, but with a different meaning from that which it carries in the passage: [3]
    1. thunder (line 3)
    2. spring (line 3)
    3. past (line 26)

(ii) Answer the following questions in your own words as briefly as possible:

  1. What is the usual nature of the narrator's kind? How is it differently presented in the passage? [2]
  2. What did the 'favourite treat of creamy pudding' do to the narrator? [2]
  3. Describe the actions of the narrator after bursting into the visitors' room. [2]
  4. How did the journalist react when the narrator 'flew past' her face? [2]

(iii) Summarise how the narrator became a global celebrity (paragraphs 4 to 11). You are required to write the summary in the form of a connected passage in about 100 words. Failure to keep within the word limit will be penalised. [6]


In the Masque in Act IV of the play The Tempest, how does Ceres know that Juno is coming?


What does Prospero intend to do with his book before his interaction with Alonso in Act V of the play, The Tempest?


Where did B. Wordsworth live in the short story, B. Wordsworth?


In the short story, To Build a Fire, which "wild idea" came into the Man's head when all seemed lost?


In the short story, The Story of an Hour, what according to the doctor did Mrs. Mallard die of?


In the poem, Dover Beach, where is the "eternal note of sadness" heard? 


Complete the following sentence by providing a reason:

In Act III, Scene II of the play The Tempest, Stephano and Trinculo are angry with Caliban as they struggle out of the filthy pool because ______.


Complete the following sentence by providing a reason:

In Act V of the play The Tempest, Prospero greets Gonzalo first because ______.


Complete the following sentence by providing a reason:

At the end of Act III, Scene III of the play The Tempest, Gonzalo urges the other Lords to follow the "three men of sin" because ______.


Complete the following sentence by providing a reason:

Towards the end of the story B. Wordsworth, the poet told the boy to never visit him because ______.


Complete the following sentence by providing a reason:
In the short story, To Build a Fire, the fire built by the man under the tree was extinguished because ______.


Read the following extract from Jesse Owens's short story, ‘My Greatest Olympic Prize’ and answer the question that follows:

I wasn't too worried about all this. I'd trained, sweated and disciplined myself for six years with the Games in mind. While I was going over on the boat, all I could think about was taking home one or two of those gold medals. I had my eye, especially on the running broad jump.

What makes Luz Long's behaviour at the ‘Games' truly remarkable in the context of the times?
Identify a theme that is common to the short story 'My Greatest Olympic Prize’ and the poem ‘Nine Gold Medals’. 


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