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Question
Discuss these question in class with your teacher and then write down your answer
in two or three paragraphs .
Kezia decides that there are “different kinds of fathers”. What kind of father was Mr
Macdonald, and how was he different from Kezia’s father?
Solution
Kezia compared her father with Mr. Macdonald, her next door neighbour. He was a loving, gentle and forgiving father. He was always smiling and playing with his children. He treated his children in a friendly manner. He was just opposite to the Kezia’s father. Unlike Kezia’s father he never punished his children. He played with them whenever he was free. Kezia’s father was very harsh and a strict disciplinarian.
APPEARS IN
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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.
'Ordeal in the Ocean' is the story of Slava Kurilov, a Russian, who faced a remarkable trial in the water. Slava Kurilov tells his own story. Read on .......
When the liner had finally vanished over the horizon, I was absolutely alone in the stormy night sea. First I thought I had to swim one way, then another. It was not even midnight yet, and I had no hope at all of finding my way in this terrible night time ocean. I began to feel afraid. Waves of fear rolled through me, starting from my hands and feet, attacking my heart and then reaching through my neck to my head. Waves broke over me and water went into my snorkel. I realised I would not be able to last even half an hour in such a condition.
I saw individual stars, but I could not distinguish the constellations they belonged to. Then dawn came and put out all my stars and I felt my solitude more keenly. The sky was grey at first, then blue-violet shades appeared. In a few minutes, the colours became brighter, with dark red strips cutting across the sky!
The rising sun came up over the ocean. I was surrounded by large waves. The clouds turned pink and swept across the sky in all directions. It was a windy day.
There was no land visible. I grew alarmed. Had I made a mistake in my calculations? Perhaps the current had carried me a long a way off the course during the night?
An hour passed, perhaps two. "Landlll" I could not deny myself the pleasure of shouting the magic word aloud and of hearing my own voice. Perhaps it was my ghostly island of Siargao? I almost felt I had succeeded - now at least I had hope.
The sun looked out for the last time, as if it was saying goodbye to me, and hid itself away again. In a few minutes the sky was filled with all the colours of a rainbow, the bright shades changing and merging as I watched. At first the clouds became deep red and then their edges turned bright orange. A little while afterwards, the clouds turned lilac and dark violet. Darkness fell swiftly. My second lonely night in the ocean began. The stars came out unnoticed. I changed course and headed for the south west. As it turned out, this was an unforgivable mistake.
Evening was approaching. The ocean around me was full of life; large fish often leapt out of the water and big birds flew right above my head. I could see the island distinctly now. A line of dancing palms stretched the length of its shore. The sides of the mountain were covered in many different shades of green.
An hour passed, perhaps more. It was extraordinarily quiet. Then suddenly to my horror, I discovered my island had noticeably begun to move north and was drifting further and further in that direction right before my eyes. Before I had worked out what was happening and could sharply change my course towards the north, the southern tip of the island had appeared in front of me and, beyond that, open ocean stretched to the very horizon. I was totally at the mercy of the current and realised to my alarm that it was slowly carrying me past the land.
My third night in the ocean crept up unnoticed. This third night in the ocean was very dark, much darker than the two previous ones. I almost decided to die as I had no hope of seeing another dawn. I was suddenly aware of a quiet voice: "Swim to the sound of the breakers."
Indeed, there had been a distant rumbling for some time, although I had paid no attention to it. Now, I started listening and I thought it sounded like the characteristic noise of jet aeroplanes constantly landing and taking off. The voice inside kept insisting that I should swim towards this thunder of waves.
At last I obeyed. Again I heard an approaching rumble. What I suddenly saw at a distance of about 30 or 40 metres has imprinted itself on my memory forever. It was a gigantic wave with steep, very slowly falling crests. Never in my life had I seen such an enormous wave - it even seemed to be touching the sky. It moved very slowly and was fantastically beautiful.
The wave did not break over me as I assumed it would. An irresistible force dragged me up its steep slope right to the very foot of the falling crest. Instinctively I clutched my mask snorkel and managed to take a deep breath. The crest started to break over me and pulled me under it. For a moment, I found myself in the air
under the crest as ifin a cave. Then my body was in a swirling current of water; the inner power of the wave made me recover several times, twisting me in all directions before it subsided.
I realised that I had to try to keep my body on the crest and I quickly took up a horizontal position. This time the wave quickly grabbed me and carried me at great speed for quite a long distance on its crest.
I got up to the surface easily and swam in the direction the waves were heading. "Somewhere there, beyond the reef, there should be a lagoon," I hoped.
Suddenly, I felt something hard under my feet. I could stand up to my chest in water! Around me I could see random currents of water, splashes of foam and phosphorescent spray, all swirling about. Before I fully came to my senses, another large wave approached and carried me some distance further. I was up to my waist in water when a new wave picked me up, taldng me several metres forward. Now the depth of the water was only up to my knees. I had enough time to take a few tentative steps, to catch my breath and look around.
I surfaced at the foot of very tall palm trees. I left a trail of luminous water and my body glittered like some princess's ball-gown. Only now did I feel completely safe. The ocean was behind me ....
The black man's face bespoke revenge
As the fire passed from his sight.
For all he saw in his stick of wood
Was a chance to spite the white.
The last man of this forlorn group
Did nought except for gain.
Giving only to those who gave
Was how he played the game.
Their logs held tight in death's still hands
Was proof of human sin.
They didn't die from the cold without
They died from the cold within.
Read the lines given above and answer the question that follow.
Analyse the title and whether it is appropriate.
Such wondrous, fine, fantastic tales
Of dragons, gypsies, queens, and whales
And treasure isles, and distant shores
Where smugglers rowed with muffled oars,
And pirates wearing purple pants,
And sailing ships and elephants,
And cannibals crouching 'round the pot,
Stirring away at something hot.
(It smells so good , what can it be?
Good gracious, it's Penelope.)
The younger ones had Beatrix Potter
With Mr.Tod,the dirty rotter,
And Squirrel Nutkin,Pigling Bland,
And Mrs.Tiggy-Winkle and-
Just How The Camel Got His Hump,
And How the Monkey Lost His Rump,
And Mr. Toad, and bless my soul,
There's Mr.Rat and Mr. Mole-
Oh, books, what books they used to know,
Those children living long ago!
Read the lines given above and answer the question given below.
Explain with reference to context.
“I love the West,” said the girl irrelevantly. Her eyes were shining softly. She looked away out the car window. She began to speak truly and simply without the gloss of style and manner: “Mamma and I spent the summer in Deliver. She went home a week ago
because father was slightly ill. I could live and be happy in the West. I think the air here agrees with me. Money isn’t everything. But people always misunderstand things and remain stupid—” “Say, Mr. Marshal,” growled the glum-faced man. “This isn’t quite fair. I’m needing a drink, and haven’t had a smoke all day. Haven’t you talked long enough? Take me in the smoker now, won’t you? I’m half dead for a pipe.”
The bound travellers rose to their feet, Easton with the Same slow smile on his face. “I can’t deny a petition for tobacco,” he said, lightly. “It’s the one friend of the unfortunate. Good-bye, Miss Fairchild. Duty calls, you know.” He held out his hand for a farewell. “It’s too bad you are not going East,” she said, reclothing herself with manner and style. “But you must go on to Leavenworth, I suppose?” “Yes,” said Easton, “I must go on to Leavenworth.”
The two men sidled down the aisle into the smoker. The two passengers in a seat near by had heard most of the conversation. Said one of them: “That marshal’s a good sort of chap. Some of these Western fellows are all right.” “Pretty young to hold an office like that, isn’t he?” asked the other. “Young!” exclaimed the first speaker, “why—Oh! didn’t you catch on? Say—did you ever know an officer to handcuff a prisoner to his right hand?”
Read the extract given below and answer the question that follow.
Why is it ironic when Fairchild says, “people always misunderstand things and remain stupid —”?
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.
What changed her ? Describe the change in her.
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 was Margot sad?
What was the noise that startled Mridu and frightened Mahendran?
Read the following sentence.
(a) If she knows we have a cat, Paati will leave the house.
(b) She won’t be so upset if she knows about the poor beggar with sores on his feet.
(c) If the chappals do fit, will you really not mind?
Notice that the sentence consists of two parts. The first part begins with ‘if’. It is known as if-clause. Rewrite each of the following pairs of sentences as a single sentence. Use ‘if’ at the beginning of the sentence.
Don’t tire yourself now. You won’t be able to work in the evening.
Where and by which community cricket was initially played in India?
What did the narrator’s grandfather see at the zoo?
Make noun from the word given below by adding –ness, ity, ty or y
Sensitive ___________.
Multiple Choice Question:
Where can we see beauty?
What does the word ‘bake’ in the above passage mean?
What strategy does Cassius suggest that the conspirators follow?
