rc e U

^P-Appl E

Oscar W ildes

Sho rtctones

Retold by V ictoria H ew ard

Editors: C laudia F iocco, R ebecca Raynes

D esign and art direction: Nadia Maestri
Computer graphics realisation: Sara B lasigh
Illustrations: G iovanni Manna

0 2003

B lack Cat Publishing,

an imprint o f C ideb Editrice, G enoa, Canterbury

First edition: January 2003

A ll rights reserved. N o part o f this book may be reproduced, stored in a
retrieval system , or transmitted, in any form or by any means, electronic,
m echanical, photocopying, recording or otherw ise, without the written
perm ission o f the publisher.
Picture credits:
p. 5 O scar Wilde Irish Tourist Board, Dublin; p. 6 The Judge: a thing o f beauty not a jo y
fo re v e r, caricature o f Oscar Wilde, published in New York, 1883 Private Collection/The
Bridgeman Art Library; p. 29 Queen Elizabeth II in her Coronation R obes, 1953, by C.
Beaton, Victoria and Albert Picture Library; p. 64 A waiting Admission to the Casual Ward
by Luke Fildes, Picture Collection at Royal Holloway, University o f London; p. 67 Charles
Dickens by Herbert Watkins, Hulton Getty Archives; p. 68 Emmeline Pankhurst, Hulton
Getty Archives.

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Contents
In tro d u ctio n - O scar W ilde

THE YOUNG KING

~~

p a r t

o n e

The Old K in g s Secret

UNDERSTANDING

PART

TWO

t h r e e

TEXT

THE

TEXT

The Dreams
UNDERSTANDING

p a r t

THE

The Coronation
UNDERSTANDING

THE

TEXT

THE

TEXT

THE

TEXT

The C o ro n a tio n
The C row n Jew els

THE STAR-CHILD
p a r t

o n e

The Baby
UNDERSTANDING

p a k t

t w o

The M o th er
UNDERSTANDING

part

TiiKEE

The Punishm ent

Pa k t

four

Three Pieces of Gold

UNDERSTANDING

THE

52

TEXT

61

Life in Victorian T im es

64

Fam ous Victorians

67

THE NIGHTINGALE
AND THE ROSE f
p a rt one

The Stu dent in Love

UNDERSTANDING

part tw o

three

four

THE

76
79

TEXT

The Red Rose

UNDERSTANDING

part

75

TEXT

The N i g h t i n g a l e s Sacrifice
UNDERSTANDING

part

THE

72

81
THE

TEXT

84

The Professors D au g h ter

UNDERSTANDING

SPECIAL FEATURES: P E T
T :G R a d e 5

THE

86
89

TEXT

Cambridge PET-style exercises

Trinity-style exercises
PROJECT work using the web
Exit Test - Portfolio

1 4 ,2 8 ,4 7 ,6 3
80, 84, 85
32, 66, 91
32, 66
93

T h e te x t is recorded in full.
T h ese sy m b ols in d ic a te th e b eg in n in g and end of th e ex tra cts
lin k e d to th e liste n in g activities.

Oscar Wilde.

J n t ro d u (tj o/i
(o i

scar Wilde was Irish. He was born in Dub lin in 1854.

H i s p a r e n t s w e r e ve ry f a m o u s p e o p le . H is f ath e r,
William, was an i m p o r t a n t doctor. His m o th e r was a poetess.
She w as called Jane b u t pre ferred th e n a m e 'S p era nza '. She
t h o u g h t it w a s m o r e i n t e r e s t i n g a n d r o m a n t i c t h a n Jane.
Oscar's p a re nts invited m a n y clever and i m p o r t a n t people to
their house in Dublin. T hey spoke together about clever and
i m p o r t a n t t h i n g s . W h e n O s c a r w a s a y o u n g b o y h e lo v e d
listening to them .
He studied at Oxford Uni versity and wo n prizes for his poetry.
Oscar Wilde was a very good w riter b u t he preferred talking.

He was also a ve ry f u n n y a n d clever m an . People w a n t e d to

l is te n to h i m and to laugh at his jokes. He was ve ry p o pular
and everyb ody invited h i m to th e i r dinner parties.
He w r o t e poem s, s h o r t stories, plays for t h e t h e a t r e a n d one
novel. Two of his m o s t fa m o u s w orks are his novel T he P icture
o f D orian G ray and the play The Im p o rta n c e o f B eing E a rn e st.

* Theres one thing I hate

more than people talking
about me... and thats people
v nor talking about me. ^

The fudge: a thing of beauty not a joy forever,

caricature of Oscar Wilde, published in New York, 1883.
P r i v a t e C o l l e c t i o n / B r i d g e m a n A r t L ib r a r y

TH E YOUNG KING

BEFORE YOU READ

H ere a re th e n a m e s of so m e p recio u s o b jec ts in th e story.
W hat colour a re th ey?

a . ivory

b. amber

c. jade

d. turquoise

e. ruby

C o n n ect th e s e p e o p le to th e correct defin ition .

a. This person is not free and must work for other people.
b. This very poor person asks others for m oney.
c . This person travels around the world to sell and buy things.

d. He is a very important m an in the church.

e. This person looks after sheep and goats.

2. O sh ep h erd

3. O merchant

1. O bishop

4. O beggar

5. Q slave

H ere a r e s o m e m ore w ord s from th e story. C o n n ect th e w ord to th e

co rrect pictu re.

1. jewels
2. sceptre
3. robe
4. tomb
5. pillow
6. thorns
7. cloth

/ L

8. staff
9. pearls

Here a re s o m e v erb s from th e story. Do y o u k n o w th em ?

Find th e p a s t te n s e of th e verb a n d w rite it u n d er th e in fin itive.
T hen p u t th e correct verb into th e s e n te n c e s .

dig

grow

throw

laugh

kneel

a . T om m y........................the ball and his dog ran to get it.

b. A m a n d a ...................... 10 centimetres last year!
c. The ch ild ren ....................... b ecause the joke w as very funny.
d. The p ir a te ..................... a big hole b ecau se he w an ted to find som e

treasure.
e. When I met the Bishop, I

.................in front of him.

PART

ONE

The Old Kings Secret

he re w a s o nce an old King. He h a d no so n to be
King w h e n he died. His people w ere v e ry worried .
' W h o w i l l be t h e n e x t K i n g ? ' t h e y a s k e d . B ut
before t h e King died he revealed a secret: his only
d a u g h t e r , t h e P r i n c e s s , h a d a c h il d . In s e c r e t , s h e m a r r i e d an
o r d in a r y m a n a n d t h e y h a d a son. Som e people said h e r h u s b a n d
w a s an a r t i s t a n d s o m e pe o p le said he was a m u s i c i a n . But his
i d e n t i t y was a m y s t e r y and n o b o d y k n e w a bo u t t h e i r se cre t son.
W h e n t h e ba by w a s a w e e k old s o m e m e n t o o k h i m w h i l e his
m o t h e r w as sleeping. T h e P rin c e s s died im m e d ia te ly . Som e
p e o p l e s a i d for s a d n e s s . O t h e r p e o p l e sa i d s o m e o n e gave h e r
p o i s o n 1 in a cup of wine. T h e m e n left t h e baby w i t h a v ery poor
family. T h i s poor fam ily liv ed in t h e forest a n d t h e boy b e c a m e a
shepherd. He lo o ked after goats all day.

1.

p o iso n : a s u b s t a n c e t h a t c a u s e s il ln e s s or d e a th .

10

THE YOUNG KING

T h e old King m a d e a n i m p o r t a n t d e c i s i o n : ' T h e b o y m u s t be
t h e n e w King w h e n I die,' h e said. H e s e n t h i s s e r v a n t s i n t o t h e
f o res t. 'F i n d t h e b o y a n d b r i n g h i m h e r e .'
T h e s e r v a n t s f o u n d t h e b o y a n d b r o u g h t h i m to t h e p a l a c e .
W h e n t h e b o y a r r i v e d h e w a s v e r y ha ppy. H e i m m e d i a t e l y fell in
lo v e w i t h all t h e b e a u t i f u l t h i n g s a r o u n d h i m . H e t o o k off h i s old
l e a t h e r t u n i c a n d p u t o n h i s fine n e w c lo t h e s . T h e n h e b e g a n to
e x p l o r e t h e c a s t l e . H e r a n f r o m r o o m to r o o m a d m i r i n g a ll t h e
b e a u t i f u l s t a t u e s , p a i n t i n g s a n d j e w e ls in t h e p a la ce. T h e p e o p le
of t h e c i t y t a l k e d a b o u t h i m : ' T h e y o u n g King s p e n d s all h i s t i m e
a d m i r in g s t a t u e s , ' th e y said. 'B e a u ty an d a rt are th e m o s t
i m p o r t a n t t h i n g s f o r h i m . ' I n f a c t t h e y o u n g K i n g w a s so
f a s c i n a t e d w i t h b e a u t i f u l o b j e c ts t h a t h e w a n t e d m o r e of t h e m .
H e s e n t m e r c h a n t s to I n d ia to b u y i v ory a n d jade. H e s e n t m e n to
P e r s i a for s i l k c a r p e t s , a n d o t h e r s to fin d a m b e r i n t h e n o r t h . He
s e n t s e r v a n t s to l o o k for g r e e n t u r q u o i s e i n t h e m a g i c t o m b s of
t h e E g y p t i a n k in gs.
T h e y o u n g King t h o u g h t a b o u t all t h e s e t h i n g s b u t m o s t of all
h e t h o u g h t a b o u t h i s c o r o n a t i o n robe.
H e w a s s i x t e e n a n d it w a s h i s c o r o n a t i o n day t h e n e x t day. He
w a s v e r y h a p p y b e c a u s e h e h a d a b e a u t i f u l c o r o n a t i o n r o b e of
gold, a c r o w n of r u b i e s a n d a s c e p t r e of pearls. H e o r d e r e d m e n to
w o r k n i g h t a n d d ay to p r e p a r e h i s c o r o n a t i o n robes. 'S e a r c h t h e
w h o l e w o r l d for t h e b i g g e s t r u b i e s for m y c r o w n a n d t h e m o s t
b e a u t i f u l p e a r l for m y s c e p t r e , ' h e said.
T h e y o u n g King w as in h is b e a u t if u l b e d ro o m a n d h e w as
t h i n k i n g a b o u t h i s c o r o n a t i o n ro b es. It w a s n i g h t t i m e a n d he
l o o k e d a r o u n d h i m . T h e r o o m w a s f u l l of s i l v e r a n d g o l d a n d

12

1 he Old Kings Secret

beau tifu l colours. T h ro u g h th e w in d o w he could sm e ll th e
p e rf u m e of j a s m i n e , 1 h e c o u ld h e a r a n i g h t i n g a l e si ng ing a n d he
c o u ld se e t h e m o o n s h i n i n g . S e r v a n t s a r r i v e d a n d p u t f l o w e r
petals on h is pillow . H e w as v e ry happy. T o m o r r o w w as his
c o r o n a t i o n day. H e p l a y e d b e a u t i f u l m u s i c o n h i s l u t e a n d a t
m i d n i g h t h e c los ed h i s eyes a n d w e n t to sleep.
T h a t n i g h t t h e y o u n g King h a d a d rea m .

1.

ja sm in e : a ty p e of fl o w e r .

13

UNDERSTANDING THE TEXT

A nsw er th e follow in g q u estion s.
a . W ho w a s th e p rin c e ss's h u s b a n d ?
b. W h a t h a p p e n e d to th e b a b y a fte r h e w a s b o rn ?
c. W h y w a s th e b o y h a p p y w h e n h e a rriv e d a t th e p a la c e ?
d. W h a t d id th e p e o p le of th e c ity th in k of th e y o u n g K ing?
e. W h y d id th e y o u n g K ing s e n d his s e rv a n ts a r o u n d th e w o rld ?
f.

D escrib e th e y o u n g K ing's b e d ro o m .

P E T ^

The King is very old a n d ev er y o n e is worried. W hat w ill h a p p e n

w h e n h e d ies? Look at th e q u estio n s b elo w . You w ill hear a
f o i c o n v ersa tio n b e tw e e n the servant a n d th e King. For e a c h q u estion ,
put a tick () in th e correct box.

1. The old King is very

[71 A tired

O B old

[71 C worried

2. The King had a

I | A son

O B daughter

177] C secret servant

3. The servant thinks that a princess couldn't be a

A shepherd
[7H B problem
C king
4. The princess had a secret
A son
O B servant

f7] C boyfriend

5. When they hear the secret everybody is

|~1 A worried
[771 B angry

1_1C surprised

6. The King tells his servant to

A g o aw ay
[_] B bring the boy

C find the princess

to the castle
7. The boy will
[_I A live in the forest [771 B have lots of goats O C be the new King
8. The servant thinks
1 1A it's a good idea [771 B the boy is not a

good choice

14

J C the King is tired

P A R T

T W O

The Dreams
h i s w a s t h e y o u n g King's dream:
H e is in a h o r r i b l e , d a r k b u i l d i n g . T h e r e is a
t e r r ib le sm e ll, t h e s m a l l w i n d o w s h a v e bars and
n o t m u c h su n lig h t can enter. But in th e poor
l ig h t t h e y o u n g K i n g s e e s l o t s of p e o p l e w o r k i n g . T h e y a re
m a k i n g c l o t h . T h e y are v e r y t h i n . T h e i r faces are h u n g r y a n d
their h a n d s t r e m b l e b e c a u s e t h e y are tired. Pale, ill c h i l d r e n sit
in th e d ark c o r n e r s of t h e r o o m . T h e y o u n g King w a t c h e s t h e m .
A m a n sp e ak s to h i m a ngrily a n d asks, 'W h y are y o u w a t c h i n g
me? Are y o u m y m a s t e r ' s spy?'
'W ho is y o u r m a s t e r ? ' a sks t h e y o u n g King.
'A m a n lik e m e, b u t I h a v e poo r c lo t h e s a n d I a m v e ry hungry.
He w e ars b e a u t i f u l c lo t h e s a n d is v e ry rich. We w o r k for h i m all
day. We m a k e w i n e a nd he d r i n k s it. We w o r k on t h e la n d b u t he
eats the food. We are h i s sla ves.'

15

'dflW I'HE YOUNG KING

'B u t t h i s is a free l a n d / says t h e y o u n g King. 'You are n o m a n 's
slave.'
'In war, w e a k m e n are t h e sla v es of s t r o n g m e n . In peace, poor
m e n are t h e slaves of r i c h m e n . '
'A re y o u all slaves?'
'Yes, t h e w o m e n a n d t h e c h il d r e n . T h e old a n d t h e y o u n g .'
S u d d e n l y t h e y o u n g King sees t h e c l o t h o n t h e m a c h i n e . It is
gold. T h e y o u n g K in g is t e r r i f i e d . 'Y ou a re m a k i n g s o m e ve ry
b e a u t i f u l gold c lo th . W h a t is it? '
'I t is f o r t h e c o r o n a t i o n r o b e of t h e y o u n g K i n g , ' t h e m a n
replies .
W h e n t h e y o u n g K in g h e a r d t h i s h e s c r e a m e d a n d w o k e up.
But t h e n h e sa w t h e y e l l o w m o o n a t t h e w i n d o w a n d so o n slept
again. H e h a d a n o t h e r d r e a m .

'dWN'THE YOUNG KING

T h i s w a s h i s s e c o n d d ream :
H e is o n a long b o a t. T h e s u n is v e ry h o t a n d a h u n d r e d slaves
a re r o w i n g 1 t h e b o a t a n d w o r k i n g . T h e m a s t e r of t h e b o a t is
g iv ing orders: h e is b l a c k l ik e e b o n y a n d h a s a red silk 2 t u r b a n on
h i s h e a d . I n h i s e a r s h e h a s b i g s i l v e r e a r r i n g s . S o m e o n e is
w h i p p i n g 3 t h e slaves w h i l e t h e y w o rk .
F i n a ll y t h e b o a t a rriv e s i n a s m a l l b a y a n d t h e m a s t e r t h r o w s
t h e a n c h o r a n d a l o n g rope lad d e r 4 i n t o t h e sea. S o m e m e n t a k e
t h e y o u n g e s t slave. T h e y tie a h e a v y s t o n e to h i m a n d t h r o w h i m
i n t o t h e se a. T h e y o u n g s l a v e d i s a p p e a r s i n t o t h e w a t e r b u t
r e t u r n s to t h e b o a t m a n y t i m e s . E very t i m e h e r e t u r n s h e h a s a
b e a u t i f u l p e a r l in h is h a n d . T h e m a s t e r of t h e s h ip l o o k s a t th e
p e a r ls a n d p u t s t h e m i n t o a l i t t l e g r e e n bag.
T h e y o u n g slave r e t u r n s to t h e b o a t for t h e l a s t t i m e . H e is
v e r y p a le a n d tired. In h i s h a n d h e h a s a v e ry b e a u t i f u l pearl. T h e
p e a r l is r o u n d a n d w h i t e l i k e t h e m o o n . B u t t h e y o u n g slave's
ears a n d n o s e are full of bloo d. H e falls a n d dies b u t t h e m a s t e r of
t h e b o a t lau g h s . H e t a k e s t h e p e arl f r o m t h e y o u n g slave's h a n d
a n d t h e o t h e r slaves t h r o w h i s de ad b o d y i n t o t h e sea. ' T h i s pearl
is for t h e s c e p t r e of t h e y o u n g K i n g / h e says.
W h e n t h e y o u n g King h e a r d t h i s he s c r e a m e d a n d w o k e u p b u t
h e s a w t h e sta r s at t h e w i n d o w a n d soo n s le p t again.

1.

ro w in g : m a k in g t h e b o a t m o v e in t h e w a t e r w i t h o ars.

2.

s ilk : a f i n e c lo t h .

3.

w h ip p in g : h i t t i n g w i t h a w h ip .

4.

rope ladder : -

18

The Dreams
T h is w a s h i s t h i r d a n d la s t d rea m :
H e i s i n a t r o p i c a l f o r e s t . I t i s f u l l of s t r a n g e f r u i t a n d
b e a u t i f u l , p o i s o n o u s 1 f l o w e r s . T h e r e a r e s n a k e s i n t h e g rass,
parrot s 2 i n t h e t r e e s a n d m o n k e y s 3 a n d p e a c o c k s 4 all a r o u n d .
The y o u n g K in g se es l o t s of m e n w o r k i n g i n a dry river. T h e y are
digging t h e g r o u n d a n d c u t t i n g big r o c k s a n d s t o n e s .
D e a th 5 a n d A v a ric e 6 are in a d a rk c a v e rn . T h e y are also
w a tch in g t h e m e n . D e a t h says to Avarice, 'G i v e m e o n e t h i r d of
your m e n , ' b u t A v a r ic e refuses. 'N o ! T h e y are m y s e r v a n t s , ' sh e
says.
D e a t h is v e r y a n g r y w h e n h e h e a r s t h i s . H e s e n d s M a l a r i a to
kill o ne t h i r d of t h e m e n .
'W h a t h a v e y o u g o t in y o u r h a n d ? ' D e a t h asks.
'T h r e e g r a i n s of c o r n . 7 But w h y are y o u i n t e r e s t e d ? ' s h e asks.
D e a t h says, ' G i v e m e o n e g r a i n of c o r n t o p l a n t in m y g a r d e n .'
But Avaric e r e p lie s , 'N o , it is m y c o r n , ' a n d s h e h i d e s t h e c o r n i n
her p o c k e t.
A g a i n , D e a t h is v e r y a n g r y w h e n h e h e a r s t h i s a n d c a l l s
Fe ve r.8 F e v e r c o m e s i n a red r o b e l i k e fire, h e t o u c h e s o n e t h i r d

1.

p o is o n o u s : c o n t a i n i n g a s u b s t a n c e t h a t c a n k i l l y o u .

2.

p a r r o t s : t y p e of t r o p i c a l bird .

3.

m onkeys :

4.

p ea co ck s :

5.

death :

6.

avarice : e x t r e m e s e l f i s h d e s i r e fo r s o m e t h i n g .

7.

grains of corn :

8.

fever : if y o u h a v e a f e v e r y o u r b o d y t e m p e r a t u r e is h i g h .

19

4WTHE YOUNG KING

of t h e m e n a n d kills t h e m . ' N o w give m e a grain of c o rn for m y
g a r d e n / says D e a th .
'N o , n e v e r ! ' r e p l i e s A v a ric e. D e a t h is e x t r e m e l y a n g ry an d
calls Plague. 1 Plague arrives from th e sky, flying like a bird and
k i l l s t h e r e s t of t h e m e n . A v a r ic e s c r e a m s a n d r u n s i n t o t h e
fores t. D e a t h t a k e s h is red h o r se a n d rides away, fast l ik e the
w in d . A n d t h e n dragons a n d terrib le m o n s t e r s c o m e o u t of the
rivers a nd t h e valleys.
T h e y o u n g King cries and says, 'W ho w e re t h o se men? W hat
w e re t h e y doing?'
' T h e y w e r e l o o k i n g for r u b i e s for a k i n g 's c r o w n , ' r e p lie s a
v o i c e b e h i n d h i m . T h e y o u n g K in g t u r n s a n d s e e s a m a n in
w h ite . T h i s m a n has a m i r r o r in his hand.
' W h ic h ki ng?' he asks.
'L ook in t h is m ir r o r an d y o u w ill see t h e king,' replies t h e m an
in w hite.
H e sees his face in t h e mirror , sc rea m s and w a k e s up. He sees
t h e s u n s h i n i n g at his w indow . It is his c o ro n a t io n day.

1.

p la g u e : c o n t a g i o u s d is e a s e w h i c h k ills m a n y peo ple .

UNDERSTANDING THE TEXT

Write q u estio n s for th e se answ ers.

FIRST DREAM a .............................................................................. ? It is horrible and very dark.

b ...................................................................................... ? They are making cloth.
c ..................................................................................? No. Everybody is a slave.

^ SECOND DREAM------------------------------------------------------------------------d ..................................................... ? They are rowing the boat and working.
e .........................................................................................................................................

? He throws the anchor and a long rope ladder into the sea.
f......................................................................................... ? Into a little green bag.

/'THIRD DREAM g ...................................................? Snakes, parrots, peacocks and monkeys.

h..........................................................................................? In a dark cavern.

i............................................................................... ? Malaria, Fever and Plague.

M atch e a c h s e n te n c e on th e left to th e w ords on th e right. There are

two extra a n sw ers w h ic h you d o n t n e e d to u se.

1. 1_] Their hands tremble.

2. 1_] They sit in dark corners.
3. He eats good food and
drinks good wine.

a. Death
b. The children
c. Avarice
d. Plague

4. He wears a red turban.

e. The master of the ship

5. 1_] They tie a heavy stone to

f.

him.
6. 1 1They are in a dark cavern.
7. 1 1He wears a red cloak.
8. HH He flies like a bird.
9. 1 1He wants one grain of corn.
10. 1_] She hides the corn in her

pocket.

23

Fever
g- The young King
h. Dragons and monsters
i. Death and Avarice
j- The youngest slave
k. The m achine workers

1. The master of the m achine

workers

Tke Coronation
io t

s e r v a n t a rr iv e d w i t h t h e c o r o n a t i o n c lo t h e s . T h e y
w e r e e x t r e m e l y b e a u t i f u l b u t t h e y o u n g K in g
re m e m b e re d his dream s. 'T ak e th e s e c lo th es
away. I d o n ' t w a n t to w e a r t h e m / h e said.
'I s t h i s a j o k e , Y o u r M a j e s t y ? ' a s k e d t h e s e r v a n t , b u t t h e
y o u n g K ing t o l d h i m a b o u t h i s d r e a m s .
'I n m y r o b e t h e r e is s a d n e s s a n d p a i n , i n t h e r u b i e s t h e r e is
b l o o d a n d i n t h e p e a r l t h e r e is d e a t h , ' h e said.
T h e s e r v a n t r e p l i e d , 'P l e a s e f o r g e t y o u r d r e a m s . P u t o n t h e
robe and th e crow n. T h e people w ill n o t reco g n ise a king
w i th o u t a cro w n and a sceptre.'
B u t t h e y o u n g King p u t o n h i s old t u n i c f r o m t h e f o r e s t a n d
t o o k h i s s h e p h e r d ' s sta f f. 'I a r r i v e d i n t h e p a l a c e w i t h t h e s e
c l o t h e s a n d I w i l l le a v e t h e p a l a c e w i t h t h e s e c l o t h e s , ' h e said.
' N o w I a m r e a d y for m y c o r o n a t i o n . '

24

he Coronation
A s e r v a n t a s k e d h i m , ' W h e r e is y o u r c r o w n ? ' A n d h e t o o k a
briar 1 of t h o r n s f r o m h i s b a l c o n y . ' T h i s w i l l b e m y c r o w n , ' h e
replied.
The y o u n g King rode h is h o rs e to th e c a th e d ra l. T h e p eo p le
l a u g h e d w h e n t h e y s a w h i m . ' T h i s is n o t t h e K i n g b u t t h e
King's s e r v a n t , ' t h e y s a i d . H e e x p l a i n e d h i s d r e a m s b u t o n e
man w a s a n g r y a n d s a i d , ' D o y o u n o t k n o w t h a t r i c h p e o p l e
give p o o r p e o p l e w o r k . It is d i f f i c u l t t o w o r k fo r a h a r d m a s t e r
but it is m o r e d i f f i c u l t t o w o r k fo r n o m a s t e r . P l e a s e r e t u r n t o
. the p a la c e a n d p u t o n y o u r c o r o n a t i o n r o b e s . '
'T h e ric h a n d th e p o o r are b r o t h e r s , ' h e r e p lie d , b u t th e
people l a u g h e d a g a i n .
He a r r i v e d a t t h e g r e a t d o o r of t h e c a t h e d r a l b u t t h e s o l d i e r s
stoppe d h i m . ' W h a t do y o u w a n t ? O n l y t h e K i n g c a n e n t e r b y
this d o o r.'
'I a m t h e K i n g , ' h e r e p l i e d . T h e B i s h o p s a w h i m a n d a s k e d ,
'Where is y o u r c r o w n ? W h e r e is y o u r s c e p t r e ? '
T h e y o u n g K i n g t o l d t h e B i s h o p of h i s d r e a m s b u t t h e B i s h o p
a n sw e red , ' L i s t e n t o m e , I a m a n o l d m a n . T h e r e a r e m a n y b a d
things i n t h e w o r l d b u t y o u c a n n o t c h a n g e t h e m all. T h e r e a re
thieves a n d p i r a t e s a n d b e g g ars b u t y o u c a n 't m a k e th e s e
things d i s a p p e a r . T h e y a r e t o o m u c h fo r o n e p e r s o n . G o b a c k t o
the P a l a c e a n d p u t o n y o u r c o r o n a t i o n c l o t h e s . '
But th e y o u n g K ing p a s s e d th e B ish o p a n d e n te r e d th e
c a t h e d r a l . H e w e n t t o t h e a l t a r a n d l o o k e d a t t h e i m a g e of
C h r i s t . H e s a w t h e l i g h t of t h e c a n d l e s a n d t h e s m o k e of t h e

1.

briar : a w i l d r o s e w i t h lo n g , t h o r n y s t e m s .

25

"d ^T H E YOUNG KING

i n c e n s e . S u d d e n l y a c r o w d of p e o p l e r a n i n t o t h e c a t h e d r a l .
T h e y h a d s w o r d s a n d w e r e v e r y a n g r y . ' W h e r e is t h i s King
d r e s s e d i n b e g g a r ' s c l o t h e s ? ' t h e y c r i e d . 'W e m u s t k i l l h i m
b e c a u s e a beggar c a n n o t r u l e us. H e w ill be b a d for o u r c ou n try .'
But t h e y o u n g King p r a y e d s i l e n t l y in f r o n t of t h e altar. T h e n he
t u r n e d a n d l o o k e d at t h e p e o p le sadly.
A t t h a t m o m e n t a r a y of s u n s h o n e i n t o t h e c a t h e d r a l . It
i l l u m i n a t e d th e y o u n g King at th e a lta r. T h e s u n m a d e a
b e a u t i f u l r o b e a r o u n d h i m , r ed r o se s g r e w o n h i s d r y c r o w n of
t h o r n s a n d w h i t e lilies grew o n h is staff. T h e rose s w e r e redder
t h a n r u b i e s a n d t h e lilies w e r e w h i t e r t h a n pearls. M u s i c started
to p l a y a n d v o i c e s s t a r t e d to sing. T h e g l o r y of G o d f i ll e d the
c a t h e d r a l. T h e p e o p le k n e l t dow n.
'H e is c r o w n e d 1 b y s o m e o n e g r e a t e r t h a n m e , ' t h e Bishop said
a n d h e k n e l t in f r o n t of t h e y o u n g King. T h e b o y c a m e f r o m the
a l t a r a n d p a s s e d t h e people. But t h e y d i d n 't h a v e t h e courage to
l o o k a t h is face b e c a u s e it w a s t h e face of a n angel.

1.

c ro w n e d : o f f ic ia lly d e c l a r e d k in g .

26

UNDERSTANDING THE TEXT

P E T < ^ Look a t th e s e n te n c e s b e lo w a b o u t th e w h o le story. D e cid e if e a c h
s e n te n c e is correct or incorrect. If it is correct m ark A, if it is not
correct m ark B.
A

1. The young King finds beautiful jewels in India.

2. Servants put gold on his pillow.

3. The young King has three dreams.

4. The m an in the first dream has a bad master.

5. In the second dream the ship's master gives

the young King a pearl.

6. Death wants a lot of corn from Avarice.
7. The young King doesn't want to wear his
coronation robe.
8. The young King says the rich are more important
than the poor.
9. The people want their king to wear a real crown.
10. The young King is crowned by God.

You w ill h ear M ax a n d Ju lia sp e a k in g . T hey are w a tc h in g th e

/'-N coron ation p ro cessio n of th e y o u n g King.
Listen to their co n v ersa tio n a n d look a t th e su m m ary b elo w . Som e
inform ation is m issin g . Fill in th e m issin g inform ation in th e
n u m b ered s p a c e s .
The y o u n g K ing a rriv e s. He is w e a r in g a 1.......................... of b ria rs a n d a
le a th e r 2...........................
This is s tr a n g e b e c a u s e a k in g u s u a lly h a s a g o ld e n 3...........................
M ax a sk s th e K ing w h y h e is w e a rin g th e c lo th e s of a 4........................
m an.
T he y o u n g K ing th in k s th a t 5........................ a r e im p o rta n t.
'The 6.......................... a n d th e p o o r a r e 7.............................h e say s.
8...........................a g r e e s w ith th e K ing b u t 9.......................... th in k s a k in g
m u s t w e a r a k in g 's 10...........................

28

5=

T he C o r o n a t io n
ere is a p i c t u r e of Q u e e n ' s E l i z a b e t h ' s c o r o n a t i o n in
1953. She is wearing a c row n and holding a sceptre and
an orb 1 in her hand. All of these thin gs are called 'T h e C ro w n

Jewels'. She is w e a r i n g a b e a u t i f u l rob e a n d s i t t i n g on t h e

coronation throne.

Queen Elizabeth II in her Coronation Robes, 1953, by C. Beaton.

V i c t o r i a a n d A l b e r t P i c t u r e L ib r a r y

1. orb : g lo b e .

In 1066 a French n o b l e m a n called William, w e n t to England.

He defeated t h e English and becam e the n e w King. Everyone
called h i m 'W illia m th e C o nq u e ro r' and he was the first king
to be c r o w n e d in W e s t m i n s t e r Abbey. N o w all k i n g s a n d
qu eens are crow n ed here.
A coro na tio n is always a m o m e n t for celebration b u t it is also
a r e l i g i o u s c e r e m o n y . B r i t i s h m o n a r c h s m u s t p r o m i s e to
g o v e r n w i t h j u s t i c e a n d m e r c y 1 w h e n t h e A r c h b i s h o p of
C a n t e r b u r y 2 p u t s the crown on their head.

T h e C r o w n J ewels
T h is is St. Edward's Crown. It was made in 1661
All n e w k i n g s and q u e e n s of E n g la nd w e a r it
at th eir coronations. W hic h jewels can you see
in it?
T h e o r b is m a d e of g o l d a n d w a s
specially designed for th e c o ro natio n of
King C ha rle s II in 1662. T h e m o n a r c h
holds it in his or her right hand. It shows
th a t the king or queen is a Christian.
T h e sw ord r e p r e s e n t s a u t h o r i t y and t h e
ring represe nts dignity.

1.

m e rcy ; c o m p a s s i o n .

2.

A rch b ish o p of C an terb u ry : t h e h e a d of t h e C h u r c h of E n g la n d .

Did you know?

Some interesting facts about the Crown Jewels
-

In 1216 King John loses the Crown Jew els in some

q u ick sa n d .1
Edward III p a w n s2 the jewels to m ake m oney to p ay his
soldiers.

Oliver Cromwell orders them to be destroyed in 1649 because

they are a sym bol of the monarchy.

The state crown contains the famous Koh-i-noor diamond. It is

one of the biggest diam onds in the world and travels from
India to A fghanistan to Persia before it arrives in England as a
gift for Q ueen Victoria.

What d o y o u think?
The y o u n g K ing h a s a g o ld e n robe, a cro w n of ru b ies a n d a
sc e p tr e of p e a r ls. W hat d o y o u think th e s e th in g s rep resen t?
C h oose from th is list. A d d your o w n id e a s if y o u w a n t.

|~1 purity

O authority

power

O blood

m oney

Q justice

J flowers

O beauty

But later h e d e c id e s to w e a r h is le a th e r tu n ic, a cro w n of

thorns a n d to carry a s h e p h e r d s staff. Do y o u think th e se
th in g s rep resen t s o m e th in g different?

1.

q u ick sa n d : d e e p , w e t s a n d w h i c h s u c k s in a n y o n e o r a n y t h i n g o n it.

2.

p a w n s : if y o u p a w n s o m e t h i n g , y o u l e a v e it i n p o s s e s s i o n of a p e r s o n (a
p a w n b r o k e r ) w h o w i l l g iv e y o u m o n e y fo r it a n d w i l l k e e p it u n t i l y o u c a n p a y
back th e m o ney .

PRO JECT

on

THE WEB

M O N A R C H I E S A R O U N D THE WOR LD

Work in groups to f i nd i nf or mati on about d i f f e r e n t

monarchies around the world.
Use one of the fol l owi ng search engines to help you:
http: / / www. al t avi s t a. c o m
h t t p : / /www.yahoo.com

UJ
O

Wi th your group decide what you want to research and

type i n:
Monarchy
B r i t i s h Royal family*
Monarchies around the wortld
Monarchy of.... (name of count r y) '
Make pr esentati ons to show the others in your cl ass
what you have found. Whv not d i s p l a y your work on the
classroom wal l ?
M

T: GRADE 5

Topic - C eleb ration s

Find so m e in fo rm a tio n /a picture a b ou t a celeb ra tio n su ch a s
a royal w e d d in g , if p o ssib le from your country.
Tell th e c la s s ab ou t th e c ele b r a tio n u sin g th e se q u estio n s to
h e lp you:
a . W h ere a n d w h e n w a s th e c e le b ra tio n ?
b. W ho a tte n d e d th e c e le b ra tio n a n d w h a t d id th e y d o to
c e le b ra te ?
c. D escrib e th e c lo th e s, food a n d m usic.
d. H a v e y o u b e e n to a c e le b ra tio n s u c h a s a w e d d in g , a
c a r n iv a l, or a s p e c ia l b irth d a y ? C a n y o u d e s c rib e it?

32

T H E S T A R -C H IL D

BEFORE YOU READ

T hese w ords from th e story are c o n n e c te d to Nature.
a. M atch the w ords to the pictures.
b. Put th em into the correct colu m n in the ta b le on p a g e 35.
c. A dd three m ore w ords to e a c h colum n.

'- j Y *
1- forest
2- h a r e

4
n

3.

violets

4.

fly

5.

sn ak e

6- c a v e
7. p in e

8- squirrel
9. tre e

10. daffodils
11

to a d

12. I I m o le
0

(A

34

A n im als

R eptiles a n d
insects

P laces

P lan ts a n d
flow ers

C ircle th e b e s t a lte r n a tiv e .

a. Aeroplanes fly / k n e e l in the sky.
b. Babies fly /c r y w h en they are hungry.
c. Friends b e a t / h u g e a c h other w h en they are happy.
d. Detectives k iss / fo llo w suspects.

C on n ect th e w o rd to th e s ta te m e n t.

1. U hunger

a . 'I hate snakes an d spiders.'

2. | | punishm ent

b. 'Wow!!!'

3. |_| prophecy

c.

4. O hatred

d. 'You are a b ad m an, but you

'I haven't got a n y food to eat.'

will not g o to prison. I will g iv e you a
second chance.'

5. O wonder

e . 'In the year 2012 you will

b ecom e very rich.'

6 . pity

f.

'You are a very b ad dog.

No ice-cream for you today!'

7. Q] m ercy

g. 'You h a v e more problems than me.

I will help you.'

C on n ect th e w ord to th e picture.

in i i

a. pot

b. t r a p

c.

c h a in

d. c h e s t

e. c r o w d

f.

w in g s

Look a t th e p ic tu re o n p a g e 39.
a . W ith y o u r p a r t n e r d e s c r ib e th e s c e n e .
b. W h o d o y o u th in k th e tw o p e o p le a r e ?
c . W h a t d o y o u th in k th e y a r e fe e lin g ?
d. W h a t d o y o u th in k w ill h a p p e n ?

36

P A R T

O N E

The Baby
%/

n e w i n t e r n i g h t in a big forest of p i n e trees, tw o

w o o d c u t t e r s 1 w e r e w a l k i n g h o m e . It w a s very,
ve ry cold a n d t h e r e w a s s n o w o n t h e g ro u nd . T h e
t r e e s w e re cold, th e b ird s w e r e c o ld a n d th e
animals w e r e cold. T h e r a b b i t s s t a y e d i n t h e i r r a b b i t h o l e s a n d
the squirrels s t a y e d i n t h e trees.
But t h e t w o w o o d c u t t e r s c o n t i n u e d t h e i r journey. T h e y p r a y e d
to Saint M a r t i n t h e p r o t e c t o r of tr a v e ll e r s a n d fin ally t h e y sa w
the lights of t h e i r l i t t l e vi llage in t h e d i s t a n c e . T h e y w e r e very
happy and laughed. T h e E a r t h n o w s e e m e d l ik e a f lo w e r of silver
and the m o o n s e e m e d l ik e a f l o w e r of gold. But so o n t h e y b e c a m e
sad again. 'W h y w e r e w e so h a p p y ? ' a s k e d o n e w o o d c u t t e r . 'Life
is for rich people, n o t p o o r pe o p le lik e us. It is b e t t e r if w e die in
the snow or if a w i l d a n i m a l e ats us.'

1, w o o d c u t t e r s ; p e o p l e w h o c u t d o w n t r e e s as a job.

37

THE STAR-CHILD
Su dd e n ly , s o m e t h i n g v e r y s t r a n g e h a p p e n e d . A v e r y b r i g h t and
b e a u t i f u l s t a r fell f r o m t h e s k y i n t o t h e snow .
'L o o k , ' s a id o n e of t h e w o o d c u t t e r s to h i s friend, ' p e r h a p s we
w i l l fi n d a p o t of gold. L et's go a n d see!'
W h e n t h e y a r r i v e d t h e y f o u n d a t h i n g of g o ld o n t h e w h i t e
s n o w . B u t i t w a s n ' t t h e t r e a s u r e t h e y w a n t e d . It w a s a golden
c l o a k w i t h g o l d e n s t a r s o n it. T h e y o p e n e d t h e c lo a k a n d inside
t h e y s a w a l i t t l e baby, s l e e p i n g . R o u n d t h e b a b y 's n e c k w a s a
c h a i n of a m b e r .
' T h i s is n o t g ood,' sa id o n e of t h e m . 'L e t's lea ve t h e b a b y here.
We h a v e t o o m a n y c h i l d r e n a n d n o t e n o u g h m o n e y to b u y food. I
d o n ' t w a n t a n o t h e r c h il d . '
'B u t w e c a n ' t lea v e t h i s l i t t l e b a b y h e r e a l o n e , ' sa id t h e other
w o o d c u t t e r . ' H e w i l l s u r e l y die. I w i l l t a k e h i m h o m e w i t h me.
We h a v e m a n y c h i l d r e n a n d n o t e n o u g h food, b u t m y w ife will
l o o k a ft e r h i m . ' A n d t h e good w o o d c u t t e r t o o k t h e b a b y in his
arm s and c o n tin u e d his journey hom e.
W h e n t h e y a r r i v e d a t t h e i r v i ll a g e t h e f i r s t w o o d c u t t e r said,
'You h a v e t h e c h i l d so y o u m u s t give m e t h e c lo a k of gold.'
But h i s f r i e n d a n s w e r e d , 'N o , t h i s c lo a k is n o t y o u r s or mine.
It is t h e b a b y 's c lo a k . It m u s t s t a y w i t h h i m . '
T h e w o o d c u t t e r ' s w if e w a s v e r y h a p p y to see h e r h u s b a n d . She
p u t her arm s round h im and kissed him .
'I f o u n d s o m e t h i n g in t h e fo res t a n d I b r o u g h t i t h o m e for you,'
h e said.
'G o o d , w h a t is it? We are v e r y p o o r a n d w e n e e d m a n y things.'
B ut s h e w a s v e r y a n g ry w h e n s h e s a w t h e baby. 'We h av e too
m a n y c h i l d r e n a lr e a d y a n d n o t e n o u g h m o n e y to b u y food. I don't
w a n t a n o t h e r c h i l d , ' s h e said. B ut t h e n s h e l o o k e d a t t h e baby

38

THE STAR-CHILD
a n d h e r h e a r t w a s f u l l of pity.
' H e is a S t a r - C h i l d / s a i d h e r h u s b a n d . 'W e m u s t l o v e h i m . '
So t h e w o m a n p u t t h e b a b y i n a l i t t l e b e d to sleep. She p u t the
c l o a k a n d t h e c h a i n i n t o a c h e s t . 'Yes, w e w i l l l o v e h i m / she
answered.

40

UNDERSTANDING THE TEXT

C o m p lete th is su m m a ry of Part O ne. W rite o n e w ord in e a c h s p a c e .
Two 1...................... a r e w a lk in g h o m e . It is w in te r a n d 2.......................... a r e
tired a n d v e ry c o ld . S u d d e n ly th e y s e e s o m e th in g fall o u t of th e
3...........................T h e y g o to s e e w h a t it is a n d th e y fin d a b a b y : a
T he b a b y h a s a 5....................c lo a k a n d a c h a in of
4.......................-Child!
a m b e r ro u n d his 6........................... O n e of th e w o o d c u tte rs d e c id e s to ta k e
th e 7...................... w ith h im . W h e n h e a rriv e s h o m e his 8........................ is
v e ry a n g r y b e c a u s e th e y h a v e to o m a n y 9........................ a n d n o t e n o u g h
10........................ to fe e d th e m . But th e n s h e feels 11........................ for th e
b a b y a n d p u ts h im in a 12...................... to s le e p a n d d e c id e s to lo v e him .

The first w o o d cu tter took th e b a b y h o m e to h is w ife. The s e c o n d

w ood cu tter w e n t h o m e a lo n e . I m a g in e y o u a r e th e s e c o n d
w ood cu tter a n d in v e n t th e a n sw e r s to th e s e q u estio n s.
N a m e ...

A g e ...

W ife's n a m e ...

Now w ork w ith a partner: talk a b o u t th e s e q u e stio n s in your

la n g u a g e a n d th en ta k e turns to b e th e s e c o n d w o o d cu tter a n d a
journalist. C o m p lete th e in terv iew a n d th en a c t it out.
Journalist: Hello... (n a m e of w o o dcutter), I u n d e rs ta n d so m e th in g v e ry
stra n g e h a p p e n e d to y o u to d a y . Is it OK if I a sk y o u so m e q u estio n s?
Woodcutter: Yes, of course.
Journalist: First, tell m e w h a t h a p p e n e d w h e n y o u w e re c o m in g h o m e in
th e forest.
Woodcutter: W ell, m y friend a n d I w e re w a lk in g h o m e. It w a s v e ry co ld
a n d su d d en ly ...
Journalist: V ery in terestin g a n d w h a t d o y o u th in k a b o u t th e b a b y , th e
c h a in of a m b e r a n d th e c lo a k of go ld ?
Woodcutter: I th in k ...
Journalist: W h a t d o y o u think of y o u r friend's d ecisio n ? Do y o u a g r e e w ith
him ? D id h e d o th e rig h t th in g
Woodcutter: H m m m . T h a t's a difficult q u e stio n . I th in k ...
Journalist: W h a t w ill y o u tell y o u r w ife w h e n y o u g e t h o m e ? Will s h e
b e h a p p y or a n g r y w ith y o u ?
Woodcutter: M y w ife w ill...

P A R T

T W O

Tke M other
h e S t a r - C h i l d l i v e d w i t h t h e w o o d c u t t e r a n d his
f a m i l y b u t h e w a s v e r y d i f f e r e n t f r o m them.
E very

year

th e

S tar-C h ild

becam e

more

b e a u t i f u l : h i s s k i n w a s w h i t e l i k e iv o ry , h i s hair
w a s g o l d l i k e t h e d a ff o d i l s , h i s l ip s w e r e l i k e t h e p e t a l s of a red
f l o w e r a n d h i s e y e s w e r e b l u e l i k e t h e v i o l e t s n e a r a r iv e r . The
o t h e r p e o p l e i n t h e v i l l a g e h a d b l a c k h a i r a n d b l a c k e y e s and
th ey w a tch e d th e Star-C hild in wonder.
T h e S t a r - C h i l d w a s v e r y b e a u t i f u l b u t v e r y c r u e l , arrogant
a n d s e l f i s h . H e l a u g h e d a t t h e o t h e r c h i l d r e n i n t h e v i ll a g e and
sa id , ' Y o u r p a r e n t s a r e p o o r b u t I a m n o b l e , I c o m e f r o m a star,'
H e h a d n o p i t y for p o o r p e o p l e . H e l a u g h e d a t u g l y p e o p l e and
i ll p e o p l e . H e h u r t 1 a n i m a l s a n d h e l a u g h e d w h e n t h e y suffered.

1.

h u r t : g a v e p a i n to .

42

The M other
He w as v e r y v a i n a n d l o v e d h i s b e a u ty . In s u m m e r he o f te n
went to t h e w e l l 1 in t h e p r i e s t ' s o r c h a r d a n d l o o k e d a t t h e
reflection of his face in th e water. T h e n he was happy.
The w o o d c u t t e r and h is wife t r e a t e d t h e boy w e ll b u t th e y
were very sad. T h e y often said to h im , 'We were good to you. We
felt pity for you. W hy are you so cruel? W hy do you act in this
way?'
T he p r i e s t w a s v e r y w o r r i e d a n d s a id to h i m , 'Y ou m u s t
respect all God's creatures. Even the fly is your brother. W hy do
you cause pain to others?'
But th e Star-C hild didn't listen. He c o n t in u e d to h u r t an im als
and laugh at t h e p r o b le m s of o th e r people. T h e o t h e r c h ild re n
followed h i m b e c a u s e h e w a s b e a u t i f u l a n d c o u l d d a n c e a n d
make music. T h e y followed his orders. He was their leader and
they becam e cruel and hard like him .
One day a p o o r b e g g a r w o m a n a r r i v e d in t h e v ill a g e . H e r
clothes were very old and to rn and she had no shoes on her feet.
She was very tired and sat u n d e r a tree to rest. T h e Star-Child
saw her and said to his friends, 'Look at t h a t ugly w o m a n . We
don't w ant her here,' and th e y s ta rted to th r o w stones at the poor
woman. She was terrified b u t she didn't stop looking at the StarChild.
'What are y o u doing?' s h o u t e d th e w o o d c u t t e r w h e n he saw
this. 'Stop im m ed ia tely . W hy do you have no pity for this poor
woman?'

1. well :

43

THE STAR-CHILD
'I w i l l n o t l i s t e n t o y o u . Y ou a re n o t m y f a t h e r / r e p l i e d the
Star-C hild.
' T h i s is t r u e , b u t w h e n I f o u n d y o u i n t h e f o r e s t I h a d p i t y for
you.'
T h e o l d w o m a n w a s l i s t e n i n g a n d w h e n s h e h e a r d t h e s e words
s h e s c r e a m e d a n d f a i n t e d . 1 T h e w o o d c u t t e r c a r r i e d h e r i n t o his
h o u s e a n d h i s w i f e p u t m e a t a n d d r i n k o n t h e t a b l e for he r. But
s h e d i d n o t e a t or d r i n k . She a s k e d , ' D i d t h i s c h i l d c o m e f r o m the
f o res t? D i d h e h a v e a g o ld c l o a k w i t h s t a r s o n it? D i d t h i s happen
a b o u t t e n y e a r s ago?'
T h e w o o d c u t t e r w a s v e r y s u r p r i s e d . 'Yes,' h e r e p lie d .
'A n d did h e hav e an a m b e r c h a in r o u n d his n eck?'
'Yes h e d i d ,'' s a i d t h e w o o d c u t t e r . ' C o m e w i t h% m e a n d I will
sh o w you th e cloak and th e chain.'
T h e w o m a n l o o k e d a t t h e s e t h i n g s a n d s t a r t e d to c r y w i t h joy.
' H e is m y l i t t l e so n. I a m h i s m o t h e r , ' s h e said. 'I l o s t h i m in the
f o r e s t t e n y e a r s ago a n d I l o o k e d all o v e r t h e w o r l d for h i m . Now
I h a v e h i m a g a i n . ' T h e w o o d c u t t e r w a s v e r y s u r p r i s e d a n d called
t h e boy. ' C o m e i n t o t h e h o u s e a n d y o u w i l l f i n d y o u r m o t h e r . '
T h e S t a r - C h i l d w a s v e r y h a p p y a n d r a n i n b u t w h e n h e saw her
h e said, ' W h e r e is m y m o t h e r ? I c a n see n o - o n e , o n l y a horrible
beggar w o m a n .'
'I a m y o u r m o t h e r , ' s h e said.
' Y o u a r e m a d . I a m n o t y o u r s o n : y o u a r e d r e s s e d in old
c l o t h e s , y o u a re a b e g gar w o m a n a n d I a m a S t a r - C h i l d ! '
'B u t I r e c o g n i s e d y o u w h e n I s a w y o u a n d I r e c o g n i s e d your

1.

fa in te d : lo s t c o n sc io u s n e s s .

44

'

THE STAR-CHILD
c l o a k of g o l d a n d y o u r c h a i n of a m b e r . R o b b e r s s t o l e y o u from
m e . C o m e t o m e , m y s o n . Y o u r l o v e is v e r y i m p o r t a n t fo r m e .'
S h e o p e n e d h e r a r m s t o h i m b u t h e w a s v e r y a n g r y a n d c lo sed
t h e d o o r s of h i s h e a r t t o h e r.
T h e w o m a n c r i e d . 'K i s s m e b e f o r e I go b e c a u s e I t r a v e l l e d all
over th e w o rld an d I suffered m u c h to find y o u .'
' N e v e r . Y o u a r e v e r y ugly. I p r e f e r t o k i s s a t o a d o r a s n a k e . '
T h e w o m a n s t o o d u p a n d w e n t o u t of t h e h o u s e . S h e was
c r y i n g v e r y m u c h . T h e S t a r - C h i l d w a s v e r y h a p p y w h e n she
w e n t. H e t h e n w e n t to play w i t h h is friends.

46

UNDERSTANDING THE TEXT

Choose the correct words to com plete the senten ces

Tick A, B, C orD .
1. The Star-Child has

5.

I I A black hair an d blue

ey es
B blonde hair a n d white
skin
I I C black hair an d blue
skin
[ J D blonde hair an d black
ey es

The old w om an
I I A throws stones at the
Star-Child
_J B has no pity lor the
woodcutter
C is very poor an d tired
I D w ants the chain of
amber

6 . She knows the Star-Child is

2. The woodcutter an d his wife

her son

a are happy with the

boy
b don't understand w hy
the boy is cruel
C think the boy is funny

IJ A w hen she hears the

woodcutter's words
I I B w hen he starts to
throw stones at her
0 C b ecau se she knows his
address
1 I D b ecau se h e says 'Hello
Mother'

I I D love to p lay with the

boy
3. The priest

1 ! A thinks the Star-Child is

beautiful
HD B laughs at the problems
|_| C loves the Star-Child
|_J D says that all anim als
are men's brothers
4. The other children

I I A love to p lay with the

anim als
B listen to the priest
C don't like the Star-Child
Q D b ecom e like the
Star-Child

47

7.

The Star-Child
I I A w ants to kiss a snake
I I B thinks the w om an is
very ugly
c is h app y to m eet his
mother
D recognises the w om an
im m ediately

PA RT

T H R E E

The Punishment
he Star-Child went to his friends but when they
saw him they laughed at him. 'We don't want to
play with you now because you're ugly/ they said.
'Why do they say these things to me?' he thought.
He went to the well to look at his reflection. He was different
now: he had a face like a toad and skin like a snake.
Then the Star-Child understood and started to cry. 'This is my
punish m ent,' he said. 'I am very cruel and my m othe r suffered.
Now I m u st find her and say sorry.'
T h e w o o d c u t t e r ' s l i t t l e d a u g h t e r s a i d to h i m , ' I t ' s n o t
important if you're ugly. Please stay. I will not laugh at you.'
'No, this is my punish m en t,' he replied. 'I treated my mother
very badly and now I m u st find her.'
He ran into the forest calling, 'Mother! Mother! I'm sorry,
please come back.' All day he called but nobody answered. When
night came he slept on a bed of leaves, but when the animals saw

48

P A R T

T H R E E

THE STAR-CHILD
h i m t h e y r a n a w a y . T h e y k n e w t h a t h e w a s a c r u e l boy.
H e s a i d t o t h e m o l e , 'Y o u c a n go u n d e r t h e g r o u n d . T e l l m e if
m y m o t h e r is t h e r e ? '
T d o n ' t k n o w if y o u r m o t h e r is t h e r e . I c a n n o t s e e b e c a u s e you
h u r t m y e y e s / replied th e m ole.
H e s a i d t o a l i t t l e b i r d , 'Y o u c a n f l y o v e r t h e t r e e s . T e l l m e if
y o u c a n se e m y m o t h e r . '
'I d o n ' t k n o w if y o u r m o t h e r is t h e r e . I c a n n o t fly b e c a u s e you
h u r t m y w i n g s / re p lie d th e bird.
H e s a w a l i t t l e s q u i r r e l a n d a s k e d , ' W h e r e is m y m o t h e r ? '
'I d o n ' t k n o w , ' r e p l i e d t h e s q u i r r e l . 'Y o u k i l l e d m y m o t h e r . Do
y ou w a n t to kill y o u r m o th e r too?'
T h e S t a r - C h i l d h e a r d a ll t h e s e t h i n g s a n d h e c r i e d a n d prayed
t o G o d to f o r g i v e h i m . H e t r a v e l l e d t o m a n y d i f f e r e n t villages to
f i n d h i s m o t h e r , a n d t h e c h i l d r e n of t h e s e v i l l a g e s l a u g h e d at him
a n d t h r e w s to n e s at h i m . N o b o d y h a d p ity for th e Star-C hild.

50

U N D E R ST A N D IN G THE T E X T
Who is speaking and who is listening?
Here's a n e x a m p le :
'We don't w a n t to p la y w ith you .'
T h e c h ild r e n a r e s p e a k i n g .
T h e S t a r - C h i l d is lis te n in g .

a. 'This is m y p u n ish m en t.'

b. 'P lease sta y . I w ill not la u g h a t you .'

c. 'You c a n g o u n d er th e ground.'

d. 'I c a n n o t fly b e c a u s e y o u hurt m y w in gs.'

e. 'You k illed m y m other.'

Find a word in Part Three which means:

a. A h o le in th e g ro u n d w ith w a ter in it.
b. This co v ers a ll of your b o d y .
c. They are u su a lly g r e e n a n d g ro w o n trees.

d. A sm all a n im a l w h o liv es u n d er th e grou n d

a n d c a n n o t s e e v er y w ell.
e. Sm all to w n s in th e cou n trysid e.

51

PA RT

FOUR

*
Tkree Pieces of Gold
or three years the Star-Child walked around the
world but he didn't find his mother. One day he
arrived at the gates of a city near a river with a
big wall a ro und it. T he soldiers there stopped
him. 'What are you doing here?' they asked.
'I 'm l o ok in g for m y m o t h e r / he said. 'Pleas e let me pass.
Perhaps she is in this city.'
'Who is your m othe r and why are you looking for her?' asked
another soldier.
'She is a poor beggar like me and I was very cruel to her. Now I
want her pardon.'
But the soldiers laughed. 'You are very ugly. No mother loves
an ugly child. She will not be happy to see you. Come with us.
We will sell you to be a slave.'
They sold the Star-Child to an old man for the price of a cup of
-

52

Three Pieces of Gold

s w e e t w i n e . T h i s o l d m a n w a s a m a g i c i a n 1 f r o m L ib y a . T h e
Ma gician t o o k t h e b o y to a d a r k p r i s o n a n d gave h i m a p i e c e of
old b r e a d a n d s o m e d i r t y w a t e r . T h e n e x t day h e said, ' N o w y o u
m u s t go i n t o t h e f o r e s t. In t h e f o r e s t t h e r e are t h r e e p i e c e s of
gold: o n e is of w h i t e gold, o n e is of y e l l o w gold a n d t h e o t h e r is
of red gold. You are m y slav e a n d if y o u do n o t b r i n g m e t h e p ie c e
of w h i t e go ld I w i l l b e a t y o u o n e h u n d r e d t i m e s . '
So t h e S t a r - C h i l d w e n t to t h e fo r e s t to l o o k for t h e w h i t e gold
but h e f o u n d o n l y m a n y t h o r n s 2 a n d d a n g e r o u s p l a n t s . H e c o u l d
not f i n d t h e w h i t e g o l d a n y w h e r e . W h e n t h e s u n s t a r t e d t o
d isappear t h e b o y s t a r t e d t o cry. H e k n e w t h a t t h e M a g i c i a n
wanted to b e a t h i m . S u d d e n l y h e h e a r d a cry of p a i n a n d s a w a
little h a r e in a trap. H e fo rgo t h i s p r o b l e m s . H e felt p i t y for t h e
hare a n d o p e n e d t h e trap.
'T h a n k y o u , y o u are v e r y k i n d , ' said t h e h a re . ' T h a n k s to y o u I
have m y f r e e d o m . W h a t c a n I give y o u ? '
'I m u s t f in d a p i e c e of w h i t e gold for t h e M a g i c i a n . If I d o n 't
take it to h i m h e w i l l b e a t m e . '
'I w ill h e lp y o u , ' said t h e hare. 'I k n o w w h e r e to f in d t h e w h i t e
gold.' H e t o o k t h e S t a r - C h i l d to a t r e e a n d in t h e t r e e h e f o u n d
the gold. T h e S t a r - C h i l d w a s v e ry h a p p y a n d t h a n k e d t h e hare .
He r e t u r n e d t o t h e city . B u t a t t h e c i t y g a t e h e s a w a n o ld
man. T h i s o ld m a n w a s v e r y ill a n d v e ry poor.
'Give m e s o m e m o n e y . If y o u d o n ' t give m e s o m e m o n e y I w ill
die of h u n g e r ! ' s h o u t e d t h e old m a n . T h e S t a r - C h i l d felt p i t y for

m agician : a p erso n w h o h a s m a g ic p o w ers.

th orn s :

53

' * ! ' THE STAR-CHILD

t h e o l d m a n b u t h e o n l y h a d t h e p i e c e of w h i t e g o l d fo r t h e
M a g ic ia n . 'T h e old m a n n eed s th e m o n e y m o re th a n m e /
t h o u g h t t h e S t a r - C h i l d a n d gave h i m t h e gold.
T h e M a g i c i a n w a s v e r y a n g ry w h e n h e s a w t h a t t h e S tar-C hild
d i d n ' t h a v e t h e gold a n d h e b e a t t h e boy. H e p u t h i m in prison
w i t h n o food a n d n o w a ter.
T h e n e x t day t h e M a g i c i a n said, 'T o d a y y o u m u s t r e t u r n to the
fo r e s t a n d find t h e p iec e of y e l l o w gold. If y o u do n o t do this I
w ill b e a t y o u t h r e e h u n d r e d t i m e s . ' T h e boy w e n t i n t o t h e forest
a n d l o o k e d for t h e gold. H e l o o k e d all day lo n g b u t h e c o u l d not
f ind it. F i n a ll y h e sat u n d e r a tr e e a n d s t a r t e d to cry. T h e hare
h e a r d h i m a n d a sk ed , 'W h y are y o u crying?'
'I m u s t f i n d t h e p i e c e of y e l l o w g old. If I d o n ' t f i n d it the
M a g i c i a n w i l l b e a t m e .'
'F o ll o w m e. I w i l l s h o w y o u t h e y e l l o w gold,' sa id t h e h a re and
h e t o o k t h e S t a r - C h il d to a p o o l 1 of w a t e r . A t t h e b o t t o m of this
p o o l h e f o u n d t h e p iec e of y e l l o w gold.
T h e S t a r - C h il d r e t u r n e d to t h e c it y b u t a t t h e c it y gate he saw
t h e o ld m a n again. 'G i v e m e s o m e m o n e y . If y o u d o n 't give me
m o n e y I w i l l die of h u n g e r ! ' h e s h o u t e d . T h e S t a r - C h i l d felt pity
for t h e old m a n a n d gave h i m t h e gold.
T h e M a g i c i a n w a s v e r y angry. 'W hat!? N o gold? N o gold, no
foo d a n d n o w a t e r ! ' H e b e a t t h e S t a r - C h i l d a n d p u t c h a i n s on him
a n d p u t h i m in p r i s o n again.
T h e n e x t day t h e M a g i c i a n said, 'T o d ay y o u m u s t r e t u r n to the
fo r e s t a n d fi nd t h e p iec e of red gold. If y o u f in d it, y o u will be

1.

pool :

54

THE STAR-CHILD
free. If y o u do n o t f i n d it, I w i l l k i l l y o u . ' T h e b o y w e n t i n t o t h e
f o r e s t a n d a ll d a y l o n g h e l o o k e d fo r t h e g o l d b u t h e c o u l d n o t
f i n d it. I n t h e e v e n i n g h e s a t u n d e r a t r e e a n d s t a r t e d t o cry. T h e
h a r e h e a r d h i m a n d a s k e d , ' W h y a re y o u c r y i n g ? ' T h e S t a r - C h i l d
ex p la in e d e v e ry th in g a n d again th e hare h e lp e d h im . T h is tim e
h e f o u n d t h e g o l d i n a c a v e n e a r t h e tree .
' T h a n k y o u , t h a n k y o u , ' s a i d t h e b o y a n d h e r a n b a c k to the
city.
A t t h e c i t y g a t e h e s a w t h e o l d m a n . ' G i v e m e s o m e m o n e y . If
y o u d o n ' t g i v e m e m o n e y , I w i l l d i e ! ' h e s h o u t e d . T h e S t a r - C h il d
f e l t p i t y f o r t h e o l d m a n a n d g a v e h i m t h e g o l d . ' Y o u n e e d it
m o r e t h a n m e , ' h e said , b u t h e w a s v e r y s a d a n d h i s h e a r t was
very heavy. 'T h e M agician w ill kill m e ,' he th o u g h t.
B u t w h e n h e p a s s e d t h e g u a r d s a t t h e c i t y g a t e s t h e y b o w e d 1 to
h i m a n d said , 'L o o k a t o u r b e a u t i f u l L o rd !' T h e Star-C hild
w a l k e d t h r o u g h t h e c i t y a n d m o r e a n d m o r e p e o p l e f o l l o w e d him.
T h e y a ll said, ' H e is t h e m o s t b e a u t i f u l b o y i n t h e w o r l d . ' But the
S t a r - C h i l d w a s v e r y sad, ' T h e y a re l a u g h i n g a t m e , ' h e thought.
H e w a l k e d f o r a l o n g t i m e a n d f i n a l l y a r r i v e d i n a b i g square f
w h e r e t h e r e w a s a k i n g ' s p a l a c e . T h e p e o p l e sa id , 'Y o u are our
L ord, t h e s o n of o u r k i n g ! '
'I a m n o t a k i n g ' s so n . I a m t h e s o n of a p o o r b e g g a r woman.
W h y do y o u s a y t h a t I a m b e a u t i f u l ? I k n o w I a m v e r y ug ly.'
' W h y do y o u s a y t h a t y o u a re ugly? L o o k ! ' s a i d a soldier. The
'

1.

b o w e d : in c lin e d th e ir h e a d s to s h o w r e sp e c t.

2.

s h ie ld :

56

"

Three Pieces of Gold

l ik e a m i r r o r . T h e r e h e s a w h i s f ac e a n d s a w t h a t h i s face w a s
b e a u t i f u l l i k e b e fo re .
' T h e r e is a p r o p h e c y / s a i d t h e p e o p l e , ' t h a t o n t h i s d a y o u r
king w ill c o m e . You are o u r k in g . T a k e t h is c ro w n a n d t h is
s c e p tre .1 G o v e rn us w ith justice and w ith m ercy.'
' N o , I a m a b a d b o y , ' h e r e p l i e d . 'I m u s t f i n d m y m o t h e r , I
cannot accept th e cro w n and th e sceptre.'
He t u r n e d to w a r d s th e c ity gate. In th e c ro w d h e saw h is
m o th e r , t h e b e g g a r w o m a n . T h e n n e x t t o h e r h e s a w t h e old m a n
from t h e c i t y gate.
H e r a n t o t h e w o m a n , k n e l t i n f r o n t of h e r a n d k i s s e d h e r feet.
' M o t h e r I a m so sorry. P l e a s e forg ive m e . O n c e I g a v e y o u m y
hatred. P l e a s e give m e y o u r lo v e n o w . '
But t h e w o m a n d i d n ' t s p e a k . T h e S t a r - C h i l d s p o k e to t h e old
man. 'P le a s e , I h e l p e d y o u t h r e e t i m e s . P l e a s e t e l l m y m o t h e r to
speak to m e . '
But t h e o l d m a n d i d n ' t s p e a k . T h e S t a r - C h i l d s t a r t e d t o cry.
'Please fo rg iv e m e , M o t h e r . P l e a s e forg ive m e . '
T h e w o m a n p u t h e r h a n d o n t h e b o y 's h e a d a n d said, ' S t a n d
up.' T h e o l d m a n p u t h i s h a n d o n t h e b o y 's h e a d t o o . W h e n t h e
Star-Child s t o o d u p h e s a w t h a t t h e b e g g a r w o m a n w a s a q u e e n
and t h e o l d m a n w a s a k in g . T h e q u e e n s a i d t o h i m , ' T h i s is y o u r
father. You h e l p e d h i m t h r e e t i m e s . ' A n d t h e k i n g sa i d t o h i m .
'This is y o u r m o t h e r . You w a s h e d h e r f e e t w i t h y o u r t e a r s . '
The b o y h u g g e d 2 t h e m a n d k i s s e d t h e m b o t h . T h e y t o o k h i m

2.

h u g g ed : p u t h is a rm s a ro u n d .

57

* t " THE STAR-CHILD

t o t h e p a l a c e arid t h e y p u t a c r o w n o n h i s h e a d a n d a s c e p t r e in
his hand.
H e w a s a v e r y g o o d k i n g a n d s h o w e d j u s t i c e a n d m e r c y to
e v e r y o n e . H e s e n t g i f t s t o t h e w o o d c u t t e r a n d h i s f a m i l y . He
h e l p e d p o o r p e o p l e , h e w a s k i n d t o t h e a n i m a l s a n d b i r d s and
t h e r e w a s p e a c e i n a ll t h e lan d .
U n f o r t u n a t e ly he died after th re e years b e ca u se h e suffered a
l o t i n h i s lif e a n d t h e n e x t k i n g w a s a c r u e l k in g .

60

UNDERSTANDING THE TEXT

C h o o se th e b e s t a lte r n a tiv e to c o m p le te th e s e n t e n c e s in th is
su m m a r y of Part Four.

The Star-Child finally arrives in a v illa g e / b ig city . At the g a tes he

m eets som e soldiers. They tell him t h a t 2 m o th ers d o n t lo v e u g ly
c h ild r e n / h is m o th er is in th e city . The soldiers sell the Star-Child to
3a m a g ic ia n / a s la v e . He takes the b oy to a prison an d g iv es him
4o ld b r e a d / s w e e t w in e . The M agician promises to 5hit / free him if

he finds the 6w h ite g o ld / h a re. The Star-Child sees a hare in a

7 trap / h o le an d helps him to escap e. The hare helps him to find the
w hite gold in 8a c a v e / a tr e e but he giv es it to 9 a m a g ic ia n / a n o ld
m a n . The M agician is very 10 h u n g r y / a n g r y an d puts the Star-Child
in prison again . The next d a y he finds the y ellow gold 11 in a p o o l /
u n d er a tr e e The red gold is 12 a t th e c ity g a t e / in a c a v e . W hen he
returns to the city the 13 p e o p le th in k / M a g ic ia n th in k s that the boy is
14a so ld ie r / a k in g . The Star-Child discovers that his mother is a
15q u e e n / b e g g a r w o m a n . He b ecom es a very 16poor / g o o d king.

W hat d o y o u th in k ?
a. W hy does the Star-Child b ecom e u gly in Part Three an d beautiful

a g a in in Part Four?
b. All of these characters treated the Star-Child badly: the soldiers,

the M agician, the old m an, his mother. Do you agree?

c. Who treated him the worst?
d. Do you think 'The Star-Child' is a h ap p y or a sad story? Why?

Listen to this con versation tw ice a n d fill in th e g a p s w ith th ese

words.
k n o w * g iv e
have

b rin g
e a r ly
w ake up
g en ero u s ru d e
s le e p

u g ly
poor

eat

T h e M a g i c i a n a n d the Star-Child a r e talking early o n e m o r n i n g .

M a g ic ia n :

Come on boy, 1........................

Star-Child:

What time is it? Is it morning already?

M a g icia n :

It's 6 o'clock.

Star-Child:

6.00! That's very 2.........................Can 1 3...................... some

more, please?

M a g ic ia n :

What? This is a prison, boy, not a hotel!

Star-Child:

Alright, alright. Can I h a v e som ething to 4.....................

then?

M a g icia n :

You can 5...................... this piece of bread.

Star-Child:

Thank you very much. Very 6.........................What's your

t
nam e?

M a g icia n :

I haven't got a nam e. I'm a m agician.

Star-Child: Oh!
M a g icia n :

And what's your nam e?

Star-Child: I haven't got a nam e. I'm a Star-Child.

M a g icia n :
Star-Child:
M a g icia n :
Star-Child:
M a g icia n :

Oh. And w hy are you in this city, Star-Child?

I'm looking for m y mother. Perhaps you 7...................... her.
She's very 8...................... and extrem ely 9.......................
Like her son. Ha, ha, ha.
Don't be 10...................... an d 11.......................m e some water,
please.
Alright, boy, but remember, if you don't 12..................... me
the gold, there will be no more food for you tomorrow.
Ha, ha, ha.

62

In th e b o x for e x e r c is e th ree th ere a re 5 a d je c tiv e s . W rite th e m in th is

ta b le .

a ............................................................
b ............................................................
c ........................................................ .
d ............... ......................... .........
e .............................................................
V --------------------------------------

>

-...........

Here a r e th e o p p o site a d je c tiv e s . W rite th em in th e ta b le too.

late

rich

beautiful

m ean

polite

Listen to th e record in g a g a in . With your partner r ea d th e d ia lo g u e . Try

to sp e a k w ith th e s a m e v o ic e s a s th e M a g ic ia n a n d th e Star-Child.

The Star-C hild a n d th e M a g ic ia n d o n t k n o w e a c h other v ery w e ll.

W ith a p artn er think of 3 q u e stio n s th e Star-C hild c o u ld a s k th e
m a g ic ia n .

1................................................................................................................................?
2............................................................................................................................... ?
3 ........................................................................................................................................... ?
N ow th in k of 3 q u e stio n s th e m a g ic ia n c o u ld a sk th e Star-Child.

1............................................................................................................................... ?
2............................................................................................................................... ?
3........................................................................................................................................... ?

Now im a g in e y o u d o n t k n ow your partner v e ry w e ll. S p ea k to g e th er

to fin d a s m u c h in form ation a s p o ssib le . Talk abou t:

name, a g e , family, hom e, school, free time

E ng lan d an d th e B ritish E m pire w as th e biggest and m o st

i m p o r t a n t in th e w orld. (R e m e m b e r t h a t W ilde w as Irish n o t
E n g l i s h . H e w e n t t o E n g l a n d to s t u d y , l i v e a n d w o r k . ) D u r i n g
t h i s t i m e t h e r e w e r e m a n y c h a n g e s i n t h e w a y p e o p l e liv e d .
M a n y in v e n tio n s changed the w ay people w o rk ed . T h e re w as a
v e r y big d i f f e r e n c e b e t w e e n t h e r i c h a n d t h e poor .
E n g l a n d b e c a m e m o r e i n d u s t r i a l i s e d a n d p e o p l e s t a r t e d to
l e a v e t h e c o u n t r y s i d e . T h e y w e n t t o w o r k i n n e w f a c t o r i e s in
t h e c i t i e s . T h e r e w e r e n o t e n o u g h h o u s e s f o r e v e r y b o d y so
p e o p l e h a d to s h a r e s m a l l h o u s e s w i t h o t h e r l arg e f a m i l i e s or
go t o t h e w o r k h o u s e s . T h e w o r k h o u s e s w e r e t e r r i b l e plac es:

A w a itin g A d m is s io n to the Casual Ward, by Luke Fildes.

T h e P ic t u r e C o l l e c t i o n a t R o y a l U n i v e r s i t y H o l l o w a y , U n i v e r s i t y o f L o n d o n

t h e r e w a s w o r k a n d a p l a c e t o l i v e fo r p o o r p e o p l e , b u t u s u a l l y
th e r e w a s n o t e n o u g h food a n d th e w o r k w a s v e ry difficu lt a n d
dangerous. T h e factory m aste rs and w o rk h o u s e m aste rs w ere
u s u a l l y v e r y s t r i c t a n d h a d n o p i t y f o r t h e w o r k e r s . L o t s of
p e o p le d ied b e c a u se

th ey had a c c id e n ts w ith

th e new

m a c h i n e r y o r b e c a u s e t h e y w o r k e d f i f t e e n h o u r s e v e r y d a y in
very b ad c o n d itio n s.
A n s w e r t h e s e q u e s t io n s .
a . In o n e of th e tw o stories y o u r e a d , O sca r W ild e w r ite s

a b o u t a situ ation sim ilar to a w ork h ou se. W hich story is it?

W hat h a p p e n s?
b . In th e n in e t e e n t h c e n tu r y m a c h in e s w e r e in v e n t e d to

m a k e cloth , to m o v e e n g in e s a n d to d o th e w ork of m a n y
p e o p le . W hat are th e m ost im portant m o d ern in v en tio n s?
W hy?

L ook a t th is lis t of o b j e c t s . T h e y a r e a ll v e r y im p o r ta n t
m o d e r n in v e n t io n s .
_ ---------------------------------------------------------------------

M car
[_] a e r o p la n e
_] co m p u ter
Q internet

m o b ile p h o n e
w a s h in g m a c h in e

___________________________________________________________________

P u t t h e m in o r d e r o f i m p o r t a n c e . N u m b e r 1 is t h e m o s t
im p o r t a n t a n d n u m b e r 6 is t h e l e a s t im p o r t a n t . S h o w y o u r
lis t to y o u r p a r tn e r a n d e x p l a i n y o u r d e c i s i o n . D o y o u a g r e e ?

W h a t in v e n t io n w o u ld y o u lik e to s e e in t h e n e x t fifty y e a r s
a n d w h y ? H e r e a r e s o m e id e a s : a f ly i n g c a r , a r o b o t to d o a ll
t h e h o u s e w o r k , a t e l e p h o n e v i d e o ...
N o w u s e y o u r i m a g i n a t i o n a n d th in k of s o m e o th e r i d e a s .

PROUECT
-o

on THE

WEB

In groups, choose an i nventi on (you can use one from

the l i s t on page 65 i f you want) and f i n d some
i nf or mati on about i t . Make a wall d i s p l a y to show your
results.
You can f i n d the
Use t he I n t e r n e t to hel p
i nf or mat i on you need using d f e r e nt search engines.
A
www. sea r c h a 1o t . com
www.yahoo. com
www. a l t a v i s t a . c o m

^ W r i t e the i nvent i on o f . l .
and then the name of
i n v e n t i o n you want to f i n d .
Find out whjn i t
i nvented, who invented i t\, what i t i s used f o r etc

T: GRADE 5

| --------

gg

T opic - Transport
Find a p ictu re, p h oto or a tim e ta b le of a m e a n s of transport
in your country.
Tell th e c la s s a b o u t it u sin g th e s e q u estio n s to h e lp you.
a . How popular is this m eans of transport and who uses it?
b. How m uch does it cost and how does it affect the

environment?
c . How do you and your friends travel to work/school?
d. In your opinion, what has been the best invention for
travelling? Do you know who invented it and when?

amoua

ic ton am

Charles D ick en s (1812 - 1870)

We can see th a t O scar
W ilde t h o u g h t a b o u t th e
differences b e tw e e n rich
and

poor

w ro te

p eo p le

about

and
th ese

p ro b lem s in his stories.

A n o th e r very fam o u s
E n g lish w r i t e r did th e
sam e.

H is

nam e

was

C h arles D ickens. O scar

W ilde's fam ily w a s very
rich and very im p o r ta n t
and his sto rie s

o ften

show ed poor ch ild ren

w h o b e c a m e rich by a
s o r t of m a g i c . C h a r l e s
D ick en s'
Charles D i c k e n s (circa 1850)
by H erbert Watkins.

fam ily

was

poor and his stories w ere

v e r y r e a l is ti c : t h e y s p o k e

Hulton Getty

a b o u t p o o r c h il d r e n in
w o rk h o u s e s an d bad rich peo p le. T h e s e p eo p le w e re n o t
i n t e r e s t e d i n h e l p i n g o t h e r s . H i s m o s t f a m o u s s t o r i e s are O l i v e r
T w ist, G r e a t E x p e c t a t i o n s a n d D a v i d C o p p e r fie ld .

Doctor T hom as Barnardo (1845 - 1905)

D octor B arnardo w a s a n o th e r fa m o u s V ictorian. H e w as Irish
like O s c a r W il d e . W h e n h e v i s i t e d E n g l a n d h e w a s v e r y
s h o c k e d b y t h e t e r r i b l e c o n d i t i o n s of t h e p o o r, e s p e c i a l l y t h e

67

c h i l d r e n : t h e y h a d t o c a r r y v e r y h e a v y s a c k s of c o al, w o r k for
m a n y h o u r s e v e r y day, go i n t o c h i m n e y s t o c l e a n t h e m , a n d so
o n. H e b u i l t s p e c i a l h o u s e s for p o o r c h i l d r e n . In t h e s e h o u s e s
t h e y c o u l d l i v e p r o t e c t e d a n d safe.

E m m eline Pankhurst (1858 - 1928)

E m m e lin e P a n k h u r s t in N e w York (circa 1911).

Hulton Getty

T h e d i f f e r e n c e b e t w e e n t h e r i c h a n d t h e p o o r w a s n o t t h e only
d i f f e r e n c e i n V i c t o r i a n s o c i e t y . T h e r e w a s a l s o t h e d ifferen c e
b e t w e e n m e n a n d w o m e n . W o m e n c o u l d n ' t v o t e a t t h a t tim e.
M e n t h o u g h t t h a t t h e y w e r e n o t v e r y i n t e l l i g e n t a n d c o u l d not
m a k e i m p o r t a n t d e c i s i o n s ! E m m e l i n e P a n k h u r s t w a s the
l e a d e r of a g r o u p of w o m e n c a l l e d t h e S u f f r a g e t t e s . T he
S u f f r a g e t t e s t r i e d t o c h a n g e t h e s o c i a l s i t u a t i o n a n d w e r e very
b r a v e . T h e p o l i t i c i a n s d i d n ' t l i k e t h e S u f f r a g e t t e s b u t finally,
i n 1918, w o m e n ag ed t h i r t y h a d t h e v o t e a n d e l e v e n y e a r s later
i n 1929 all w o m e n o v e r 21 c o u l d v o t e .

68

T H E N IG H T IN G A L E
A N D T H E ROSE

BEFORE YOU READ

Here are some words from the story. Do you know them? Match them
with their pictures.

a. e m e r a ld s
b. c o in s
c.

d.
e.
f.

s u n d ia l
b lo o d
te a rs

c art

g- w h e e l
h. m irror
i. o a k

10

12

jk.

b ran ch
m o o n lig h t

1.

m.
n.

b u tte rfly
d a is y
C h a m b e rla in

E3

13
14

Write the correct word next to its definition. Then fill in the puzzle
below to find out the secret message.
1. T h e y a r e p a r t of a tre e .
2. It is a b e a u tif u l in s e c t w ith b ig c o lo u re d w in g s .

.............
.............

3. It is a r e d liq u id in s id e y o u r b o d y .

.............

4. It is a v e r y im p o r ta n t p a r t y in a c a s tle .

.............

5. If y o u lo o k in to th is o b je c t y o u s e e y o u rse lf.

.............

6. It is a b ig tre e .

.............

7. It is a sm a ll flow er w ith w h ite p e ta ls a n d a y e llo w c e n tr e ................

8. It is sim ilar to a c a r b u t it h a s a h o rse a n d n o t a n e n g in e .................
9. T h e y a r e g r e e n p re c io u s sto n e s.

.............

10. H e is a v e r y im p o r ta n t m a n in a c ity .

.............

11. A c a r h a s four of th e s e .

.............

12. Y ou c a n s p e n d th e s e o b je c ts in s h o p s to b u y th in g s ......................
13. D u rin g th e d a y th e re is s u n s h in e a n d a t n ig h t th e re is ...................
14. Y ou c a n te ll th e tim e w ith th is o b je c t if y o u d o n 't
h a v e a w a tc h .

.............

15. W h e n y o u c ry th e s e fa ll fro m y o u r e y e s .

.............

2
3

*
^

10

*
[!
>3

*
5

PART

ONE

The Student in Love

n a n e s t , 1 i n a tree, i n a g a r d e n a n i g h t i n g a l e sang.
H e r s o n g w a s b e a u t i f u l : s h e s a n g of l o v e and
h a p p i n e s s . O n e d a y s h e s a w a y o u n g s t u d e n t in
t h e g a rd e n .
'S h e sa y s s h e w i l l d a n c e w i t h m e if I give h e r a red r o s e / said
t h e S t u d e n t , ' b u t i n m y g a r d e n t h e r e is n o r e d r o s e . ' A n d w h e n he
s a i d t h i s h i s e y e s f illed w i t h t e a r s. 'E v e r y d a y I s t u d y p h ilo s o ph y
a n d I r e a d a l l t h e t h i n g s t h a t w i s e 2 m e n s a y a b o u t h a p p in e ss .
N o w m y h a p p i n e s s d e p e n d s o n a r e d ro se !'
T h e N i g h t i n g a l e h e a r d t h i s a n d sa id t o h e rs e l f , 'F in a lly , here is
a t r u e lo v er. E v e r y n i g h t I s i n g of l o v e a n d t h i s y o u n g m a n suffers
for l o v e . '

2.

w i s e : i n f o r m e d ; if y o u a r e w i s e y o u k n o w a l o t of t h i n g s .

72

-'f THE NIGHTINGALE

^
AND THE ROSE
T h e S t u d e n t c o n t i n u e d : 'I l o v e t h e P r o f e s s o r ' s d a u g h t e r a n d
t o m o r r o w t h e r e is a b a l l a t t h e P r i n c e ' s p a l a c e . M y l o v e w i l l be
t h e r e . If I t a k e h e r a r e d r o s e s h e w i l l d a n c e w i t h m e . If I h a v e n o
red rose sh e w ill n o t sp e ak to m e / T h e y o u n g s t u d e n t looked
a ro u n d th e garden. T h e re w ere y ello w roses a n d w h i t e roses bu t
n o r e d r o s e s . ' P o o r m e / h e said. 'I n e e d o n e r e d r o s e b u t I c a n n o t
see a n y in th is g a rd e n .'
' A h / s a i d t h e N i g h t i n g a l e , ' L o v e is a w o n d e r f u l t h i n g : i t is
m o r e p r e c i o u s t h a n e m e r a l d s , o p a l s a n d p e a r l s , y o u c a n n o t bu y
love in th e m a r k e t p lac e w i t h gold coins.'
'T h e m u s i c i a n s w ill play t h e ir v io lin s a n d m y love w ill dance
t o t h e i r m u s i c . B u t s h e w i l l n o t d a n c e w i t h m e . I h a v e n o red
r o s e t o g i v e h e r . ' T h e S t u d e n t fell o n t o t h e g r a s s a n d s t a r t e d to
cry.
A b u t t e r f l y h e a r d h i m a n d a s k e d , ' W h y is h e c r y i n g ? '
A d a i s y a s k e d h e r f r i e n d , ' W h y is h e c r y i n g ? '
' W h y is h e c r y i n g ? ' s a i d a l i t t l e g r e e n l i z a r d . 1
' H e is c r y i n g fo r a r e d r o s e , ' s a i d t h e N i g h t i n g a l e .
'A r e d r o s e ? ' t h e y all r e p l i e d . ' T h a t ' s r i d i c u l o u s ! '
T h e o th e r a n im a ls la u g h e d b u t th e N ig h tin g a le understood.
S h e w a t c h e d t h e s t u d e n t s a d l y a n d t h o u g h t of t h e m y s t e r y of
lov e.

1.

liz a r d :

74

UNDERSTANDING THE TEXT

C o n n ect a w ord or p h rase in e a c h co lu m n to m a k e se n te n c e s.
>
1. The S tudent
2. The S tudent
3. The
N ig h tin g ale
4. The Professor's
d a u g h te r
5. The S tudent
6. The a n im a ls
7. The
N ig h tin g a le

w ill d a n c e w ith
th e s tu d e n t
d o n 't
u n d e r s ta n d

so
if
but
b ecause

is v e ry s a d

but

th in k s lo v e is
im p o rta n t

so
because

is h a p p y

th e re a r e n o n e
in th e g a r d e n
h e c a n 't fin d a
re d rose
sh e sin g s a
b e a u tifu l so n g
h e g iv e s h e r a
re d rose
n o w it's n o t
u sefu l to h im

s tu d ie s
p h ilo s o p h y
n e e d s a re d rose

fin a lly s h e see s

a tru e lo v er
th e y la u g h a t
th e s tu d e n t

1..........................................................................................................................................
2 ..........................................................................................................................................

3..........................................................................................................................................
4..........................................................................................................................................
5..........................................................................................................................................
6..........................................................................................................................................

7 ..........................................................................................................................................
^

A nsw er th e s e q u estio n s.
a. W h y d o e s th e S tu d e n t s a y 'M y h a p p in e s s d e p e n d s o n a re d rose!'?
b. W h a t d o e s th e N ig h tin g a le u s u a lly sin g a b o u t?
c. W h a t flow ers a r e in th e g a r d e n ?
d. W h a t d o e s th e N ig h tin g a le th in k of lo v e?
e. W h y d o e s th e S tu d e n t s ta rt to c ry ?
f.

W h a t d o th e b u tte rfly , th e d a is y a n d th e liz a rd th in k of th e

S tu d e n t?

75

T W O

\ j

P A R T

-V

Tlile Nightinga le s
Sacrifice
n t h e m i d d l e of t h e g a r d e n t h e r e w a s a b e a u t i f u l
r o s e tree . T h e N i g h t i n g a l e f l e w to t h e r o se tree
a n d said, ' G i v e m e a r e d r o s e ,' s h e c rie d, 'a n d I
w i l l s i n g y o u m y s w e e t e s t s o n g .'
' I ' m sorry, m y ro s e s are w h i t e l i k e t h e s n o w o n t h e m o u n t a i n
a n d t h e f o a m of t h e s e a , ' h e a n s w e r e d . ' A s k m y b r o t h e r who
grow s ro u n d th e sundial. Perhaps he can help you.'
T h e N i g h t i n g a l e f le w t o t h e s u n d i a l a n d sa id t o t h e r o s e tree,
' G i v e m e a r e d r o s e ,' s h e cried, ' a n d I w i l l s i n g y o u m y s w e e te st
song.'
' I ' m sorr y, m y r o s e s are y e l l o w l i k e t h e d a ffo d il,' h e answered.
' A s k m y b r o t h e r w h o g r o w s u n d e r t h e S t u d e n t ' s w i n d o w . Perhaps
he can help you.'

76

* t h e n i g h t i n g a l e
^
AND THE ROSE
T h e N i g h t i n g a l e f l e w t o t h e w i n d o w a n d a s k e d t h e rose , ' G i v e
m e a r e d r o s e / s h e c rie d , ' a n d I w i l l s i n g y o u m y s w e e t e s t s o n g /
' I ' m sorry, m y r o s e s a re r e d l i k e t h e c o ra l i n t h e se a b u t t h e
w i n t e r w a s c o l d a n d m y b r a n c h e s a re b r o k e n . T h i s y e a r I h a v e n o
flowers.'
'B u t I o n l y n e e d o n e r ed ro se . Is t h e r e n o t h i n g I c a n do?'
' T h e r e is o n e t h i n g y o u c a n d o b u t I w o n ' t t e l l y o u . It is a
terrible thing.'
' T e l l m e w h a t i t is. I a m n o t a fr a i d ,' s a i d t h e N i g h t i n g a l e .
'If y o u w a n t a r e d r o s e y o u m u s t b u i l d i t b y m o o n l i g h t w i t h
m u s i c a n d c o l o u r i t w i t h y o u r o w n b l o o d . You m u s t s i n g t o m e
all n i g h t a n d p r e s s y o u r h e a r t a g a i n s t o n e of m y t h o r n s . A l l n i g h t
y o u m u s t sing a n d y o u r blood w ill b e c o m e m y blood.'
' D e a t h is a b ig p r i c e t o p a y for a r o s e , ' s a i d t h e N i g h t i n g a l e .
' E v e r y b o d y l i k e s life. I l i k e life. I l i k e to fly a n d t o l o o k a t the
f l o w e r s a n d t o s m e l l t h e i r p e r f u m e s i n t h e w i n d . B u t l o v e is
b e t t e r t h a n lif e... a n d t h e h e a r t of a m a n is m u c h m o r e i m p o r t a n t
t h a n t h e h e a r t of a b ird. T h e S t u d e n t w i l l h a v e h i s r o s e .'

78

UNDERSTANDING THE TEXT

W illiam , th e Student, a n d Emily, th e Professors d a u g h te r , are
s p e a k in g o u tsid e her fa th ers h o u se . R ead th e d ia lo g u e a n d th en
c o m p le te W illia m s n otes.
W illiam : W ell, Em ily, w ill y o u c o m e w ith m e to th e P rin ce 's b a ll o n
S a tu rd a y ?
Emily:

I d o n 't k n o w , W illiam . I w ill th in k a b o u t it.

W illiam : P le a se , Em ily, y o u k n o w I lo v e y o u . I w ill p r o b a b ly d ie if

y o u d o n 't c o m e w ith m e .
Emily:

If I c o m e w ith y o u w ill y o u g iv e m e a b ig p re s e n t?

W illiam : Of c o u rse . Y ou k n o w I w ill g iv e y o u e v e r y th in g I h a v e .

Emily:

A b a ll a t th e P rin ce 's p a l a c e is a v e r y im p o r ta n t o c c a s io n
a n d I w ill w e a r m y b e s t d ress.

W illiam : E v e ry b o d y w ill w e a r th e ir b e s t c lo th e s, Em ily.

Emily:

W ell I w a n t a b e a u tifu l r e d ro se to p u t o n m y d ress. If y o u

g iv e m e a r e d ro se I w ill d a n c e w ith y o u .

W illiam : N o p ro b le m . I w ill c o m e to y o u r h o u s e a t 7.30 w ith th e ro se

T he p a r ty sta rts a t 8.00 a n d y o u w ill h a v e th e m o st
b e a u tifu l re d ro se in th e w o rld .
Emily:

W o n d erfu l. W ell, s e e y o u o n S a tu rd a y , W illiam .

W illiam : Bye, Em ily.

P rin ces Ball

D a y 1.............................
T im e 2 ..........................
P la c e 3 .........................
W ith 4..

O'

<k J.

C lo th e s 5 .....................
P r e s e n t 6......................
W h e re to m e e t 7 .......
W h a t tim e to m e e t 8

79

U n scram b le th e q u estio n s a n d w rite a n sw ers.

a . W h e re tre e th e ro se w h ite is?
.................................................................................

b. W h a t th e s u n d ia l roses a r e ro u n d th e co lo u r?

c. W h ere g ro w rose re d th e tre e d o e s?

d. W h y this flow ers re d d o e s th e rose h a v e n o y e a r tre e ?

e. H ow a re d N ig h tin g a le th e m a k e ro se c a n ?

f.

W h a t like d o d o e s to th e N ig h tin g a le ?

g . Is a th e im p o r ta n t m o re th e h e a r t a h e a r t of m a n of b ird th a n ?

3E T ^

Look a t th e p ictu re on p a g e 83. W ith your partner d e scr ib e th e scen e.

a . W ho is th e b o y in th e p ic tu re ?

b. W h a t d o y o u th in k h e is fe e lin g ?

c. W h y d o y o u th in k h e is fe e lin g th is w a y ?

80

P A R T

T H R E E

The Red Rose

he N ig h tin g a le flew b ack to th e garden and saw
th e S tu d e n t ly in g on th e grass. H is eyes w ere
f u l l of t e a r s . 'Be h a p p y / t h e b i r d sa id. 'Y o u w i l l
h a v e y o u r red rose an d to m o r r o w n ig h t y o u will
d a n c e w i t h y o u r l o v e a t t h e P r i n c e ' s b a ll. I w i l l m a k e t h e r o s e
for y o u b y m o o n l i g h t , w i t h m u s i c a n d w i t h m y o w n h e a r t 's
blood. I a sk y ou just one thing, y o u m u s t p ro m is e to be a tru e
lover.'
T h e S tu d e n t looked up and listened b u t he d id n't u n d e rs ta n d
w h a t t h e N i g h t i n g a l e w a s say in g : h e o n l y u n d e r s t o o d t h i n g s i n
b o o k s . B u t t h e o a k t r e e u n d e r s t o o d a n d h e sa id, ' S i n g m e y o u r
s w e e t e s t song, l i t t l e N i g h t i n g a l e . I w i l l b e s a d w h e n y o u are n o t
h e r e . ' T h e N i g h t i n g a l e s a n g for t h e o a k t r e e . T h e S t u d e n t h e a r d
t h e s o n g a n d sa id, 'Yes, t h i s m u s i c is v e r y b e a u t i f u l b u t c a n a
b i r d r e a l l y u n d e r s t a n d lo ve? S h e s i n g s w e l l b u t s h e is l i k e a n

81

THE NIGHTINGALE
AND THE ROSE
a r t i s t a n d e v e ry b o d y k n o w s t h a t a r t i s t s are n o t sin c e re . She
t h i n k s o n l y of m u s i c a n d c o u l d n e v e r do a n y t h i n g p r a c t i c a l t o h e l p
a n y b o d y .' H e g ot up , w e n t i n t o h i s h o u s e , lay o n h i s b e d a n d slept.
W h e n n i g h t c a m e a n d t h e m o o n s h o n e , t h e N i g h t i n g a l e f l e w to
t h e r o s e t r e e . Sh e p r e s s e d h e r h e a r t a g a i n s t o n e of h i s t h o r n s . A ll
n ig h t she san g h e r s w e e te s t songs. T h e cold c ry s ta l m o o n
l i s t e n e d a n d t h e N i g h t i n g a l e ' s b l o o d s l o w l y lef t h er. A t t h e t o p of
t h e r o s e t r e e a f l o w e r s t a r t e d t o grow. F i r s t i t w a s pale; s i l v e r l i k e
t h e n e w day. B u t t h e t r e e c r i e d ' C o m e c lo s e r ! '
T h e N ig h tin g a le c a m e closer a n d sang louder, t h e n th e rose
b e c a m e p in k like a red rose in a silver mirror.
'C o m e closer, l i t t l e N ig h tin g a le ,' said t h e rose b u sh . 'C o m e
c lo s e r . If n o t , t h e d a y w i l l c o m e b e f o r e t h e r o s e is f i n i s h e d . ' T h e
N i g h t i n g a l e c a m e c l o s e r a n d as t h e t h o r n p i e r c e d 1 h e r h e a r t sh e
s a n g of a l o v e t h a t n e v e r dies. She f e lt a s t r o n g p a i n a n d h e r v o ic e
b e c a m e s o f t e r a n d so fter. F i n a l l y t h e r o s e w a s ready, a m a r v e l l o u s
r e d ro se, re d l i k e t h e e a s t e r n sk ie s.
T h e n t h e l i t t l e N i g h t i n g a l e s a n g h e r m o s t b e a u t i f u l f i n a l song.
T h e w h i t e m o o n h e a r d it a n d s h e f o r g o t t h e s u n i n t h e E a s t a n d
s ta y e d in th e sk y to lis te n . T h e red rose h e a rd th e song and
o p e n e d h e r p e ta ls in th e c o ld m o r n i n g air. T h e s le e p in g
s h e p h e r d s w o k e u p w h e n t h e y h e a r d i t a n d t h e r i v e r c a r r i e d its
m e s s a g e t o t h e sea. T h e r o s e t r e e h e a r d t h e s o n g a n d cried, 'Look,
l i t t l e N i g h t i n g a l e , l o o k . T h e r o s e is f i n i s h e d . '
B u t t h e N i g h t i n g a l e d i d n ' t h e a r b e c a u s e s h e w a s d e a d o n the
grass w i t h th e th o r n in h e r heart.

1.

p ie r c e d : w e n t in to .

82

UNDERSTANDING THE TEXT

A nsw er th e fo llo w in g q u estion s.
a. What did the Nightingale want from the Student?

b. What did the Student think of artists?

c. How did the Nightingale make the red rose?
d. What did the rose bush say to the Nightingale?
e. Who heard the Nightingale's song?
f.

Emily

1. W illia m is
a a student
B a professor

A loves William
b

c a philosopher
2. He loves studying
I I A philosophy and art
B history and Italian
I I C philosophy and
history

is the Professor's
daughter
loves all the boys

Emily will dance with

William if
a he buys her lots of
things
b he stops studying
c he gives her a red
rose

3. His mother and father

I I A live in a small house
O B buy him a lot of things
_ ] C are very beautiful
B.

(Si

A. Listen to W illiam a n d th en a n sw er th e q u estio n s. C h oose th e b est

a n sw er A, B or C.

PE T O

Why didn't the Nightingale hear the rose tree?

Listen a g a in a n d a n sw er th e se q u estio n s.

1. What are the two things that William loves?

2. What is William's problem?
3. Is it difficult to find a red rose?

84

N ow listen to Emily a n d an sw er th e q u estio n s. C h o o se th e b est

a n sw er A, B or C.

Everybody says
I A Emily loves all the
boys
1 1B Emily's mother is a
professor
1_I C Emily is very
beautiful
The artist's nam e is
_ A Jonathan
B Richard
n C William

3. Emily's favourite boy is

|_ | A Richard
B Tristram
I_| C William
4. Emily likes boys who
1A d an ce well
1 1B think she's beautiful
1_1 C spend a lot of m oney
5. Who will she dan ce with at

the Prince's ball?

1 1 A William
1__1 B Tristram
C Jonathan

The N ig h tin g a le thinks that lo v e is very im portant. She d ie s for love.

But is lo v e m ore im portant th an other th ings?
A. Look a t th e se w ords a n d put th em in order. The m ost im portant is
n u m ber 1 a n d th e le a st im portant nu m ber 10.

I I love
J beauty

O friends
O p eace

O family
O m oney

Q fun
O music
Q health
food

S p eak w ith your te a c h e r a n d your c la s s a b o u t your c h o ic e . Do

y ou a ll a g r ee ?

B.

W hat d id you put a s nu m ber 1? Write a s e n te n c e in E nglish to

e x p la in w h y you c h o se this.

PART

F O U R

The Professors
Daught er
h e n e x t day, a t l u n c h t i m e , t h e S t u d e n t w o k e up
a n d l o o k e d o u t of h i s w i n d o w . ' T h a t ' s l u c k y , ' he
s a i d , ' h e r e i s a r e d r o s e . I t is a n e x t r e m e l y
b e a u t i f u l r e d ro se . I ' m s u r e i t h a s a l o n g L a t in
n a m e . ' H e t o o k t h e r o se f r o m t h e tree. H e p u t o n h i s h a t a n d ran
to th e P ro fe sso r's h o u se . T h e Professor's d a u g h te r w as sittin g
n e a r t h e door.
'L o ok , h e r e is a red rose for y o u . T o n i g h t y o u m u s t d a n c e w i t h
m e as y o u p r o m i s e d . You w i l l w e a r it n e x t to y o u r h e a r t a n d I
w i l l say "I lov e y o u . " '
T h e girl d i d n ' t s m i l e b u t s h e l o o k e d a t h i m . ' I ' m s o r r y ,' she
said, 'I d o n ' t l i k e t h e c o lo ur. M y d ress is b l u e a n d t h e rose is red.
A n d a n o t h e r th in g , th e C h a m b e r l a i n 's so n gave m e jew els.

86

-* tH E NIGHTINGALE
s
AND THE ROSE
E v ery b o d y k n o w s t h a t jew els are m o r e e x p e n s i v e t h a n flowers. I
d o n 't w a n t y o u r rose.'
'Y o u a re v e r y u n g r a t e f u l / s a i d t h e S t u d e n t a n g r i l y , a n d he
t h r e w t h e ro se i n t o t h e st re et. A t t h a t m o m e n t a c a r t p a s s e d a nd
t h e w h e e l s c r u s h e d t h e flower.
' Y o u a r e v e r y r u d e , ' s a i d t h e g i r l . 'I w i l l d a n c e w i t h t h e
C h a m b e r l a i n ' s son, n o t w i t h y o u .' T h e n s h e s t o o d u p a n d w e n t
into her house.
T h e S t u d e n t s t a r t e d to w a l k h o m e . 'L ove is a s t u p i d t h i n g , ' he
said. 'I p r e f e r to s t u d y b o o k s. T h e y are m u c h m o r e i n t e r e s t i n g
a n d u s e f u l ... Yes, logic is m u c h m o r e u s e f u l t h e n love. I w i l l go
h o m e and study philosophy and m etap h y sic s.' And that's w h a t
h e did.

88

UNDERSTANDING THE TEXT

A nsw er th ese q u estion s abou t th e story.
a. W hy d o e s th e S tu d e n t w a n t to find a rose?

b. W h a t d o e s th e N ig h tin g a le th in k of lo v e?

c. W ho s a y s 'T hat's ridiculous'? W hy?

d. W h ere is th e w h ite rose tre e ?

e. W h ere is th e y e llo w rose tre e ?

f.

W ho tells th e N ig h tin g a le h o w to g e t a re d rose?

g . W h a t m u st sh e d o?

h. W hy is th e s tu d e n t c ry in g ?

i.

Is th e Professor's d a u g h te r h a p p y w ith th e rose? W hy? W hy n ot?

j.

W h a t h a p p e n s to th e re d rose?

89

GRAMM AR
Will a n d if

Will in d ic a te s th a t a n a c tio n h a p p e n s in th e fu tu re. It is a lw a y s

fo llo w e d b y th e in fin itiv e w ith o u t to a n d it d o e s n 't c h a n g e form in th e
th ird p e rs o n s in g u la r.
i

Look a t th e s e e x a m p le s :

The y o u n g K ing will b e crow ned tomorrow.

Perhaps w e will find a p o t of gold.
I will m a k e a red rose for you.

w ill + infinitive (b e)
w ill + in fin itive (find)
w ill + in fin itive (m a k e )

C h oose th e correct verb a n d c o m p le te th e se s e n te n c e s w ith will.

f

be

visit

buy

go

do

a . W e .......................to S p a in o n h o lid a y n e x t y e a r.
b. I .......................a ll m y h o m e w o rk b e fo re I w a tc h TV.
c . A n d r e w .......................v e ry h a p p y w h e n th e e x a m is fin ish ed .
d . T h e y .....................a n e w c a r w h e n th e y h a v e e n o u g h m o n e y .
e . S u s a n .....................m e to m o rro w .
S o m e tim e s th e v e r b is n e g a tiv e . Will + not is o fte n w ritte n a s w o n t.

'I will not

listen

to you ,' says the Star-Child.

'I w o n t w ear the crown , ' says the young King.

Write tw o th in g s you will d o tom orrow a n d tw o th in g s you w o n t d o

tom orrow . You c a n u se so m e of th e se verb s if y o u w ant:
f

go

do

eat

w a tc h

sleep J

a .......................................................................................................................................
b .......................................................................................................................................
c .......................................................................................................................................
d .......................................................................................................................................

90

Now look at these examples:

The student says. If I take her a red rose, she will dance with m e .'
If I dont take her a red. rose, she will not dan ce with m e .'
If + present , will (not) + infinitive

C onn ect a lin e in colum n A to colu m n B a n d to colu m n C.

1. The Student says,

'If w e leave the

baby here,

I will sing my
sweetest song.'

2. The Nightingale
says,

'If you don't give me

some money,

she will dance with

me.'

3. The Magician
says,

'If you give me a

red rose,

he will die.'

4. The old man says,

'If you find the gold,

you will be free.'

5. The woodcutter
says,

'If I take her a red

rose,

I will die of hunger.'

C om p lete th ese sen te n c es w ith your ow n id ea s.

R em em ber If + present, will (.not) + infinitive.
a.
b.
c.
d.
e.
f.

If it ra in s o n S u n d a y , I will .................................................................
I w ill d a n c e w ith y o u if y o u ...............................................................
If I e a t too m u c h c h o c o la te ..................................................................
If I find a lot of m o n e y , I .....................................................................
M y m o th e r will b e v e ry a n g r y if I ...................................................
If I d o n 't d o m y h o m ew o rk , m y te a c h e r .......................................

T: GRADE 5

Topic - Future Plans

Tell th e c la ss about your p lan s for th e future. Use th e follow ing
q u estion s to h elp you.
a. W h a t a r e y o u stu d y in g a t th e m o m e n t?
b. W h a t h o b b ie s a n d interests d o y o u h a v e ?
c. W h a t job y o u th in k you'll d o in th e fu tu re? W hy?
d. Do y o u th in k y o u will c h a n g e y o u r h o b b ie s? W hy?

S im iles

Similes help to describe an object or a person. They often use the word
like. Oscar Wilde used a lot of similes to write beautiful descriptions.
What colour is the Siar-Child's skin?
Ivory is alw ays very white.
The Star-Child's skin w as w hite like ivory

Look a t s o m e m ore e x a m p le s from th e stories. C o n n ec t th e th ree

c o lu m n s A, B a n d C to m a k e c o m p le te s e n te n c e s . C h eck your
a n s w e r s in th e stories.

s
A

1. The master of the

boat w as

blue

like the snow on the

mountain

2. The pearl was

white

like violets near a river

3. His hair was

round and white

like daffodils

4. His eyes were

gold

like the new day

5. His skin was

white

like the moon

6. The rose was

black

7. The rose was

pink

like a red rose in a silver

mirror

8. My roses are

silver

like ivory
like ebony

v
N o w y o u try.
a . Round

The pizza w as round like t h e ................................ (think of som ething

a lw a y s very round)
b . Tall

T h e ...................w as tall like a

very very tall)

(think of som ething

c. Silver ................................................................................................................
d . Beautiful .........................................................................................................

92

E X IT TEST
COM PARING THE STORIES
O p p osites
C o n n ect e a c h a d je c tiv e w ith its o p p o site. T ranslate th e w ords into
your la n g u a g e .
a. sa d

1. b e a u tifu l

b. h u m b le

2. ru d e

c. p o o r

3. in te llig e n t

d . p o lite

4. in te re stin g

e . u g ly

5. rich

f.

6. h a p p y

b o rin g

7. a r r o g a n t

g . stu p id

C o n n ect e a c h a d je c tiv e w ith its defin ition . T ranslate th e a d je c tiv e s

in to your la n g u a g e .
^ la z y

sin c e re

e le g a n t

g re e d y

h e lp fu l

in lo v e

a . A p e rs o n w h o w e a rs fine c lo th e s is ..........................................................
b. A p e rs o n w h o w a n ts m o re th a n is n e c e s s a ry is ..................................
c . A p e rs o n w h o likes to h e lp p e o p le i s ........................................................
d . A p e rs o n w h o lo v e s a n o th e r p e rs o n is ....................................................
e . A p e rs o n w h o d o e s n 't like w o rk in g is .......................................................
f.

A p e rs o n w h o s a y s th e th in g s th e y th in k is ...........................................

93

In a ll of th e s e stories b y O scar W ild e th e m a in c h a r a c te r is a b o y or

y o u n g m a n . T he th ree c h a r a c te r s c h a n g e d u rin g th e stories. C h o o se
from th e a d je c tiv e s o n p a g e 93 a n d d e sc r ib e th em . You c a n u s e a ll of
th e a d je c tiv e s m ore th a n o n c e .

T he y o u n g K ing i s .............................
a t th e b e g in n in g of th e sto ry a n d
a t th e e n d of th e story.

T he S tar-C h ild is .................................

a t th e b e g in n in g of th e sto ry a n d
a t th e e n d of th e story.

T he S tu d e n t is .................................................................
a t th e b e g in n in g of th e sto ry a n d .........................
a t th e e n d of th e story.

W h ich of th e c h a r a c te r s d o y o u lik e b est? W hy?

W h ich of th e c h a r a c te r s d o n t y o u lik e v ery m u ch ? W hy?

In tw o of th e stories not o n ly h u m a n s sp e a k .
a . w h ic h sto ries a r e th e y a n d w h o s p e a k s ?
b. Do y o u like th e id e a of a n im a ls a n d p la n ts t h a t s p e a k in sto ries?
W h y ? / W h y n o t?
c. T h e re a r e m a n y s p e a k in g a n im a ls in tra d itio n a l stories. W ith y o u r
p a r tn e r try to th in k of a s m a n y a s p o s sib le in th re e m in u te s .

94

In tw o of th e stories y o u n g b o y s b e c o m e k in gs in u n u su a l situ ation s.

a . W h ich stories a r e th e y ?
b . W h a t is u n u s u a l a b o u t th e w a y th e y b e c o m e k in g ?
c . In m a n y stories a n d films c h ild re n or n o rm a l p e o p le b e c o m e
p rin c e s o r p rin c e sse s. H ow m a n y c a n y o u th in k of?
O scar W ild es stories h a v e a lot of child ren, m a g ic a n d surprising
e v e n ts. Do y o u think th e y are g o o d stories for y o u n g ch ild ren to
read ? W hy? / W hy not?

You c a n find th e se e le m e n ts in th e three stories in this book. C on n ect

th em to th e correct title. S om etim es y o u m ust c o n n e c t th e w ord to
m ore th a n o n e title.
love

h a te

d e a th

m a g ic a l clothes

suffering

beautiful jew els

a poor p erso n b e c o m e s rich

sacrifice

poor p e o p le

a n g ry p e o p le

s p e a k in g a n im a ls

a child w h o d o esn 't k n o w his fath er

o n e p erso n transform s into a different perso n

a kin g
a queen
a b eau tifu l girl
V____________________________________________________________________

95

C h eck your id e a s w ith your partner. Do you a g r ee ? W hich of th ese

e le m e n ts are u su a lly in stories for children? W hich of th e se e lem en ts
a re not u su a lly in stories for children?

Write a story for child ren.

In a sm a ll group try to think of so m e different id e a s to c o m p le te th e
ta b le? Think of book s, film s, c o m ic s etc.
f

T y p ic a l g o o d
c h a r a c te r s

T y p ic a l b a d
c h a r a c te r s

T y p ic a l p la c e

princess, poor child

w itch, wolf

forest, castle

T y p ic a l e n d in g

T y p ic a l e v e n ts

find treasu re, m ee t a ghost

v
Write a ll of th e id e a s on th e board. In your group c h o o se your
favou rite id e a s a n d in ven t a story. You c a n talk ab ou t your id e a s in
your la n g u a g e but th en try to w rite it togeth er in English.

96

MC
DD-Rom

Kt

CD
Beil

ShortyRories
W ilde w ro te these delightful fairy tales for his tw o young
sons. They w ere all published in the collection The Happy
Prince and Other Stories in 1888.
The Young King tells how a shepherd boy becomes a king.
The Star-Child tells the story of a baby found in the forest
and how he believes himself to be a magic Star-Child.
In The Nightingale and the Rose a little nightingale sacrifices
her life to create the perfect red rose for a young student in
love.

Accessible a d a p ta tio n at step 2 level

W id e range of activities to practise th e fo u r skills
PET-style exercises
Trinity-style exercises
Info rm ative dossiers on the coronation, the crown jewels
and life in Victorian times

Full recording of the te x t w ith

activities
Project w o rk using the w eb
Exit test

ad d ition al

listening

ISBN 3-526-52091-7

S tep TWO

7 8 3 5 2 6 '520917

T h is v o lu m e w ith o u t th e s id e c o u p o n is to
b e c o n s id e re d a s a m p le c o p y n o t fa r s a le .

Langenscheidt ELT