Transcript Slide 1

Unit 4, Part 2
UNIT 4, Part 2
Portraits of Real Life
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Unit 4, Part 2
MAIN MENU
Portraits of Real Life
(pages 870– 895)
Click a selection title to go to the corresponding
selection menu.
Unit 4, Part 2
SELECTION MENU
Selection Menu (pages 870–887)
Before You Read
Reading the Selection
After You Read
Grammar Workshop
Unit 4, Part 2
BEFORE YOU READ
Meet Anton Chekhov
Click the picture to learn
about the author.
Unit 4, Part 2
BEFORE YOU READ
Connecting to the Play
Chekhov’s main character in A Marriage
Proposal makes plans that he cannot
seem to carry out. He battles both his
pride and his imaginary ailments to try to
achieve his goal. Before you read the play,
think about the questions on the following
slide.
Unit 4, Part 2
BEFORE YOU READ
Connecting to the Play
• Think of a time when you carefully
planned for something. Did any forces
interfere with your plans?
• When the occasion you had planned for
was over, how did you feel about your
planning?
Unit 4, Part 2
BEFORE YOU READ
Building Background
Chekhov set this one-act play in the late
1800s in the Russian provinces, or
countryside. At this time in Russia, the
serfs had been freed, the Bolshevik
revolution was less than twenty years
away, and yet aristocratic farmers still
depended on servants to do the work on
their large estates.
Unit 4, Part 2
BEFORE YOU READ
Building Background
Although A Marriage Proposal is a light
comedy, its depiction of Russia’s aristocracy
is consistent with a theme seen throughout
Chekhov’s work. Chekhov sensed that the
“old” Russia was dying. Therefore, he often
shows aristocrats as incompetent and
frustrated, as he does with the petty
characters in A Marriage Proposal.
Unit 4, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Portraits of Real Life
As you read this play, notice how
Chekhov’s characters’ speech and
actions mimic those in real life.
Unit 4, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Farce
A farce is a type of comedy with
stereotyped characters in ridiculous
situations. In a farce, an author uses
physical action, exaggeration,
improbable events, and surprises to
make the audience laugh.
Unit 4, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Farce
Farce is one way to make fun of human
traits and social customs. As you read,
try to determine which traits and customs
Chekhov is highlighting.
Unit 4, Part 2
BEFORE YOU READ
Recognizing Author’s
Purpose
Authors often write for a particular purpose:
to entertain, to inform or teach a lesson, to
tell a story, to try to persuade readers to
accept an idea, or for a variety of other
purposes. As you read A Marriage
Proposal, see if you can determine why the
author chose to tell this story in this
particular way.
Unit 4, Part 2
BEFORE YOU READ
Recognizing Author’s
Purpose
Reading Tip: Noting Details Use a graphic
organizer like the one shown to help you keep
track of
details and
draw
conclusions
about them.
Unit 4, Part 2
BEFORE YOU READ
pompous adj. showing an exaggerated
sense of self-importance (p. 873) The
shopkeeper’s attitude was pompous, so I left.
affable adj. friendly and pleasant (p. 873)
Grace has friends because she is so affable.
Click a vocabulary term to listen to the definition.
Unit 4, Part 2
BEFORE YOU READ
hypochondriac n. one whose worry over
health is so great that it brings on the imagined
symptoms of an illness (p. 873) Doctors see
their fair share of hypochondriacs.
impudence n. speech or behavior that is
aggressively forward or rude (p. 877) Arnie
showed his impudence when he cut in front of
those who had been standing in the lunch line.
Click a vocabulary term to listen to the definition.
Unit 4, Part 2
BEFORE YOU READ
oblivious adj. unmindful or unaware; not
noticing (p. 882) Ana and Maria were
oblivious to their teacher’s desire to start
class.
Click a vocabulary term to listen to the definition.
Unit 4, Part 2
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Consider this
question as you read. What is Chekhov
saying about marriage and relationships?
Answer: He makes fun of the romantic
view of love and marriage because it is
an unrealistic expectation.
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Consider the
following question as you read. What is
Chekhov saying about the Russian
aristocracy of the time?
Answer: They are petty and disconnected
from reality.
Unit 4, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 872. What
does this portrayal of Russian country life
tell you about the people who lived here?
Answer: The people were poor and had
a hard life.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Recognizing Author’s Purpose Read
the text highlighted in blue on page 873.
Why do you think Chekhov chose to
describe Natalia in this way?
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Answer: In Chekhov’s time, it was
probably unusual for a woman of this
age to be unmarried. By including this
information, Chekhov communicates to
the audience the focus of his play.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Questioning Read the descriptions of the
characters on page 873. What details in the
cast of characters indicate that the play takes
place in a different era and/or culture?
Answer: In addition to the Russian names,
the men’s descriptions as landowners and the
description of Natalia as “twenty-five but still
unmarried”.
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Read the text
highlighted in tan on page 874. How
would you describe Lomov’s manner
here?
Unit 4, Part 2
READING THE SELECTION
Answer: Lomov and Chubukov each have
their own ways of speaking and their own
vocabulary and expressions, just like real
people. For instance, Chubukov says “and
so forth” repeatedly, and Lomov stumbles
when he speaks, never seeming to say
exactly what he means.
Unit 4, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 874. What does
this painting suggest to you about rural life in
Russia in the 1800s? How does this view
affect your understanding of the play?
Answer: Rural life provided few opportunities
for people. People were stuck in a state of
poverty.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Recognizing Author’s Purpose Read
the first text highlighted in blue on page
875. Why does Chekhov have Chubukov
respond in this way?
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Answer: At first, Chubukov believes that
Lomov wants to borrow money, and he is
unwilling to comply. However, when he
realizes that Lomov wants to marry his
daughter, his attitude changes
completely. It appears that Chekhov does
not have a high opinion of his characters
and that he frequently pokes fun at them.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the text highlighted in purple on
page 875. What makes Chubukov’s reaction
to Lomov’s request an example of farce?
Answer: Chubukov has an exaggerated
response to Lomov’s statement, pretending
that he has often wished Lomov would
become his son-in-law. He is obviously
delighted that anyone wants to marry his
daughter.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Recognizing Author’s Purpose Read the
text highlighted in blue on page 875. How do
you think Chekhov wants the audience to
feel about Lomov?
Answer: Chekhov portrays Lomov as a
ridiculous, shallow man; he probably wants
the audience to find him humorous or
pathetic.
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Read the first text
highlighted in tan on page 876.Why do you
suppose it is taking so long for Lomov to ask
Natalia his question?
Answer: He is nervous and unsure of how
Natalia will respond, so he will not ask her
directly. He also seems to want to establish
the connection between their families first.
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Read the second
text highlighted in tan on page 876. What
does Natalia and Lomov’s conversation
tell you about the life of the Russian
aristocracy in the nineteenth century?
Unit 4, Part 2
READING THE SELECTION
Answer: You may conclude that the
aristocrats lived on land that had belonged
to their families for generations and that
land was a source of wealth and pride.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the first text highlighted in purple
on page 877. What makes Lomov’s statement
here ridiculous?
Answer: The stage directions emphasize
Lomov’s exaggeration of his physical
symptoms, as in “clutching his heart.” Lomov
is constantly describing his deteriorating
physical state.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the second text highlighted in
purple on page 877. How does Chekhov
make Lomov’s behavior farcical here?
Answer: Chubukov’s argument is that
“everyone knows” the land is his. However,
it is clear that Lomov does not know this;
in fact, Lomov thinks that the land is his.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Recognizing Author’s Purpose Read
the text highlighted in blue on page 878.
What do you think is Chekhov’s purpose
in including this detail?
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Answer: Chekhov includes this detail in
order to make the argument and the
characters even more ridiculous. Lomov
tells Chubukov to leave his family out of
the argument, but then he attacks
Chubukov’s family.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the text highlighted in purple on
page 878. How does Lomov’s hypochondria
contribute to the farcical aspects of the play?
Answer: It is clear that Lomov is overreacting
about his health. On one hand, he believes
that he needs a wife to ease his nervous
concerns, and on the other, he is allowing his
fictional conditions to interfere with his plans
to propose to Natalia.
Unit 4, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 879. How
does this setting compare with your vision
of the play’s setting so far? Explain.
Answer: Answers will vary, but you
should comment on the relative wealth or
poverty of the aristocrats and servants,
and their respective houses.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the text highlighted in purple
on page 880. What makes Natalia’s
reaction here farcical?
Unit 4, Part 2
READING THE SELECTION
Literary Element
Answer: She has just called Lomov “a
monster,” and yet when her father tells her
that Lomov meant to propose to her, she
wants him to come back. She is so
desperate to be married that she suggests
that she will die if Lomov does not come
back.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Recognizing Author’s Purpose Read the
text highlighted in blue on page 880. What is
the author saying here about his characters’
convictions?
Answer: He is suggesting that his characters’
beliefs are weak and can be easily influenced,
or that they will pretend to believe anything for
the sake of personal gain.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the text highlighted in purple on
page 881. How does the argument over the
dogs increase the farcical element of the
play?
Answer: The argument over the dogs is even
pettier than the previous one concerning land,
exaggerating the unattractive traits of Natalia
and Lomov.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the text highlighted in purple on
page 882. How does Chekhov make
Chubukov’s insight here seem humorous?
Answer: Chubukov applies his theory of
jealousy to Lomov but not to himself or to
Natalia.
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Read the text
highlighted in tan on page 883. What do
you think audiences in Russia when this
play was first produced would have
thought of this recent argument?
Unit 4, Part 2
READING THE SELECTION
Answer: Chekhov creates a sense of
anger through his use of forceful language
and exclamation points. Russian audiences
may have seen the characters’ pettiness as
exaggerated rather than realistic.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the first text highlighted in purple
on page 883. Do you think Lomov is actually
dead?
Answer: He probably is not dead. Comedies
usually end happily, so it is unlikely that the
author would kill off a main character and
prevent a resolution to the conflict. Chekhov is
exaggerating Natalia’s reaction to create a
farcical effect.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Farce Read the second text highlighted in
purple on page 883. What makes this
dialogue humorous?
Answer: Despite having just agreed to
marry one another, Lomov and Natalia
are still arguing over whose dog is
superior.
Unit 4, Part 2
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Respond
1. Did you like the ending of the play?
Explain why or why not.
Answer: You may like the ending
of the play because it was funny, but
you may dislike it because Lomov and
Natalia seem unlikely to be happy.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
2. (a) Why has Lomov come to Chubukov’s
house? (b) What does his behavior tell
you about his personality?
Answer: (a) To propose to Chubukov’s
daughter, Natalia (b) He is high-strung,
nervous, and exhausted by such an
important decision.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
3. (a) What is the cause of the first
argument? (b) Why, in your opinion,
does the first argument start so easily?
Answer: (a) Who owns several acres of land
called the Oxen Meadows. (b) Natalia has no
idea that Lomov has come to propose; she
sees him as a visiting neighbor.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
4. (a) What is the second argument about?
(b) What do both arguments reveal about
their participants?
Answer: (a) Whose dog is better. (b)
Natalia is stubborn and narrow-minded.
Chubukov is volatile and insulting. Lomov
is proud and sensitive.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
5. Compare and contrast the bickering
between characters in the play with
similar interactions you have witnessed
between people in real life. How is it
similar? How is it different?
Answer: Bickering is similar, but
exaggerated and farcical.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
6. (a) In your opinion, are Lomov and Natalia
a good match for each other? Explain. (b)
Do you think they should marry? Why or
why not?
Answer: Answers will vary.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
7. Does the dialogue, or speech, in
Chekhov’s play seem realistic to you?
Why or why not?
Answer: Some dialogue—“He is not!”
“He is so!”—is realistic. Some dialogue—
“What palpitations! My heart!”—is
unrealistic.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Connect
Portraits of Real Life
8. Chekhov’s aristocratic characters seem
to be in their own little world; they have
no interaction with people outside the
Russian provinces. Do you think this
detail is realistic for Chekhov’s time
and place? For yours?
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Connect
Portraits of Real Life
Answer: Because of the media, most
people today are aware of societal
problems, but they may still ignore them.
In Chekhov’s time, it was easier for
people to remain isolated and unaware.
Unit 4, Part 2
AFTER YOU READ
Farce
Many authors use farce to ridicule societal
norms, in addition to making their
audiences laugh. In A Marriage Proposal,
Chekhov has Lomov continually complain
about physical ailments in order to poke
fun at him.
Unit 4, Part 2
AFTER YOU READ
Farce
1. List three examples of statements made
by the characters that made you laugh.
Tell what you think Chekhov is making
fun of in each example.
Unit 4, Part 2
AFTER YOU READ
Farce
Answer: “Your mother limped!” Chekhov
makes fun of people’s urge to insult
others when angry. When Natalia says,
“He’s alive! Yes, yes, I accept,” Chekhov
is mocking love, relationships, and
marriage.
Unit 4, Part 2
AFTER YOU READ
Farce
2. Identify three points in this play that
you found particularly funny. Why are
they humorous? What techniques of
farce does Chekhov use to create
each situation?
Unit 4, Part 2
AFTER YOU READ
Farce
Answer: One point might be when Lomov
says, “Please! Be quiet a moment. My
heart’s falling apart . . . Shut up!” This
scene is humorous because Lomov is
asking for quiet and then yells. Chekhov
uses exaggeration to create farce in this
situation.
Unit 4, Part 2
AFTER YOU READ
Review: Irony
As you learned on page 51, irony is a
contrast between expectation and reality. A
Marriage Proposal contains both situational
and dramatic irony. In situational irony, the
outcome of a situation is the opposite of
what is expected. In dramatic irony, the
audience knows something that the
characters do not know.
Unit 4, Part 2
AFTER YOU READ
Review: Irony
Partner Activity Use a chart like the one on
the next slide and find one good example of
situational irony and one good example of
dramatic irony in the play. Discuss your
examples with a partner, then discuss how
different audiences—teenagers, single adults,
married couples, socialites, homeowners—may
react differently to these ironic situations. Share
your findings with the rest of your class.
Unit 4, Part 2
Review: Irony
AFTER YOU READ
Unit 4, Part 2
AFTER YOU READ
Recognizing Authors Purpose
In order to recognize the author’s purpose,
you should ask yourself what the writer is
trying to achieve.
Unit 4, Part 2
AFTER YOU READ
Recognizing Authors Purpose
1. Why do you think Chekhov wrote this
play?
Answer: Chekhov may have wanted
to entertain people by writing the play,
but he also probably wanted to critique
and mock the values of the nobility.
Unit 4, Part 2
AFTER YOU READ
Recognizing Authors Purpose
2. Find at least three details in the play
to support your conclusions.
Answer: You may refer to humorous
moments in the play and the
ridiculous behavior of the characters.
Unit 4, Part 2
AFTER YOU READ
Practice
Practice with Word Origins A word’s
origins often give clues to its meaning.
Match each vocabulary word with its
corresponding root word. Use a
dictionary for assistance.
Unit 4, Part 2
AFTER YOU READ
Practice
A.
Impudens, meaning
“shameless”
___
B 1. affable
B.
Affabilis, meaning “easily
spoken to”
___
A 2. impudent
C.
Oblivio, meaning
“forgetfulness”
___
D 3. pompous
D.
Pompa, meaning
“procession” or “display”
___
C 4. oblivious
Unit 4, Part 2
AFTER YOU READ
Academic Vocabulary
These words will help you think, write
and talk about the selection.
couple n. two people linked romantically
consult v. to ask advice; to ask a
question of someone
Unit 4, Part 2
AFTER YOU READ
Academic Vocabulary
Practice and Apply
1. What might married life be like for the
couple Chekhov describes in A Marriage
Proposal?
Answer: Married life for Lomov and
Natalia will probably be filled with
arguments.
Unit 4, Part 2
AFTER YOU READ
Academic Vocabulary
Practice and Apply
2. When Lomov tells Chubukov that he
would like to consult with him, what does
Chubukov assume?
Answer: Chubukov assumes that Lomov
wants to borrow money from him.
Unit 4, Part 2
AFTER YOU READ
Writing About Literature
Evaluate Author’s Craft Chekhov
masterfully develops his characters’
personalities through dialogue. Dialogue
is conversation between the characters
in a literary work. In a drama, the
audience learns about the characters
mainly through dialogue.
Unit 4, Part 2
AFTER YOU READ
Writing About Literature
Analyze the dialogue for each of the
characters in A Marriage Proposal.
Write one paragraph for each character
explaining how Chekhov portrays him
or her through speech.
Unit 4, Part 2
AFTER YOU READ
Writing About Literature
Before you begin drafting, make a list of
character traits and find examples of dialogue
that help develop each trait. Use a chart like
the one on the next slide to organize your
ideas.
Unit 4, Part 2
Writing About Literature
AFTER YOU READ
Unit 4, Part 2
AFTER YOU READ
Writing About Literature
After completing your writing assignment,
meet with a peer reviewer to evaluate each
other’s writing. Then proofread and edit
your draft for errors in spelling, grammar,
and punctuation.
Unit 4, Part 2
AFTER YOU READ
Interdisciplinary Activity: Drama
Design a set for A Marriage Proposal, alone
or with a small group. Using graph paper or
computer software, draw a floor plan of the
stage as you envision it. On the plan, place
the various furnishings, stage props, and
exits. Then select a scene and mark the
characters’ positions and movements across
the stage.
Unit 4, Part 2
AFTER YOU READ
Unit 4, Part 2
AFTER YOU READ
Chekhov’s Language and Style
Using Exclamation Points Chekhov uses
many exclamation points throughout A
Marriage Proposal. The exclamation point is
used to punctuate exclamatory sentences,
sentences that express strong feeling, usually
anger or excitement. Notice how Chekhov
uses exclamation points in the following
examples to communicate strong emotion.
Unit 4, Part 2
AFTER YOU READ
Chekhov’s Language and Style
CHUBUKOV. [Aside.] Wants to borrow some
money. Not a chance!
LOMOV. [Clutching his heart.] The Oxen Meadows
are mine! Do you understand? Mine!
NATALIA. Please don’t shout!
CHUBUKOV. [Trying to shout her down.]
Champagne! Bring some champagne!
Champagne! Champagne!
Unit 4, Part 2
AFTER YOU READ
Chekhov’s Language and Style
Notice how different the tone of those
examples would be without exclamation
points:
CHUBUKOV. [Aside.] Wants to borrow some
money. Not a chance.
LOMOV. [Clutching his heart.] The Oxen
Meadows are mine. Do you understand? Mine.
Unit 4, Part 2
AFTER YOU READ
Chekhov’s Language and Style
NATALIA. Please don’t shout.
CHUBUKOV. [Trying to shout her down.]
Champagne, bring some champagne.
Champagne, Champagne.
Unit 4, Part 2
AFTER YOU READ
Chekhov’s Language and Style
Activity Write a brief monologue or
dialogue using punctuation as Chekhov
uses it: to indicate characters’ emotions.
When you have finished writing, read your
monologue or dialogue aloud to your
class.
Unit 4, Part 2
AFTER YOU READ
Revising Check: Exclamation Points
While useful for communicating strong
emotion, exclamation points should not
be overused. Reread the essay you wrote
evaluating Chekhov's use of dialogue.
Make sure that you used exclamation
points accurately and sparingly. Make any
revisions you deem necessary.
Unit 4, Part 2
Unit 4, Part 2
SELECTION MENU
Selection Menu (pages 888–895)
Before You Read
Reading the Selection
After You Read
Unit 4, Part 2
BEFORE YOU READ
Meet Harold Pinter
Click the picture to learn
about the author.
Unit 4, Part 2
BEFORE YOU READ
Connecting to the Dramatic Sketch
Our conversations reveal much about who we
are and what we find important. Our words
communicate feelings and attitudes of which
we are aware and sometimes unaware.
Sometimes we do not realize how we feel until
we find ourselves becoming irritated or upset
over insignificant matters.
Unit 4, Part 2
BEFORE YOU READ
Connecting to the Dramatic Sketch
Before you read, think about the following
questions.
• What do your daily conversations reveal
about you?
• In what way does your everyday language
often mask or hide your true feelings?
Unit 4, Part 2
BEFORE YOU READ
Building Background
Theater of the Absurd refers to a style of dramatic
literature that emerged primarily in the 1950s and 1960s.
Absurdist dramas do not contain a plot but instead
present a series of scenes in which the characters speak
in meaningless conversations or perform actions with little
or no purpose. Even though Absurdist plays are comic on
the surface, they express underlying complex feelings,
such as dread, guilt, or uncertainty. The central concern of
the dramatists of the Absurd is to show that people are
essentially helpless or confused in an alienating world.
Unit 4, Part 2
BEFORE YOU READ
Building Background
Theater of the Absurd was shocking to
audiences when it was new because it
did not follow theatrical conventions. It
lost its shock value as audiences became
accustomed to its unusual techniques,
many of which are now a part of
mainstream theater.
Unit 4, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Portraits of Real Life
As you read That’s Your Trouble, notice the
ways in which the characters communicate,
or miscommunicate, with each other.
Unit 4, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Conflict
The conflict is the central struggle
between two opposing forces in a story
or drama. As you read, try to determine
the conflict in Pinter’s dramatic sketch.
Unit 4, Part 2
BEFORE YOU READ
Analyzing Mood
Analyzing mood entails examining the
emotional quality or atmosphere of a
literary work. A writer’s choice of language,
subject matter, setting and tone, as well as
such sound devices as rhyme and rhythm,
contribute to mood.
Unit 4, Part 2
BEFORE YOU READ
Analyzing Mood
Reading Tip: Asking Questions When
trying to determine mood, ask yourself
questions as you read, such as: How do
the setting and stage directions of a
dramatic work contribute to the overall
mood? Is the mood positive or negative?
Unit 4, Part 2
BEFORE YOU READ
Analyzing Mood
Use a chart to organize your questions
and answers.
Unit 4, Part 2
BEFORE YOU READ
ferociously adv. cruelly; savagely (p. 891) The
beast ferociously glared his teeth at the hunter.
ignorant adj. lacking knowledge or
experience; uninformed (p. 891) He was
ignorant in thinking that the earth was flat.
Click a vocabulary term to listen to the definition.
Unit 4, Part 2
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Mood Read the text highlighted
in blue on page 890. Describe the mood
that this setting creates.
Answer: Pinter creates an idyllic mood
by having his characters enjoy a beautiful
day in the park.
Unit 4, Part 2
READING THE SELECTION
Literary Element
Conflict Read the dialogue on page 890. How
and where does the conflict between these two
men begin?
Answer: The conflict begins with the word
“Rubbish.” B disagrees that the man with
the sandwich board will get a headache. From
this point, the two begin their cycle of
misinterpreting and criticizing each other.
Unit 4, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 890. What
elements in this lithograph evoke a sense of
absurdity similar to that found in Pinter’s
dramatic sketch?
Answer: The sandwich man is being
completely ignored by the more well-to-do
passersby. His presence, therefore, seems
somewhat meaningless and foolish, just like
the conversation between A and B.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Mood Read the text highlighted
in blue on page 891. What effect does the
word ferociously have on the mood?
Answer: The word signals the point at
which B becomes very upset. From this point
onward, the conflict is more overt; B does not
hide his frustration.
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Read the text
highlighted in tan on page 891. What
does B mean by the word “trouble” here?
Answer: A synonym for what he means
to say is “problem.”
Unit 4, Part 2
READING THE SELECTION
Literary Element
Conflict Read the text highlighted in purple
on page 891. What does A imply that his
“trouble” is at the end of the conversation?
Answer: A implies that his “trouble,” or
problem, is B’s insistence on being right.
Unit 4, Part 2
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Respond
1. (a) What was your first reaction to this
dramatic sketch? (b) What is your
opinion of the dialogue in That’s Your
Trouble?
Answer: (a) You may be surprised by the
unusual approach to dramatic writing. (b)
You may believe it reflects everyday
language.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
2. (a) According to B, what does A
misunderstand about neck strains?
(b) How does B misunderstand A?
Answer: (a) A thinks that neck strains
cause headaches. (b) B does not realize
that “in the end” means “eventually.”
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
3. (a) Describe A’s response when B tells
him that his “trouble is not listening” to
people? (b) What is A’s tone in response?
Answer: (a) A responds by implying
that his trouble is actually B. (b) His
tone is sarcastic.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
4. (a) After reading the dialogue, what
does the conflict appear to be about?
(b) What is the underlying conflict
between these two men?
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
Answer: (a) The conflict appears to be
about whether the man wearing the
sandwich board will get a headache. (b)
The underlying conflict stems from B’s
need to feel superior.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
5. (a) What is ironic about B’s accusation
that his companion is ignorant? (b) What
purpose does irony serve in this dialogue?
Answer: (a) The irony lies in B’s own
irrational explanations. (b) The irony
reflects Pinter’s cynical view of human
interaction.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
6. (a) Determine whether you think that the
two men are friends. (b) How do these
characters change or complicate your
definition of friendship?
Answer: (a) You should support your
answer with the text. (b) The characters
suggest that friends can be contentious.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Connect
Portraits of Real Life
7. What larger comments about human
interaction does Pinter’s sketch make
through his characters? Explain.
Answer: Pinter implies that our everyday
conversations veil currents of aggression
between individuals.
Unit 4, Part 2
AFTER YOU READ
Conflict
An external conflict exists when a character
struggles against some outside force, such as
another person, nature, society or fate. An
internal conflict is a struggle that takes place
within the mind of a character who is torn
between opposing feelings, desires, or goals.
Unit 4, Part 2
AFTER YOU READ
Conflict
Think about the conflict or conflicts in
That’s Your Trouble, and then answer
the following questions.
Unit 4, Part 2
AFTER YOU READ
Conflict
1. What is the external conflict in the
dialogue?
Answer: It regards the direction in
which pain travels.
Unit 4, Part 2
AFTER YOU READ
Conflict
2. What are the internal conflicts of these
characters?
Answer: The internal conflicts arise
from B’s insecurity and his resulting
aggression.
Unit 4, Part 2
AFTER YOU READ
Writing About Literature
Analyze Style Pinter’s work is best known for
his minimalist approach to character and
dialogue. His plays prioritize the verbal
exchange between two characters, and what is
not said is just as important as what is said. The
Pinteresque pause, which has become Pinter’s
signature, embodies the tension many of his
characters feel toward themselves and each
other but try to hide.
Unit 4, Part 2
AFTER YOU READ
Writing About Literature
Examine the pauses in the conversation.
Imagine what is going on in the character’s
head during those pauses. Identify what a
character says after the pause. Then determine
whether they are effective stage directions for
developing the character’s emotions. Using
details from the conversation, analyze that
aspect of Pinter’s style in That’s Your Trouble in
a brief essay.
Unit 4, Part 2
AFTER YOU READ
Analyzing Mood
Mood is a broader term than tone, which
refers to the attitude of the speaker or
narrator toward the reader. Mood also
differs from atmosphere, which is
concerned mainly with the physical
qualities that contribute to a mood, such
as time, place, and weather.
Unit 4, Part 2
AFTER YOU READ
Analyzing Mood
1. What is the overall mood of this dramatic
sketch?
Answer: The play begins nonchalantly,
but the mood quickly becomes tense and
angry.
Unit 4, Part 2
AFTER YOU READ
Analyzing Mood
2. How does the mood contribute to
the tone of the playwright?
Answer: Pinter pokes fun at his
characters by having them take
themselves very seriously.
Unit 4, Part 2
AFTER YOU READ
Practice
Practice with Connotation and Denotation
A word can have a positive, negative, or
neutral connotation. For example, the word
antsy has a negative connotation while eager
has a positive one. Determine whether each
vocabulary word has a positive, negative, or
neutral connotation.
Unit 4, Part 2
AFTER YOU READ
Practice
1. ferociously
A. positive
B. negative
C. neutral
Unit 4, Part 2
AFTER YOU READ
Practice
2. ignorant
A. positive
B. negative
C. neutral
Unit 4, Part 2
Unit 4, Part 2
SELECTION MENU
Selection Menu (pages 893-895)
Before You Read
Reading the Selection
After You Read
Unit 4, Part 2
BEFORE YOU READ
Building Background
Harold Pinter, a British playwright, was a
recipient of the Nobel Prize in Literature in
2005. In “Writing for the Theater,” Pinter
discusses how he creates roles and
chooses the language he uses in plays.
Unit 4, Part 2
BEFORE YOU READ
Set a Purpose for Reading
Read to discover the author’s opinion
and how he supports it.
Unit 4, Part 2
BEFORE YOU READ
Evaluating Argument
Evaluating an argument requires that
you make a judgment or form an opinion
about what you have read. Consider if the
author clearly states his or her position
and supports it with reasons and
examples. Also, decide if you agree with
the author’s opinion.
Unit 4, Part 2
BEFORE YOU READ
Evaluating Argument
As you read, use a chart like the one shown
to determine Pinter’s opinions and how he
supports them. Then, consider an opposing
viewpoint
for each
opinion.
Unit 4, Part 2
Unit 4, Part 2
READING THE SELECTION
Portraits of Real Life Keep the following
questions in mind as you read. Does Pinter
think language is an effective way to represent
reality? What are some of the concerns Pinter
has about other writers?
Answer: Pinter thinks it is difficult for any of
us to represent reality through language. He is
concerned that some writers pass off clichéd,
overly moral writing as “true.”
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Evaluating Argument Read the first
paragraph on page 894. Do you agree or
disagree with Pinter’s argument about
“common experience” and “common
ground”?
Answer: Answers will vary. You might use
examples from your own experience to
support your evaluations.
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Evaluating Argument Read the last
paragraph on page 894. What are the
main points of Pinter’s argument here?
Unit 4, Part 2
READING THE SELECTION
Reading Strategy
Answer: He argues that it is possible to
be overcome by the sheer volume of
words, a volume that threatens to make
language trite and meaningless. Only by
confronting our own uneasy relationship
with language can we achieve meaning.
Unit 4, Part 2
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Respond
1. What surprised you about Pinter’s
viewpoint on writing for the theater?
Answer: You may be surprised that
Pinter does not believe that playwrights
should work with actors or directors or
that they should write with a certain
message in mind.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
2. (a) Does Pinter write plays to convey
a certain ideology or make a moral
judgment? Explain. (b) What does
this say about how readers and
audiences interpret theatrical works?
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
Answer: (a) No; he believes that the
meaning of the play comes strictly out of
the dialogue. (b) Readers and audiences
often look for a playwright’s intended
meaning when there may not be one.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
3. (a) What does Pinter say language
offers other than the actual “words
spoken”? (b) What do you think
conveying the meaning of Pinter’s
language requires of actors who
perform in his plays?
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
Answer: (a) Language has meaning that
is not explicit in the text. (b) Actors must
interpret their lines.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
4. (a) What is Pinter’s opinion about the
responsibility of the playwright? (b)
Does this support the idea of theater
being a collaborative art form? Why or
why not?
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
Answer: (a) Pinter believes that the
playwright is only responsible for the text
of the play. (b) You may believe that the
playwrights should write with the
performers and directors in mind.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
5. Konstanin Stanislavsky was a Russian
actor and theorist who developed an acting
technique known as The Method. He
asked students to consider “the subtext” of
characters, or the meaning that underlies
the written text. Does Pinter’s writing serve
Stanislavsky’s approach to acting? Why or
why not?
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
Answer: Yes; Pinter believes there is
language “below the word spoken,”
allowing actors to interpret the text.
Unit 4, Part 2
AFTER YOU READ
Responding and Thinking Critically
Connect
Portraits of Real Life
6. How do Pinter’s ideas about
characterization apply to That’s Your
Trouble?
Answer: Pinter says he has not
provided much background about the
characters. Pinter leaves their histories
and motives up to the actors to
determine.
Unit 4, Part 2
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
“Of course, I must say you look splendid, but . . .
Well, tell me, why are you so dressed up?”
— Anton Chekhov, from “A Marriage Proposal
Connecting to Literature In the above
quotation, Chekhov introduces two sentences
with the expressions of course and well.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Of course is a parenthetical expression, which
adds explanatory information to the sentence.
Other common parenthetical expressions
include in fact, on the other hand, for example,
on the contrary, by the way, to be exact, after all,
and nevertheless.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
The word well is an interjection, a word that
expresses emotion. Alas, good grief, oh, uhoh, sorry, and wow are other common
interjections. Because interjections and
parenthetical expressions have no
grammatical connection to the rest of the
sentence, they should be separated with a
comma.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Interjections These occur at the beginning of
a sentence. Interjections that express strong
emotion may be followed by an exclamation
point.
Sorry, we weren’t expecting you.
Good heavens, he was wearing a suit and
top hat!
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Parenthetical expressions These usually appear
in the middle of a sentence and are set off by two
commas. Occasionally, a parenthetical expression
begins a sentence and is followed by a comma.
In fact, Lomov had come to Natalia with the
intention of proposing marriage.
Lomov had come to Natalia, in fact, with the
intention of proposing marriage.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Exercise
Rewrite the sentences on the following
slides to correct any mistakes in comma
usage.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Exercise
1. Well if you check the background information,
you can see that the story was written in the
year 1888.
Answer: Well, if you check the background
information, you can see that the story was
written in the year 1888.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Exercise
2. Oh I see that Chekhov had earned a degree
in medicine.
Answer: Oh, I see that Chekhov had earned
a degree in medicine.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Exercise
3. Chekhov unfortunately was poor and had to
support himself by writing hundreds of articles
for comic magazines.
Answer: Chekhov, unfortunately, was poor
and had to support himself by writing
hundreds of articles for comic magazines.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Exercise
4. These writings on the other hand showed
the revolutionary literary style and promise
of the masterpieces he was soon to create.
Answer: On the other hand, these writings
showed the revolutionary literary style and
promise of the masterpieces he was soon to
create.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Exercise
5. This promise is of course realized in the
one-act play “A Marriage Proposal.”
Answer: This promise is, of course,
realized in the one-act play “A Marriage
Proposal.”
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Vocabulary Terms
Interjections and parenthetical expressions
express emotion or add explanatory
information. Use commas to separate these
words from the rest of the sentence.
Unit 4, Part 2
GRAMMAR WORKSHOP
Mechanics
Using Commas with Interjections and
Parenthetical Expressions
Test-Taking Tip
Overuse of interjections and parenthetical
expressions can make your writing appear
overly casual and informal, so use them
sparingly when writing for a test.
Unit 4, Part 2
BELLRINGER
Peer pressure
What are some things that people
do as a result of peer pressure? Do
adults sometimes give in to peer
pressure?
Unit 4, Part 2
BELLRINGER
Which of these sentences do you
agree with more?
1. When asked your opinion, you should
always be honest.
2. It is best to avoid hurting other people’s
feelings whenever possible.
Unit 4, Part 2
BELLRINGER OPTION TRANSPARENCY
Click on the image to
see a full version of
the Bellringer Option
Transparency.
Unit 4, Part 2
CHECKPOINT QUESTIONS
What is Chubukov’s reaction to Lomov’s
request to marry his daughter?
0%
0%
0%
0%
A. offended and disappointed
B. overwhelmed and delighted
C. uninterested and cold-hearted
D. humbled and blessed
Unit 4, Part 2
CHECKPOINT QUESTIONS
Why does Lomov think he must get married?
0%
0%
0%
0%
A. He needs Chubukov’s money.
B. He is lonely and desperate for
company.
C. He is deeply in love with Natalia.
D. He is thirty-five years old and must
settle down to live a regular life.
Unit 4, Part 2
CHECKPOINT QUESTIONS
What proof does Lomov say he has to claim
ownership of the Oxen Meadow’s?
0%
0%
0%
0%
A. a government document from
Moscow
B. a map of the estate
C. a deed signed by a lawyer
D. an old letter from his aunt’s
grandmother
Unit 4, Part 2
CHECKPOINT QUESTIONS
Who are Squeezer and Guess?
0%
0%
0%
0%
A. two of Lomov’s neighbors
B. Natalia’s brother and sister
C. Natalia’s and Lomov’s dogs
D. two of Lomov’s ancestors
Unit 4, Part 2
CHECKPOINT QUESTIONS
What happens to Lomov during the
argument about hunting?
0%
0%
0%
0%
A. He runs out the house.
B. He changes his mind about marriage.
C. He dies before the doctor’s arrival.
D. He faints and drops into an armchair.
Unit 4, Part 2
CHECKPOINT QUESTIONS
According to A, what will happen to the man
with the sandwich board?
0%
0%
0%
0%
A. His neck will be injured.
B. He will get a headache.
C. His back will give out.
D. His legs will become weak.
Unit 4, Part 2
CHECKPOINT QUESTIONS
What does B say is A’s trouble?
0%
A. He doesn’t know what his trouble is.
B. He doesn’t know anything about
0%
physics.
C. He doesn’t know how to carry a
0%
sandwich board.
D. He doesn’t have original opinions.
0%
Unit 4, Part 2
CHECKPOINT QUESTIONS
According to B, where do strains go?
0%
0%
0%
0%
A. down
B. up
C. right
D. left
Unit 4, Part 2
► Literary Terms
Handbook
► Reading Handbook
► Foldables
► Writing Handbook
► Business Writing
► Language Handbook
REFERENCE
► Test-Taking Skills
Handbook
► Daily Language
Practice
Transparencies
► Grammar and Writing
Workshop
Transparencies
Unit 4, Part 2
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