05 - Unit 4 (Pages 439-572)

A World of
Meaning
unit
4
theme and symbol
• In Fiction
• In Poetry
• In Drama
• In Media
439
unit
4 Share What You Know
What are life’s hidden

messages ?
What’s the best story you’ve ever read? Chances are you enjoyed
the story not just for its characters or plot but for its theme, or
message about life and human nature. All great stories have a theme,
whether it’s about the value of friendship, the bonds of a family’s
love, or the triumph of good over evil. A story’s characters grow and
change because of what they learn through their experiences. As
the characters learn these life lessons, you as a reader grow, too.
ACTIVITY You may not have given it much thought, but your favorite
movies have probably offered you valuable messages. Recall a movie
that you love, and then answer these questions to help you identify
its theme.
• What lessons, if any, do the characters learn?
• If there is a battle or struggle, who wins and who loses? Why?
• What did you learn from this movie that you can apply
to your own life?
440
Literature and Reading Center
l i t e r at u r e Writing Center
classzone.com Vocabulary and Spelling Center
Included in this unit: R3.2, R3.3, R3.5,

R3.6, W1.1, W1.2, W1.3, W1.6, W2.1,
W2.2, LC1.4, LC1.5, LS1.9
86A>;DGC>6 Preview Unit Goals
literary • Identify and interpret symbols in poetry

analysis • Identify and analyze theme
• Identify, analyze, and compare universal themes
• Use a story map to analyze plot development
reading • Make inferences and draw conclusions

• Synthesize information and make generalizations
• Set a purpose for reading
writing and • Write a short story

grammar • Use active voice
• Capitalize proper names correctly
speaking, • Identify and analyze the elements of a documentary

listening, • Compare and contrast information and events in print
and viewing and nonprint sources
• Produce a video
vocabulary • Use reference aids to find synonyms

• Use knowledge of root words and affixes to determine
meanings of words
academic • symbol • universal theme • recurring theme

vocabulary • theme • synthesize
441
unit 4
Reader’s Theme and Symbol
Workshop What makes a story memorable? Long after you’ve forgotten the names of the
characters and the events of the plot, you’ll likely remember the theme—the big
idea at the heart of the story. A theme is a message about life or human nature
that a writer wants you to understand. In this unit, you’ll discover that themes in
literature can give you insights into events, issues, and relationships in your life.
Part 1: What’s the Big Idea?

Friendship, war, and family are subjects that people of all ages and in all parts of
86A>;DGC>6 the world think about. Writers explore and comment on these topics, too—in their
R3.5 Identify and analyze recurring writing. Some writers present themes that only apply to a particular time, place, or
themes (e.g., good versus evil) across
traditional and contemporary works. situation. Others explore recurring themes, or messages that appear repeatedly in
literature. Some recurring themes are considered universal themes because they
address big ideas so fundamental to human existence and true for most people
that they recur in the literature of many time periods and cultures. For example,
“Good will triumph over evil” is a universal theme.
Whether it is universal or one of a kind, a theme is often communicated
through different elements in a story, such as the characters, setting, and
conflict. A writer may also use symbols to hint at a theme. A symbol is an
object, activity, place, or person that stands for something beyond itself. Notice
how the theme is communicated in the following example.
THEME
Character live in the present, Conflicts
The main character is not the past. Eva gets upset when her
14-year-old Eva, who has parents suggest that she
recently moved with her make new friends. She also
family to a new city. Setting Symbol feels hurt when her friends
Sullen and angry, Eva don’t e-mail very often.
desperately misses her Eva can’t stand the thought Eva shuts herself in her Resolution: Eventually,
friends back home. of exploring an unfamiliar room all day, looking Eva realizes that she must
city and an intimidating through old yearbooks move on. While she can
school. Being in this new and e-mailing her friends. hold onto the past in her
setting reminds her of Eva’s room symbolizes the memories, she has to live
what she left behind. past, where she remains in the present.
trapped and isolated from
the world.
442 unit 4: theme and symbol

86A>;DGC>6
model: theme and symbol

Alfred is a high-school dropout who is barely staying out of trouble with
the law. One night after getting beaten up, he steps into a gym to see if
he can join the neighborhood boxing club. As he talks to Mr. Donatelli, the
gym owner, about the challenges of training as a fighter, Alfred realizes
Mr. Donatelli may be talking about more than just boxing.
from
The Contender
Novel by Robert Lipsyte
“How far did you go in school?” Close Read

“Eleventh grade.” 1. Reread the boxed text.
“What happened?” What conflict is set up?
“I quit.”
5 “Why?”
“Didn’t seem like any reason to stay.”
“What makes you think you won’t quit here too?”
Alfred swallowed. He suddenly wished he hadn’t come up the steps, that
he was somewhere else, anywhere. He thought of the cave.
10 “Well?”
“I want to be somebody.” 2. What is Alfred’s goal?
“Everybody is somebody.” What does Mr. Donatelli
“Somebody special. A champion.” think about that goal?
Donatelli’s thin lips tightened. “Everybody wants to be a champion. That’s
15 not enough. You have to start by wanting to be a contender, the man coming
up, the man who knows there’s a good chance he’ll never get to the top, the
man who’s willing to sweat and bleed to get up as high as his legs and his
brains and his heart will take him. That must sound corny to you.”
“No.”
20 “It’s the climbing that makes the man. Getting to the top is an extra reward.” 3. Given what Mr. Donatelli
“I want to try.” says in lines 14–20, what
Donatelli shrugged. “Boxing is a dying sport. People aren’t much interested do you think boxing
anymore. They want easy things like television, bowling, car rides. Get yourself might symbolize to him?
a good job. Finish high school. Go at night if you have to.”
25 “I’ll try hard.”
“Talk it over with your parents.”
“I don’t have any. I live with my aunt.” 4. Reread lines 29–31. What
The pale blue eyes came around again. They seemed softer now. But the voice lesson might Alfred learn
was still cold and flat. “It’s not easy trying to become a contender. It’s never any from training as a boxer?
30 fun in the beginning. It’s hard work, you’ll want to quit at least once every day. State this lesson as a
If you quit before you really try, that’s worse than never starting at all.” theme.
reader’s workshop 443

Part 2: Identifying Theme
Sometimes the theme of a story is stated directly by the narrator or a character.
More often, the theme is implied, which means you have to do some digging
to uncover it. It helps to look closely at the characters, the plot, and other clues
when you’re trying to identify a story’s theme. The questions in the chart, as well
as these reminders, can help you discover the message.
• The theme is not the topic of a story, but the writer’s message about the
topic. While a topic can be described in a word or two, it can take one or two
sentences to express a theme. For example, “first impressions” is a topic. “First
impressions aren’t always right” is a theme.
• Some works of literature have multiple themes, but one may stand out more
than the others.
• Different people can interpret the same story differently.
clues to theme
title characters
The title of a story can suggest an $OG Characters can reflect theme by how they
SON
important idea or symbol. Ask: G act or what they learn. Ask:
• What in the story does the • What do the main character’s actions and
title refer to? thoughts tell you about him or her?
• What idea or symbol does • How does the character change?
the title highlight? • What lessons does the
• Could the title have more character learn?
than one meaning?
plot and conflict setting

A story revolves around Setting can connect to a theme
conflicts that are central because of what it means to the
to the theme. Ask: characters or to readers. Ask:
• What conflicts do the • How does the setting affect the
characters face? characters or influence their actions?
• How are the conflicts • What might the setting represent
resolved? to readers?
important statements symbols

The narrator or a character may
make statements that hint at
the theme. Ask:
A symbol can convey a theme
because of what it means to the
main character. Ask:
• What key statements are made in • Does anything seem to stand for
the story? something beyond itself?
• Could any statement be reworded • What might the symbol mean to the
as an overall theme? main character? What might it
represent to readers?

Reader’s Workshop
Part 3: Analyze the Literature

Connie is not crazy about spending time with her Puerto Rican grandmother—
her abuela. What lesson will Connie learn when her grandmother comes to
visit? As you read, use what you’ve learned to uncover the theme of this story.
the
buela Invents
erØ Short story by Judith Ortiz Cofer
“You made me feel like a zero, like a nothing,” she says in Spanish, un cero, Close Read
nada. She is trembling, an angry little old woman lost in a heavy winter coat 1. Examine the title of the
that belongs to my mother. And I end up being sent to my room, like I was a story and reread the first
child, to think about my grandmother’s idea of math. paragraph. What symbol
5 It all began with Abuela coming from the Island1 for a visit—her first do you predict will be
time in the United States. My mother and father paid her way here so that central to the theme?
she wouldn’t die without seeing snow, though if you asked me, and nobody
has, the dirty slush in this city is not worth the price of a ticket. But I guess
she deserves some kind of award for having had ten kids and survived to tell
10 about it. My mother is the youngest of the bunch. Right up to the time when
we’re supposed to pick up the old lady at the airport, my mother is telling me
stories about how hard times were for la familia on la isla,2 and how la abuela
worked night and day to support them after their father died of a heart attack.
I’d die of a heart attack too if I had a troop like that to support. Anyway, I 2. Reread the boxed
15 had seen her only three or four times in my entire life, whenever we would go details, in which Connie
for somebody’s funeral. I was born here and I have lived in this building all shares her thoughts
my life. But when Mami says, “Connie, please be nice to Abuela. She doesn’t about her grandmother.
have too many years left. Do you promise me, Constancia?”—when she uses Based on these details,
my full name, I know she means business. So I say, “Sure.” Why wouldn’t I be how would you describe
20 nice? I’m not a monster, after all. Connie?
So we go to Kennedy3 to get la abuela and she is the last to come out of the
airplane, on the arm of the cabin attendant, all wrapped up in a black shawl. 3. What conflicts do you
He hands her over to my parents like she was a package sent airmail. It is think might arise for
January, two feet of snow on the ground, and she’s wearing a shawl over a thin Connie during her
25 black dress. That’s just the start. grandmother’s visit?
Ø
O nce home, she refuses to let my mother buy her a coat because it’s a
waste of money for the two weeks she’ll be in el Polo Norte, as she calls
New Jersey, the North Pole. So since she’s only four feet eleven inches tall, she
walks around in my mother’s big black coat looking ridiculous. I try to walk
30 far behind them in public so that no one will think we’re together. I plan to
1. the Island: Puerto Rico.

2. la familia on la isla: the family on the island.
3. Kennedy: John F. Kennedy International Airport.

stay very busy the whole time she’s with us so that I won’t be asked to take
her anywhere, but my plan is ruined when my mother comes down with the
flu and Abuela absolutely has to attend Sunday mass. . . . My father decides
that he should stay home with my mother and that I should escort la abuela
35 to church. He tells me this on Saturday night as I’m getting ready to go out to
the mall with my friends.
“No way,” I say.
I go for the car keys on the kitchen table: he usually leaves them there for
me on Friday and Saturday nights. He beats me to them.
40 “No way,” he says, pocketing them and grinning at me.
Needless to say, we come to a compromise very quickly. I do have a
responsibility to Sandra and Anita, who don’t drive yet. There is a Harley-
Davidson fashion show at Brookline Square that we cannot miss.
“The mass in Spanish is at ten sharp tomorrow morning, entiendes? ” My
45 father is dangling the car keys in front of my nose and pulling them back
when I try to reach for them. He’s really enjoying himself.
“I understand. Ten o’clock. I’m out of here.” I pry his fingers off the key
ring. He knows that I’m late, so he makes it just a little difficult. Then he
laughs. I run out of our apartment before he changes his mind. I have no idea
50 what I’m getting myself into.
unday morning I have to walk two blocks on dirty snow to retrieve the
car. I warm it up for Abuela as instructed by my parents, and drive it to
the front of our building. My father walks her by the hand in baby steps on
the slippery snow. The sight of her little head with a bun on top of it sticking
55 out of that huge coat makes me want to run back into my room and get under
the covers. I just hope that nobody I know sees us together. I’m dreaming,
of course. The mass is packed with people from our block. It’s a holy day of
obligation and everyone I ever met is there.
I have to help her climb the steps, and she stops to take a deep breath after Close Read
60 each one, then I lead her down the aisle so that everybody can see me with 4. How would you describe
my bizarre grandmother. If I were a good Catholic, I’m sure I’d get some Connie’s attitude toward
purgatory4 time taken off for my sacrifice. She is walking as slow as Captain and treatment of her
Cousteau5 exploring the bottom of the sea, looking around, taking her sweet grandmother? Support
time. Finally she chooses a pew, but she wants to sit in the other end. It’s like your answer.
65 she had a spot picked out for some unknown reason, and although it’s the
most inconvenient seat in the house, that’s where she has to sit. So we squeeze
by all the people already sitting there, saying, “Excuse me, please, con permiso,
pardon me,” getting annoyed looks the whole way. By the time we settle in,
I’m drenched in sweat. I keep my head down like I’m praying so as not to see
70 or be seen. She is praying loud, in Spanish, and singing hymns at the top of
her creaky voice.
4. purgatory: spiritual place in which souls purify themselves of sin before going to heaven.
5. Captain Cousteau: Jacques Yves Cousteau (zhäk Cv kL-stIP) ( 1910–1997 ), a French underwater
explorer, film producer, and author.

Reader’s Workshop
I ignore her when she gets up with a hundred other people to go take
communion.6 I’m actually praying hard now—that this will all be over soon.
But the next time I look up, I see a black coat dragging around and around
75 the church, stopping here and there so a little gray head can peek out like a
periscope on a submarine. There are giggles in the church, and even the priest
has frozen in the middle of a blessing, his hands above his head like he is
about to lead the congregation in a set of jumping jacks.
I realize to my horror that my grandmother is lost. She can’t find her way
80 back to the pew. I am so embarrassed that even though the woman next to Close Read
me is shooting daggers at me with her eyes, I just can’t move to go get her. I 5. Why do you think the
put my hands over my face like I’m praying, but it’s really to hide my burning author chose a church as
cheeks. I would like for her to disappear. I just know that on Monday my the setting for this scene?
friends, and my enemies, in the barrio7 will have a lot of senile-grandmother How might she want
85 jokes to tell in front of me. I am frozen to my seat. So the same woman who you to react to Connie’s
wants me dead on the spot does it for me. She makes a big deal out of getting behavior there?
up and hurrying to get Abuela.
90
he rest of the mass is a blur. All I know is that my grandmother kneels the
whole time with her hands over her face. She doesn’t speak to me on the
way home, and she doesn’t let me help her walk, even though she almost falls a
couple of times.
When we get to the apartment, my parents are at the kitchen table, where
my mother is trying to eat some soup. They can see right away that something
is wrong. Then Abuela points her finger at me like a judge passing a sentence
95 on a criminal. She says in Spanish, “You made me feel like a zero, like a
nothing.” Then she goes to her room.
I try to explain what happened. “I don’t understand why she’s so upset. She just
got lost and wandered around for a while,” I tell them. But it sounds lame, even
to my own ears. My mother gives me a look that makes me cringe and goes in to
100 Abuela’s room to get her version of the story. She comes out with tears in her eyes.
“Your grandmother says to tell you that of all the hurtful things you can do
to a person, the worst is to make them feel as if they are worth nothing.”
I can feel myself shrinking right there in front of her. But I can’t bring 6. What lesson has Connie
myself to tell my mother that I think I understand how I made Abuela feel. I learned from the conflict
105 might be sent into the old lady’s room to apologize, and it’s not easy to admit with her grandmother?
you’ve been a jerk—at least, not right away with everybody watching. So I just Where on this page
sit there not saying anything. do you see this lesson
My mother looks at me for a long time, like she feels sorry for me. Then she directly stated as a
says, “You should know, Constancia, that if it wasn’t for this old woman whose theme?
110 existence you don’t seem to value, you and I would not be here.”
That’s when I’m sent to my room to consider a number I hadn’t thought 7. What new understanding
much about—until today. of the word zero does
Connie now have? What
understanding do you
6. communion: the part of a Christian service in which bread and wine are consumed in memory have of the story’s title?
of Christ’s sacrifice.
7. barrio: Spanish-speaking community or neighborhood.

Before Reading
Gil’s Furniture Bought & Sold

Anecdote by Sandra Cisneros
What makes something

pr iceless ?
KEY IDEA Perhaps you’ve heard a painting or antique described as
priceless. In many cases, this means that the item is worth so much
money that the amount can’t be guessed at. But sometimes an
86A>;DGC>6
object is priceless because it is worth more than money to the person
R3.6 Identify significant literary
devices (e.g., metaphor, symbolism,
who owns it. The anecdote you are about to read is a short account
dialect, irony) that define a writer’s of a priceless object turning up in an unexpected place.
style and use those elements to
interpret the work.
Also included in this lesson: W2.1abc QUICKWRITE Describe your most prized possession and tell why it
(p. 453), LC.1.4 (p. 453) is special to you. Then consider if there are any circumstances under
which you might give away or sell this object.
448
literary analysis: symbol 86A>;DGC>6
When you see an American flag, you probably think of more
A Bilingual Beginning
than the fabric it’s made of and its pattern of stars and stripes. Sandra Cisneros grew
The flag represents something much bigger—the United up in Chicago, the
States of America. When a person, place, or thing stands for only daughter in a
something beyond itself, it is called a symbol. For example, a Mexican-American
sunrise can symbolize a new beginning. family with seven
children. She spoke
The technique of using symbols in writing is called English to her mother
symbolism. When a writer often relies on symbolism in his or and Spanish to her
her works, symbolism can be considered a defining element father, and she even
of the writer’s style. It is, for example, a defining element of thought the two
Sandra Cisneros’s style. languages were Sandra Cisneros
the same when she born 1954
To recognize and interpret the symbol Cisneros uses in “Gil’s
was very young.
Furniture Bought & Sold,” ask yourself these questions: She was fascinated with the sound of words,
• What object appears repeatedly or is described more fully especially those found in fairy tales and
fantasy stories, such as Alice in Wonderland.
than other objects?
The strange and fancy words in the pages of
• How do the characters react to this object? these books were quite different from those
she heard every day at home and in her
• What big ideas does the story address, and how might this poor neighborhood. Cisneros dreamed of
object relate to them? escaping her neighborhood and becoming a
writer. She credits her mother with helping
her achieve this goal.
reading skill: make inferences
Skilled readers know they must “read between the lines” to “I’ve Followed My Gut and My Heart”
make logical guesses about what a writer means but does not In order to earn a living, Cisneros decided
she should work as an English teacher and
say directly. This process is called making inferences, and it can
write in her free time. The poetry and short
help you to understand the characters in a story. Follow these fiction she produced revealed her unique
steps to make an inference: voice, created from the influences of Latino
and American culture. Her first novel, The
• Gather details or evidence from the story.
House on Mango Street, was published in
• Consider your own experience and knowledge. 1984 and helped make her a best-selling
• Form an opinion based on both. author. Her work often deals with struggles,
such as alienation, poverty, and dual cultural
As you read, use a chart like the one shown to make inferences loyalties. Cisneros’s stories and poems
about the three characters in the selection. have won many awards. She has said of
her success, “In everything I’ve done in my
Details from Story What I Know Inference About Character life, including all the choices I’ve made as a
writer, I’ve followed my gut and my heart.”
more about the author

For more on Sandra Cisneros, visit the
Literature Center at ClassZone.com.
gil’s furniture bought & sold 449

Sandra Cisneros
T here is a junk store. An old man owns it. We bought a used refrigerator
from him once, and Carlos sold a box of magazines for a dollar. The store
is small with just a dirty window for light. He doesn’t turn the lights on unless
ANALYZE VISUALS
Look at the way objects
are arranged in the store
pictured on page 451.
you got money to buy things with, so in the dark we look and see all kinds of What can you infer about
things, me and Nenny. Tables with their feet upside-down and rows and rows what it would be like to
of refrigerators with round corners and couches that spin dust in the air when shop there?
you punch them and a hundred T.V.’s that don’t work probably. Everything
is on top of everything so the whole store has skinny aisles to walk through.
You can get lost easy. a a MAKE INFERENCES
10 The owner, he is a black man who doesn’t talk much and sometimes if you Why do you think the
didn’t know better you could be in there a long time before your eyes notice a narrator and Nenny
shop at a junk store?
pair of gold glasses floating in the dark. Nenny who thinks she is smart and
talks to any old man, asks lots of questions. Me, I never said nothing to him
except once when I bought the Statue of Liberty for a dime. b b MAKE INFERENCES
But Nenny, I hear her asking one time how’s this here and the man says, Reread lines 10–14.
This, this is a music box, and I turn around quick thinking he means a pretty What can you assume
about each character’s
box with flowers painted on it, with a ballerina inside. Only there’s nothing personality from
like that where this old man is pointing, just a wood box that’s old and got the details in this
a big brass record in it with holes. Then he starts it up and all sorts of things paragraph?
20 start happening. It’s like all of a sudden he let go a million moths all over the
dusty furniture and swan-neck shadows and in our bones. It’s like drops of
water. Or like marimbas only with a funny little plucked sound to it like if
you were running your fingers across the teeth of a metal comb.
And then I don’t know why, but I have to turn around and pretend I don’t c SYMBOL
care about the box so Nenny won’t see how stupid I am. But Nenny, who is How do the narrator
stupider, already is asking how much and I can see her fingers going for the and Nenny react to the
quarters in her pants pocket. c music box?
This, the old man says shutting the lid, this ain’t for sale.

After Reading
Comprehension 86A>;DGC>6
1. Recall What item did the narrator’s family buy from the junk store in the past? R3.6 Identify significant literary
2. Clarify Why is it sometimes hard to know that the owner is in the store? dialect, irony) that define a writer’s
3. Summarize In your own words, describe the appearance of the junk store. interpret the work.
Literary Analysis
4. Make Inferences Review the chart you created as you read the anecdote.
Based on these inferences, why do you think each character reacted to the
music box the way he or she did? Give details from the anecdote to support
your answer.
5. Interpret a Symbol What does the music box symbolize? Explain why you
think so.
6. Draw Conclusions What do you think the narrator means when she says,
“I have to turn around and pretend I don’t care about the box so Nenny won’t
see how stupid I am”? Consider what this tells you about her personality.
7. Compare and Contrast Characters Narrator Nenny
Using a Venn diagram like the one
shown, compare and contrast the
narrator and Nenny. As you fill in
the diagram, note how they interact
with the storeowner.
8. Evaluate a Setting A story’s setting
can affect your expectations about
what is going to happen. Reread lines 1–9. In what ways is the junk store
an appropriate setting for the characters to discover something priceless?
In what ways is the setting surprising?
Extension and Challenge

9. Creative Project: Art Think about the description of the junk store and the
various items for sale there. Then make a collage of items you would expect
to find in the store. You can cut out pictures from magazines and newspapers
or include your own sketches.
10. Inquiry and Research Music boxes were once popular objects for people to
have in their homes. The music box described in this story is a disc music box.
Research more about disc music boxes and how they work. Also research
how the popularity of the phonograph affected the music box industry in
the early 1900s. Present your findings to the class.
research links
For more on music boxes, visit the Research Center at ClassZone.com.

Reading-Writing Connection 86A>;DGC>6
W2.1abc
Show your understanding of the characters in “Gil’s Furniture Bought & Sold” by
responding to these prompts. Then complete the Grammar and Writing exercise.
writing prompts self-check
A. Short Response: Write a Dialogue A creative dialogue will . . .

Imagine what the narrator and Nenny talked about • include details about their
after they left the junk store. Write a half-page experience in the store
dialogue that captures what they may have said.
• reveal differences between
Be sure to use language that matches the
the two characters through
personalities of the characters.
what they say
B. Extended Response: Analyze a Character A detailed analysis will . . .

What did you learn about the junk store’s owner • support general statements
based on his store, his behavior, and his words? about the man with evidence
Write two or three paragraphs describing the type from the anecdote
of man he seems to be. Be sure to consider why
• make inferences about why
the music box is priceless to him.
he values the music box
grammar and writing

MAINTAIN SUBJECT-VERB AGREEMENT You may recall that subjects and verbs
must agree in number. That rule remains true even when a subject and a verb 86A>;DGC>6
have a prepositional phrase between them. The subject of a sentence is never LC1.4 Edit written manuscripts to
ensure that correct grammar is used.
found in a prepositional phrase. If you are having a problem deciding whether
to use a singular or plural verb in a sentence that contains a prepositional phrase,
mentally block out the phrase. This will help you determine what the subject of
the sentence is and whether it needs a singular or plural verb.
Example: The items in the junk shop are too numerous to count.
(The subject is items, not shop, so the sentence needs the
plural verb are.)
PRACTICE Choose the verb form that agrees with the subject in each sentence.
1. A box of books (was, were) one item that got sold to the owner of the store.
2. Refrigerators in the aisle (create, creates) a problem.
3. The owner’s impression of the kids (are, is) that they aren’t actually going
to buy anything.
4. A handful of quarters (are, is) all that Nenny has to spend.
For more help with subject-verb agreement, see page R65 in the Grammar
Handbook.
gil’s furniture bought & sold 453

Before Reading
Pandora’s Box
Greek Myth Retold by Louis Untermeyer
Is curiosity
a gift or a curse?
KEY IDEA Have you ever heard the saying “Curiosity killed the cat”?
This statement implies that curiosity can be dangerous. But curiosity
has also led scientists to discover cures for diseases and journalists
86A>;DGC>6
to ask important questions that inform the public. As you read the
R3.5 Identify and analyze recurring
themes (e.g., good versus evil) across following myth, decide whether curiosity is presented as a desirable
traditional and contemporary works. trait to have.
LIST IT Does curiosity lead to more benefits than it does problems?

Or is it the other way around? With a small group of classmates,
choose a side. In two minutes, come up with as many examples
as possible to illustrate your point. Then see which side has more
responses.
454
literary analysis: theme 86A>;DGC>6
Writers often share with their readers messages about life
Jeweler and Poet
or human nature—for example, love may come when you least Louis Untermeyer,
expect it. This type of message is called a theme. Writers can son of a wealthy
either state a theme directly or allow readers to figure it jewelry manufacturer,
out on their own. To infer a selection’s theme, readers can look dreamed of becoming
at important details or symbols. In the myth you are about a concert pianist.
At age 15, however,
to read, pay attention to a mysterious box and its contents
he dropped out of
to help you determine the theme. high school and went
to work for his father.
reading strategy: reading a myth He spent the next 22
years in the family Louis Untermeyer
Thousands of years ago, before anyone had microscopes or business, working as 1885–1977
even books, people explained the world through stories called a salesman, designer,
myths. Most myths and then vice president. During this time
he also wrote and published many poems
• were passed along through word of mouth and puns.
• feature gods or other supernatural beings who often show
Translator and Anthologist In 1923,
such human characteristics as anger and love
Untermeyer quit the jewelry business
• reveal the consequences of human errors and went to Europe for two years to study.
• explain how something came to be After he returned to the United States, he
became a writer, lecturer, and teacher. One
In order to understand a myth’s significance, think beyond its of his friends was American poet Robert
basic story and consider what the characters, their actions, and Frost. Untermeyer edited many poetry
the objects represent. As you read “Pandora’s Box,” take notes anthologies that became popular textbooks
in schools. He also became a respected
in a chart like the one shown.
translator, adapting myths and stories for
the contemporary American audience.
What human qualities do
the gods display?
What kind of behavior For more on Louis Untermeyer,
does Pandora demonstrate? visit the Literature Center at
ClassZone.com.
What do the contents of
the box represent?
Background
The Gods’ Soap Opera Many of the
vocabulary in context best-known myths, such as “Pandora’s
Box,” come from ancient Greece. The Greek
The boldfaced words help Louis Untermeyer tell the story of gods were a lively, passionate bunch. Zeus,
Pandora. Using context clues in each sentence, try to figure king of the gods, ruled the heavens and
out what each word means. earth from Mount Olympus. In one myth,
Prometheus, a lesser god, gives humans fire
1. The gods adorn her with special gifts. against Zeus’ will. Furious, Zeus condemns
2. She could no longer restrain her curiosity. Prometheus to be chained for eternity to
3. Zeus’ subtle punishment was not immediately obvious. a rock. But as you’ll see in the myth you’re
about to read, Zeus wasn’t done punishing
4. Her beauty and charm helped ensnare his attention. Prometheus yet. Now he’s going to pick on
Prometheus’ brother, Epimetheus.
pandor a’s box 455

ora’s
nd
Pa
BOX
Retold by Louis Untermeyer
P rometheus had thought about mankind with such sympathy that he

had dared to steal the needed fire from Olympus,1 and for this he was
grievously punished by Zeus.2 But the lord of Olympus did not think this
subtle (sOtPl) adj. slight;
difficult to detect
cruelty was enough. Prometheus had a brother, Epimetheus, and though he
was harmless and slow-witted, Zeus extended his displeasure to him. He did a READING A MYTH
not punish Epimetheus as brutally as he had done his brother; he had a more Think about the gods you
have met so far. What
subtle plan. It was a scheme which would not only affect Epimetheus but also human characteristics
the whole race of human beings whom Prometheus had dared to help and who do they have? Add this
were living happily and untroubled. a information to your chart.
10 Zeus ordered Hephaestus, the smith and artisan of the gods, to make a
woman out of the materials of earth. Hephaestus took some river clay that ANALYZE VISUALS
had flakes of gold in it and began to make a lovely girl. In with the clay he Based on the woman’s
expression and body
mixed the fragrance of a river rose, the sweetness of Hymettus3 honey, the language, what can you
smoothness of a silver dolphin, the voices of larks and lake-water, the color of infer about her attitude
sunrise on snow, the warmth of a sunny morning in May. Then he summoned toward the box?
1. Olympus (E-lGmPpEs): home of the mythical Greek gods.

2. Zeus (zLs): father of the Greek gods; ruler of the heavens.
3. Hymettus (hF-mDtPEs): a mountain ridge near Athens, Greece.
Pandora, Helen Stratton. From A Book of Myths

456 unit 4: theme and symbol by Jean Lang. Mary Evans/Edwin Wallace.
the Four Winds to breathe life into the new creation. Finally he called upon
the goddesses to complete the work and grant the glowing figure a touch of
their own powers.
“Hephaestus has given her beauty,” said Aphrodite,4 “but I shall make
20 her more beautiful by adding the spark of love. It will shine in her eyes, and
everyone that looks on her will be enchanted.”
“I shall make her wise,” said Athene.5 “She shall be able to choose between
false and true, between what men value and what she must know is worthless.”
b READING A MYTH
“I shall make her a woman, a puzzle to every man,” said Hera, the wife What supernatural beings
of Zeus. “I shall make her a real woman, for I shall give her the gift of were involved in the
curiosity.” b creation of Pandora?
Smiling, the goddesses adorned her, and when Zeus beheld her grace,
her garland of gold, and the glory of her endowments, he was as charmed as adorn (E-dôrnP) v. to
enhance or decorate
though he had been a mortal. “We will call her Pandora,” he said, “Pandora,
30 the All-Gifted. She shall become the bride of Epimetheus. But she shall not go
empty-handed. She shall bring with her a casket, a box of magic as her dowry.6
And Hermes, my messenger, shall conduct her to earth.”
Epimetheus could not understand why the gods had become concerned
about him. He was dazzled by Hermes, and it was some time before he could
believe that the exquisite creature brought by the messenger god was meant
for him. Even after Hermes departed in a flashing cloud and Pandora stood
blushing beside him, he was perturbed. He remembered how often his brother
Prometheus had warned him, “Do not trust the gods. And beware especially
of Zeus and anything he may send you.” However, when Pandora looked in his
40 eyes and smiled, he was, as Aphrodite had predicted, enchanted and ensnared. ensnare (Dn-snârP)
Yet, even as he took her in his arms, he cautioned her. v. to take or catch in
something
“We have reason to fear the gods,” said Epimetheus, “and also their gifts,”
he added, pointing to the casket.
“But this is my dowry,” murmured Pandora. “Zeus himself filled it with
magic as a present for us. See how beautifully it is carved and painted. Look at
the silver hinges and the great gold clasp that fastens it.” c c THEME
“Keep it well fastened,” said Epimetheus, “otherwise I shall never rest easy. What can you infer about
the contents of the box
I do not know what the casket may contain, and I do not want to know.
based on Zeus’ desire for
Promise me one thing. Never open the box. It is, I grant, a beautiful thing, too revenge?
50 beautiful to destroy, and we will keep it. But hide it. Put it not only out of your
sight but out of your mind. Then we shall both be content.”
Happy that she could keep her dowry, Pandora put it under the bed and
turned to her husband with love. And so for a long time nothing disturbed
their married life and their continual joy in each other.
But, though Pandora benefited from the goddesses’ gifts of beauty and
wisdom, the gift of Hera had not been given in vain. For quite a while,
4. Aphrodite (BfQrE-dFPtC): Greek goddess of love and beauty.

5. Athene (E-thCPnC): Greek goddess of wisdom; sometimes spelled Athena.
6. dowry (douPrC): money or property a bride brings to a marriage.

Pandora restrained her curiosity about the wonderful casket. But with the restrain (rG-strAnP) v.
passing of time she could not help wondering what it might contain. After all, to hold back; to control
it was her dowry, and she had a right to see what the greatest of the gods had
60 conferred upon her. Then, ashamed of her weakness, she put the idea from her,
and thought only of her delight in her home with Epimetheus.
One day, however, the curiosity, so long stifled, overmastered her. “I shall
only lift the lid,” she said to herself, “and snatch a moment’s glimpse of what
may be inside. No matter what I see, I won’t touch a thing. Surely there can
be no harm in that.” d d READING A MYTH
Anxiously, as though she were being watched, she tiptoed to her room. What prompts Pandora
to look inside the box?
Gently getting down on her hands and knees, she drew the casket from under
the bed. Half fearfully and half eagerly she lifted the lid. It was only a moment
and the lid was up only an inch, but in that moment a swarm of horrible
70 things flew out. They were noisome,7 abominably colored, and evil-looking,
for they were the spirits of all that was evil, sad, and hurtful. They were War
and Famine, Crime and Pestilence, Spite and Cruelty, Sickness and Malice,
Envy, Woe, Wickedness, and all the other disasters let loose in the world.
Hearing Pandora’s scream, Epimetheus rushed in. But it was too late.
He and Pandora were set upon and stung, and the evil spirits flew off to
attack the rest of mankind. e e READING A MYTH
“It is all my fault,” cried Pandora. “If I had thought more about your What happens to
humanity as a result
warning and less about my own desires, I could have controlled my curiosity.”
of Pandora’s actions?
“The fault is mine,” said Epimetheus. “I should have burned the box.” Then
80 he added, for the poison of Malice was already taking effect, “After all, you are
what you are—only a woman—and what else could one expect of a woman.”
Disconsolate8 that she had brought so harmful a dowry to Epimetheus as
well as to all other men and women, Pandora wept. It was hours before she
let her husband comfort her. Finally, after she grew quiet, they heard a faint
sound inside the box.
“Lift the lid again,” said Epimetheus. “I think you have released the worst.
Perhaps something else, something better, is still there.”
He was right. At the bottom of the box was a quivering thing. Its body was
small; its wings were frail; but there was a radiance about it. Somehow Pandora
90 knew what it was, and she took it up, touched it carefully, and showed it to
Epimetheus. “It is Hope,” she said.
“Do you think it will live?” asked Epimetheus.
“Yes,” answered Pandora. “I am sure it will. Somehow I know that it will
f THEME
outlive War and Sickness and all the other evils. And,” she added, watching How does the winged
the shining thing rise and flutter about the room, “it will never leave us for creature relate to the
long. Even if we lose sight of it, it will be there.” f other things in the box?
She was no longer downhearted as Hope spread its wings and went out
into the world.
7. noisome (noiPsEm): offensive.

8. disconsolate (dGs-kJnPsE-lGt): gloomy.
pandor a’s box 459

After Reading
1. Recall Why does Zeus punish Epimetheus? R3.5 Identify and analyze recurring
2. Clarify Why does Pandora open the box with a mixture of fear and traditional and contemporary works.
eagerness?
3. Represent Create a drawing that represents what happens when Pandora
opens the box.
Literary Analysis
4. Interpret a Line Reread lines 25–26. Why does having curiosity make
Pandora “real”?
5. Identify Theme What is the theme of this myth? Consider the message
about life the author conveys through events surrounding the box.
6. Compare and
Music Box Pandora’s Box
Contrast Symbols
Use a Y-chart like the
one shown to compare and
contrast the box in “Pandora’s
Similarities
Box” to the music box in “Gil’s
Furniture Bought & Sold.” Think
about the role the boxes play in the
myth and the anecdote.
7. Examine a Myth Review the chart you made as you read. Based on
the information you collected, what do you think the people of
ancient Greece were trying to explain through this myth?

8. SOCIAL STUDIES CONNECTION The phrase “Pandora’s box”
is widely used in the English language to describe an action
that can have many negative consequences. Research why the
atomic bomb developed by the United States has been called a A mushroom cloud rises
“Pandora’s box,” and explain the connection to the myth. Present into the sky after a 1954
your findings to the class. test of a nuclear device.
research links
For more on the atomic bomb, visit the Research Center at ClassZone.com.

Vocabulary in Context
vocabulary practice
Choose the word from the list that makes the most sense in each sentence. adorn
1. Zeus had a ____ plan for Epimetheus. ensnare
2. The goddesses wanted to ____ Pandora with gold garlands.
restrain
3. Aphrodite predicted that Pandora would ____ Epimetheus.
4. Epimetheus warned Pandora to ____ her interest in the casket. subtle
vocabulary in writing
Why did Zeus decide to get back at Prometheus by picking on Epimetheus?
Using two or more vocabulary words, write a paragraph describing what might
have been going through his mind. You might start like this.
example sentence
Zeus could not restrain his desire for revenge.
vocabulary strategy: using reference aids

Synonyms are words with similar meanings. For example, a synonym for restrain
is stifle. When you’re writing, you can use the following reference aids to help
you find a more precise or powerful word to express an idea:
• a thesaurus—a book that lists words related to each other in meaning.
An electronic thesaurus tool is also found on many word processing programs.
restrain verb check, detain, stifle, suppress
• a dictionary—a book that lists words in alphabetical order and gives their
definitions and pronunciations. Synonyms are listed after the definition of
some words.
restrain (rG-strAnP) v. -strained, -strain•ing, -strains to hold back or keep in check;

control: couldn’t restrain the tears. syn CHECK, DETAIN, STIFLE, SUPPRESS
PRACTICE Use a reference aid to find a synonym for each word. Note the vocabulary
synonym as well as the reference aid you used to find it. Then use each practice
For more practice, go
synonym in a sentence that matches its shade of meaning. to the Vocabulary Center
at ClassZone.com.
1. frail 2. methodical 3. scheme 4. invigorate
pandora’s box 461

Comparing The Old Grandfather
Theme and His Little Grandson
Russian Folk Tale Retold by Leo Tolstoy
The Wise Old Woman

Japanese Folk Tale Retold by Yoshiko Uchida
How well do we treat our

elders ?
KEY IDEA Think about all the things the elderly people you know
have done in their long lives. They’ve probably cared for their families,
made contributions on the job or in the community, and witnessed
86A>;DGC>6
events that are now part of history. Do you think they get the respect
themes (e.g., good versus evil) across they deserve from younger generations? The two folk tales you are
traditional and contemporary works. about to read explore reasons why our elders have earned special
Also included in this lesson: R3.2
(p. 473), R3.3 (p. 473), W1.1 (p. 475),
treatment.
W1.2 (p. 475), W1.3 (p. 475), W1.6
(p. 475), W2.2abcd (p. 475) 1. Visit an elde
LIST IT Create a list of three to five things that you can rly
neig hbor
do to honor the wisdom and experience of someone
2.
from an older generation. Remember that a small
3.
gesture can have a big impact.
462
literary analysis: universal theme 86A>;DGC>6
Almost every culture has its folk tales, simple stories passed
Leo Tolstoy: Russian
down through generations by word of mouth. Folk tales Novelist Russian
typically express a universal theme, a message about life or writer Leo Tolstoy
human nature that is so fundamental to human existence that wanted to produce
it is true for all people of all time periods and cultures. literature that would
Because a universal theme is so often repeated, it is also help people adopt
simple, religious
considered a recurring theme. Not all recurring themes are
lives. Tolstoy created
universal, though. Some recurring themes are too specific to some of the world’s
hold true for people of all centuries and circumstances. best-known novels,
The two folk tales in this lesson express a similar universal including War and
theme. To identify this theme, pay attention to the characters, Peace and Anna Leo Tolstoy
their actions, and the consequences of their actions. Karenina. He also 1828–1910
wrote short stories,
dramas, essays, and adaptations. As he
reading strategy: set a purpose for reading grew older, Tolstoy imposed increasingly
In this lesson, your purpose for reading is to compare two folk strict rigors on himself in order to live what
he saw as a good life. He became isolated
tales and to identify the universal theme they share. To do this,
from his wife and 13 children. In 1910,
as you read take notes in a chart like the one shown. Later on, while escaping his family by train, Tolstoy
you will be asked to do more with this chart. developed pneumonia and died. His works
live on as literary classics.
“The Old Grandfather “The Wise Old
and His Little Grandson” Woman”
Yoshiko Uchida:
Who are the elderly character: elderly character: Japanese-American
important Author The daughter
unkind characters: unkind characters:
characters? of Japanese
other characters: other characters: immigrants, Yoshiko
Uchida grew up in
How is the California feeling
elderly character different from her
mistreated? white classmates.
What motivates This difference
characters to stop became more obvious
this mistreatment? after the bombing Yoshiko Uchida
of Pearl Harbor 1921–1992
in 1941. Government
officials sent her father to an internment
vocabulary in context camp. Uchida and her family were later
In “The Wise Old Woman,” Yoshiko Uchida uses these words interned with him. She wrote many books
for children that drew on her experience.
to describe a cruel lord and the people who suffer under his
She said, “I want to dispel the stereotypic
rule. Test your knowledge of each word by matching it with image still held by many non-Asians about
the numbered term closest in meaning. the Japanese and write about them as real
people.”
word arrogant bewilderment deceive haughtily
list more about the author
For more on Leo Tolstoy and Yoshiko
Uchida, visit the Literature Center at
1. proudly 2. superior 3. astonishment 4. mislead ClassZone.com.
463
TheOld
Grandfather
and
His Little
Grandson
Retold by Leo Tolstoy
T he grandfather had become very old. His legs would not carry him, his
eyes could not see, his ears could not hear, and he was toothless. When
he ate, bits of food sometimes dropped out of his mouth. His son and his son’s
ANALYZE VISUALS
How does color affect the
mood of this picture?
wife no longer allowed him to eat with them at the table. He had to eat his
meals in the corner near the stove.
One day they gave him his food in a bowl. He tried to move the bowl closer;
it fell to the floor and broke. His daughter-in-law scolded him. She told him
that he spoiled everything in the house and broke their dishes, and she said
that from now on he would get his food in a wooden dish. The old man sighed
10 and said nothing. a a UNIVERSAL THEME
A few days later, the old man’s son and his wife were sitting in their hut, How do the man and
resting and watching their little boy playing on the floor. They saw him his wife treat the
grandfather?
putting together something out of small pieces of wood. His father asked him,
“What are you making, Misha?”
The little grandson said, “I’m making a wooden bucket. When you and
Mamma get old, I’ll feed you out of this wooden dish.”
The young peasant and his wife looked at each other and tears filled their b UNIVERSAL THEME
eyes. They were ashamed because they had treated the old grandfather so What have the man and
meanly, and from that day they again let the old man eat with them at the his wife realized about
20 table and took better care of him. b themselves?
Beggar and a Boy (1903), Pablo Picasso. Oil on

canvas, 125 cm × 92 cm. Pushkin Museum, Moscow.
© Bridgeman Art Library. © 2007 Estate of Pablo
464 unit 4: theme and symbol Picasso/Artists Rights Society (ARS), New York.
Comparing Theme
the old grandfather and his little grandson 465

THEWISE
OLDWOMAN
Retold by Yoshiko Uchida
M any long years ago, there lived an arrogant and cruel young lord who
ruled over a small village in the western hills of Japan.
“I have no use for old people in my village,” he said haughtily. “They
arrogant (BrPE-gEnt) adj.
displaying a sense of
self-importance
are neither useful nor able to work for a living. I therefore decree1 that
haughtily (hôPtE-lC) adv.
anyone over seventy-one must be banished 2 from the village and left in the proudly; scornfully
mountains to die.”
“What a dreadful decree! What a cruel and unreasonable lord we have,” the
people of the village murmured. But the lord fearfully punished anyone who
disobeyed him, and so villagers who turned seventy-one were tearfully carried
10 into the mountains, never to return.
Gradually there were fewer and fewer old people in the village and soon c UNIVERSAL THEME
they disappeared altogether. Then the young lord was pleased. Why does the young lord
“What a fine village of young, healthy and hard-working people I have,” decide that old people
he bragged. “Soon it will be the finest village in all of Japan.” c must be banished?
ANALYZE VISUALS
How would you describe
the setting shown in this
picture?
1. decree (dG-krCP): to make an order; an order that has the force of law.
2. banished: forced to leave a country or a place.
Village Street (1875), Hiroshige III. From the series
Famous Places on the Tokaido: a Record of the Process
466 unit 4: theme and symbol of Reform. © Asian Art & Archaeology, Inc./Corbis.
Comparing Theme
the wise old woman 467

Now there lived in this village a kind young farmer and his aged mother.
They were poor, but the farmer was good to his mother, and the two of them
lived happily together. However, as the years went by, the mother grew older,
and before long she reached the terrible age of seventy-one.
“If only I could somehow deceive the cruel lord,” the farmer thought. deceive (dG-sCvP) v. to
20 But there were records in the village books and every one knew that his mother cause to believe what is
not true; to mislead
had turned seventy-one.
Each day the son put off telling his mother that he must take her into the
mountains to die, but the people of the village began to talk. The farmer knew SOCIAL STUDIES
that if he did not take his mother away soon, the lord would send his soldiers CONNECTION
and throw them both into a dark dungeon to die a terrible death.
“Mother—” he would begin, as he tried to tell her what he must do, but
he could not go on.
Then one day the mother herself spoke of the lord’s dread decree. “Well,
my son,” she said, “the time has come for you to take me to the mountains.
30 We must hurry before the lord sends his soldiers for you.” And she did not
seem worried at all that she must go to the mountains to die.
“Forgive me, dear mother, for what I must do,” the farmer said sadly, and Japan is
the next morning he lifted his mother to his shoulders and set off on the a string of
several thousand islands
steep path toward the mountains. Up and up he climbed, until the trees
off the east coast of the
clustered close and the path was gone. There was no longer even the sound continent of Asia. Much
of birds, and they heard only the soft wail of the wind in the trees. The son of Japan consists of hills
walked slowly, for he could not bear to think of leaving his old mother in and mountains.
the mountains. On and on he climbed, not wanting to stop and leave her
behind. Soon, he heard his mother breaking off small twigs from the trees
40 that they passed.
“Mother, what are you doing?” he asked.
“Do not worry, my son,” she answered gently. “I am just marking the way
so you will not get lost returning to the village.”
The son stopped. “Even now you are thinking of me?” he asked, wonderingly.
The mother nodded. “Of course, my son,” she replied. “You will always
be in my thoughts. How could it be otherwise?”
At that, the young farmer could bear it no longer. “Mother, I cannot leave
you in the mountains to die all alone,” he said. “We are going home and no
matter what the lord does to punish me, I will never desert you again.” d d UNIVERSAL THEME
50 So they waited until the sun had set and a lone star crept into the silent Why does the son decide
sky. Then in the dark shadows of night, the farmer carried his mother down to disobey the decree
even though he might
the hill and they returned quietly to their little house. The farmer dug a deep be punished?
hole in the floor of his kitchen and made a small room where he could hide
his mother. From that day, she spent all her time in the secret room and
the farmer carried meals to her there. The rest of the time, he was careful to ANALYZE VISUALS
Based on this picture,
work in the fields and act as though he lived alone. In this way, for almost what can you conclude
two years, he kept his mother safely hidden and no one in the village knew about the journey up
that she was there. the mountain?

Comparing Theme
The Moon and the Abandoned Old Woman (1891), Yoshitoshi. © Asian Art & Archaeology, Inc./Corbis.
Moon, Tsukioka Yoshitoshi. From the Snow, Moon and Flower Series. © Christie’s Images Ltd.
Then one day there was a terrible commotion among the villagers for Lord ANALYZE VISUALS
60 Higa of the town beyond the hills threatened to conquer their village and What details about the
man’s appearance affect
make it his own.
your impression of his
“Only one thing can spare you,” Lord Higa announced. “Bring me a box personality?
containing one thousand ropes of ash and I will spare your village.”
The cruel young lord quickly gathered together all the wise men of his
village. “You are men of wisdom,” he said. “Surely you can tell me how to meet
Lord Higa’s demands so our village can be spared.”
But the wise men shook their heads. “It is impossible to make even one rope
of ash, sire,” they answered. “How can we ever make one thousand?”
“Fools!” the lord cried angrily. “What good is your wisdom if you cannot
70 help me now?”
And he posted a notice in the village square offering a great reward of gold
to any villager who could help him save their village.
But all the people in the village whispered, “Surely, it is an impossible thing,
for ash crumbles at the touch of the finger. How could anyone ever make
a rope of ash?” They shook their heads and sighed, “Alas, alas, we must be
conquered by yet another cruel lord.”
The young farmer, too, supposed that this must be, and he wondered what
would happen to his mother if a new lord even more terrible than their own
came to rule over them.
80 When his mother saw the troubled look on his face, she asked, “Why are
you so worried, my son?”

Comparing Theme
So the farmer told her of the impossible demand made by Lord Higa if the
village was to be spared, but his mother did not seem troubled at all. Instead
she laughed softly and said, “Why, that is not such an impossible task. All one
has to do is soak ordinary rope in salt water and dry it well. When it is burned,
it will hold its shape and there is your rope of ash! Tell the villagers to hurry
and find one thousand pieces of rope.”
The farmer shook his head in amazement. “Mother, you are wonderfully
wise,” he said, and he rushed to tell the young lord what he must do. e e UNIVERSAL THEME
90 “You are wiser than all the wise men of the village,” the lord said when he What do you learn about
heard the farmer’s solution, and he rewarded him with many pieces of gold. the old woman from
the way she solves the
The thousand ropes of ash were quickly made and the village was spared.
village’s problem?
In a few days, however, there was another great commotion in the village as
Lord Higa sent another threat. This time he sent a log with a small hole that
curved and bent seven times through its length, and he demanded that a single
piece of silk thread be threaded through the hole. “If you cannot perform this
task,” the lord threatened, “I shall come to conquer your village.”
The young lord hurried once more to his wise men, but they all shook their
heads in bewilderment. “A needle cannot bend its way through such curves,” bewilderment
100 they moaned. “Again we are faced with an impossible demand.” (bG-wGlPdEr-mEnt) n. the
state of being confused
“And again you are stupid fools!”’ the lord said, stamping his foot
or astonished
impatiently. He then posted a second notice in the village square asking the
villagers for their help.
Once more the young farmer hurried with the problem to his mother in her
secret room.
“Why, that is not so difficult,” his mother said with a quick smile. “Put
some sugar at one end of the hole. Then, tie an ant to a piece of silk thread and
put it in at the other end. He will weave his way in and out of the curves to get
to the sugar and he will take the silk thread with him.”
110 “Mother, you are remarkable!” the son cried, and he hurried off to the lord
with the solution to the second problem.
Once more the lord commended the young farmer and rewarded him with
many pieces of gold. “You are a brilliant man and you have saved our village
again,” he said gratefully.
But the lord’s troubles were not over even then, for a few days later Lord
Higa sent still another demand. “This time you will undoubtedly fail and then
I shall conquer your village,” he threatened. “Bring me a drum that sounds
without being beaten.”
“But that is not possible,” sighed the people of the village. “How can anyone
120 make a drum sound without beating it?”
This time the wise men held their heads in their hands and moaned, “It is
hopeless. It is hopeless. This time Lord Higa will conquer us all.”

The young farmer hurried home breathlessly. “Mother, Mother, we must
solve another terrible problem or Lord Higa will conquer our village!” And he
quickly told his mother about the impossible drum.
His mother, however, smiled and answered, “Why, this is the easiest of them
all. Make a drum with sides of paper and put a bumblebee inside. As it tries to
escape, it will buzz and beat itself against the paper and you will have a drum
that sounds without being beaten.” f f UNIVERSAL THEME
130 The young farmer was amazed at his mother’s wisdom. “You are far wiser Why do you think the
than any of the wise men of the village,” he said, and he hurried to tell the old woman is able to
solve all the problems
young lord how to meet Lord Higa’s third demand. created by Lord Higa’s
When the lord heard the answer, he was greatly impressed. “Surely a demands?
young man like you cannot be wiser than all my wise men,” he said. “Tell me
honestly, who has helped you solve all these difficult problems?”
The young farmer could not lie. “My lord,” he began slowly, “for the past
two years I have broken the law of the land. I have kept my aged mother
hidden beneath the floor of my house, and it is she who solved each of your
problems and saved the village from Lord Higa.”
140 He trembled as he spoke, for he feared the lord’s displeasure and rage. Surely
now the soldiers would be summoned to throw him into the dark dungeon.
But when he glanced fearfully at the lord, he saw that the young ruler was not
angry at all. Instead, he was silent and thoughtful, for at last he realized how
much wisdom and knowledge old people possess.
“I have been very wrong,” he said finally. “And I must ask the forgiveness
of your mother and of all my people. Never again will I demand that the old
people of our village be sent to the mountains to die. Rather, they will be
treated with the respect and honor they deserve and share with us the wisdom
of their years.” g g UNIVERSAL THEME
150 And so it was. From that day, the villagers were no longer forced to abandon What lesson does the
their parents in the mountains, and the village became once more a happy, young lord learn?
cheerful place in which to live. The terrible Lord Higa stopped sending his
impossible demands and no longer threatened to conquer them, for he too was
impressed. “Even in such a small village there is much wisdom,” he declared,
“and its people should be allowed to live in peace.”
And that is exactly what the farmer and his mother and all the people of the
village did for all the years thereafter.

Comparing Theme
After Reading
1. Recall In “The Old Grandfather and His Little Grandson,” whose action R3.2 Evaluate the structural
shames the couple into treating the grandfather better? elements of the plot (e.g., subplots,
parallel episodes, climax), the plot’s
development, and the way in which
2. Recall In “The Wise Old Woman,” what is the young lord’s decree? conflicts are (or are not) addressed
and resolved.
3. Clarify What causes Lord Higa to spare the village? R3.3 Compare and contrast
motivations and reactions of literary
Literary Analysis characters from different historical
eras confronting similar situations or
conflicts.
4. Compare Characters’ Motivations and Reactions The two folk tales you just R3.5 Identify and analyze recurring
read take place in different cultures and historical eras, yet both address a themes (e.g., good versus evil) across
traditional and contemporary works.
similar issue: how should adults treat elderly parents who cannot take care
of themselves any longer? Consider the characters’ reactions to old people
at the beginning and end of each story. What motivates the characters
to change their behavior? Then compare and contrast the reactions and
motivations of the young couple in Tolstoy’s story with those of the young
Japanese lord in Uchida’s tale.
5. Evaluate Parallel Episodes In folk tales, events often happen in threes.
There may be three wishes or three tasks, for example. These repeated events
are called parallel episodes. Find the parallel episodes in “The Wise Old
Woman.” What do these parallel episodes contribute to the folk tale?
Comparing Universal Theme

Now that you have read both tales, finish filling in your chart. Finally, add the
question about universal theme to your chart and write your answer.
“The Old Grandfather “The Wise Old

and His Little Grandson” Woman”
Who are the elderly character: elderly character:

important
unkind characters: unkind characters:
characters?
other characters: other characters:
How is the
elderly character
mistreated?
What motivates
characters to stop
this mistreatment?
What is the
universal theme?
the old gr andfather . . . / the wise old woman 473

Vocabulary in Context
vocabulary practice
Choose the word in each group that is most nearly opposite in meaning arrogant
to the boldfaced word.
bewilderment
1. haughtily: (a) snobbishly, (b) modestly, (c) indifferently
2. bewilderment: (a) understanding, (b) confusion, (c) shock deceive
3. arrogant: (a) smug, (b) humble, (c) aloof
4. deceive: (a) outsmart, (b) scam, (c) guide haughtily
vocabulary in writing
Write a paragraph from the young lord’s perspective, explaining the lesson
he learned. Include at least two vocabulary words. Here is a sample of how
you might begin.
example sentence
When I learned how wise the old woman was, I felt truly ashamed I had been
so arrogant.
vocabulary strategy: the suffix -ly

A suffix is a word part that can be added to the end of a root or base word.
Sometimes a suffix is used to change a word’s part of speech. For example,
when the suffix -ly is added to the end of the word haughty, it forms the adverb
haughtily. When an adjective ends in -y, as haughty does, the y changes to i
before -ly is added.
PRACTICE Change each boldfaced adjective to an adverb by adding the suffix -ly.
Then rephrase each sentence so it makes sense.
1. In the beginning of the story, the young lord was cruel. vocabulary
practice
2. The tearful son had to take his mother into the mountains.
For more practice, go
3. The angry lord asked the villagers for help. to the Vocabulary Center
at ClassZone.com.
4. The old woman was happy to provide her son with the answers.

Comparing Theme
Writing for Assessment 86A>;DGC>6

W1.1, W1.2, W1.3, W1.6, W2.2abcd
1. read the prompt

In writing assessments, you will often be asked to compare and contrast
two works that share a similar theme.
prompt strategies in action

The folk tales “The Old Grandfather and His 1. I have to make sure I understand the
Little Grandson” and “The Wise Old Woman” message expressed by these folk tales.
express the same universal theme in different 2. I need to identify the similarities and
ways. In four to five paragraphs, compare and differences in how the tales get
contrast the ways in which the folk tales convey the message across.
their message. Support your judgments with 3. I should support my ideas using
references to both texts. information from the two tales.
2. plan your writing

Review your chart to identify the universal theme and the way
each folk tale expresses it. Then think about how you will set 1. Introduce ta
les and
up the body of your response. thesis statemen
t
II. How first ta
• Option A: In one paragraph, describe how the universal le
expresses them
e
theme is conveyed in the first folk tale; in the next paragraph, III. How second
tale
describe how this theme is conveyed in the second folk tale; expresses them
e
in a third paragraph, discuss similarities and differences. IV. Comparison
of tales
V. Conclusion
• Option B: In one paragraph, compare the elderly characters;
in a second paragraph, compare the mistreatment of
the elderly characters; in a third paragraph, compare the
motivations for ending the mistreatment.
Once you have decided on the organization, outline your essay.
Then write a thesis statement that describes the main idea of your essay.
3. draft your response

Introduction Give the titles and authors of the tales. Provide a sentence telling what
each tale is about. State the universal theme and include your thesis statement.
Body Using your outline as a guide, discuss how each folk tale conveys the universal
theme. Use details from the tales to support your ideas.
Conclusion End each essay by restating the universal theme and your thesis statement.
Explain whether the values conveyed by these tales are still important.
Revision Make sure you clearly identify the tale you are discussing in each paragraph.
the old gr andfather . . . / the wise old woman 475

Before Reading
My Mother Pieced Quilts

Poem by Teresa Palomo Acosta
quilting
Poem by Lucille Clifton
What gives meaning

to simple things?
KEY IDEA Is there a song that reminds you of a particular time or
place in your life? Perhaps there is a food that makes you think of a
special person or holiday. Simple things like these can have a unique
86A>;DGC>6
meaning when they represent something more. In the poems you
R3.6 Identify significant literary
devices (e.g., metaphor, symbolism. are about to read, you’ll see how simple things can have personal
dialect, irony) that define a writer’s significance.
interpret the work.
Also included in this lesson: LC1.4 SURVEY Take an informal survey of five to ten classmates to find out
(p. 483) what simple things have the most meaning for them. What types
of things come up most often? As a class, create an answer to the
question “What gives meaning to simple things?”
476
literary analysis: symbol in poetry 86A>;DGC>6
Symbols are people, places, and things that stand for something Teresa Palomo Acosta:
beyond themselves. Writers often use them to convey complex Women’s Advocate
ideas in a few words. For example, in the poems you are Teresa Palomo Acosta
about to read, quilts and quilting represent something more grew up in central
significant than an object or activity. To understand these Texas, where she
enjoyed listening to
symbols, use the following tips:
her grandfather tell
• Think about the big ideas each line or stanza expresses. colorful stories about
Ask: What message about families, art, or other big topics her family’s history
in Mexico and Texas.
is the poem communicating?
Acosta’s work as a
• Pay attention to the poet’s word choice. Ask: Which words writer springs from Teresa Palomo Acosta
have positive associations? Which have negative associations? her desire to tell born 1949
stories about people
• Notice how the symbol relates to the big ideas in the poem.
who don’t usually appear in literature.
Ask: In what way do quilts or quilting help convey the poem’s In particular, she writes about the lives and
message? struggles of Mexican-American women in
the past and present. Widely recognized for
As you read, use graphics like the ones shown to write down
her efforts in support of women, she’s been
clues that help you understand each symbol. You’ll finish named an Outstanding Woman in the Arts.
filling in the graphics later.
“My Mother Pieced Quilts” “quilting” Lucille Clifton:
Creating Beautiful
Clues About Quilts Clues About Quilting Poems Lucille Clifton
grew up in the state
of New York and
was the first in her
family to finish high
school and attend
quilts= quilting= college. Her poetry
often deals with her
African-American
roots and having Lucille Clifton
strength through born 1936
reading skill: draw conclusions difficult times. She
believes writing poetry explores what it
You often must draw conclusions to understand the message a means to be human. “Poetry doesn’t have
poet is trying to share. A conclusion is a belief you arrive at or a to be pretty,” she said, “but it must be
logical judgment you make by combining your inferences about beautiful.” Clifton has won many awards
the poem with your personal knowledge and experience. for her work, including the National Book
To help you draw a conclusion, you can fill in a statement Award and an Emmy Award.
like this: “I believe _____ because _____ and _____.” For more about the author
example, “I believe the daughter respects her mother because For more on Teresa Palomo Acosta
she seems awed by her mother’s talent and because I know and Lucille Clifton, visit the Literature
Center at ClassZone.com.
from experience how important adult role models are.” As you
read “My Mother Pieced Quilts” and “quilting,” fill in your own
statements to draw conclusions about the value of quilting.
my mother pieced quilts / quilting 477

My Mother
Pieced uilts
Teresa Palomo Acosta
they were just meant as covers ANALYZE VISUALS

in winters What recognizable
objects can you find in
as weapons
this quilt? Tell what each
against pounding january winds might symbolize to the
quiltmaker.
5 but it was just that every morning I awoke to these
october ripened canvases
passed my hand across their cloth faces
and began to wonder how you pieced
all these together
10 these strips of gentle communion cotton and flannel nightgowns
wedding organdies
dime store velvets a a SYMBOL
In what ways are the
quilts more than covers?
how you shaped patterns square and oblong and round
positioned
15 balanced
then cemented them
with your thread
a steel needle
a thimble
20 how the thread darted in and out

galloping along the frayed edges, tucking them in
as you did us at night
oh how you stretched and turned and re-arranged b DRAW CONCLUSIONS
How does the mother’s
your michigan spring faded curtain pieces skill in making the quilt
25 my father’s santa fe work shirt mirror her role in the
the summer denims, the tweeds of fall b family?
American Childhood (1995), Jane Burch Cochran.

478 unit 4: theme and symbol Fabric, beads, buttons, paint, baby dress, gloves, 53˝ × 42˝.
in the evening you sat at your canvas
—our cracked linoleum floor the drawing board
me lounging on your arm
30 and you staking out the plan:
whether to put the lilac purple of easter against the red plaid
of winter-going-
into-spring
whether to mix a yellow with blue and white and paint the
35 corpus christi noon when my father held your hand
whether to shape a five-point star from the
somber black silk you wore to grandmother’s funeral c c SYMBOL
Reread lines 31–37. What
parts of life do the fabrics
you were the river current
in the quilt represent?
carrying the roaring notes
40 forming them into pictures of a little boy reclining
a swallow flying
you were the caravan master at the reins
driving your threaded needle artillery1 across the mosaic2
cloth bridges
45 delivering yourself in separate testimonies.3
oh mother you plunged me sobbing and laughing

into our past
into the river crossing at five d DRAW CONCLUSIONS
into the spinach fields Think about the images
50 into the plainview cotton rows the speaker uses as she
describes her mother.
into tuberculosis wards What is the speaker’s
into braids and muslin4 dresses attitude toward her
sewn hard and taut to withstand the thrashings of twenty-five years d mother?
stretched out they lay

55 armed/ready/shouting/celebrating
knotted with love

the quilts sing on e e SYMBOL
What does the speaker
mean when she says “the
quilts sing on”? Consider
how the quilt represents
the family itself.
1. artillery (är-tGlPE-rC): large weapons that are operated by crews.

2. mosaic (mI-zAPGk): a picture or design created when small colored pieces of stone
or tile are set into a surface.
3. testimonies (tDsPtE-mIQnCz): declarations.
4. muslin (mOzPlGn): sturdy cotton fabric.

quilting
Lucille Clifton
Crossing Borders (1995), Deidre Scherer. Fabric and thread. © Deidre Scherer.
somewhere in the unknown world ANALYZE VISUALS

a yellow eyed woman What might the gesture
in this picture symbolize?
sits with her daughter
quilting.
5 some other where

alchemists1 mumble over pots.
their chemistry stirs
into science. their science
freezes into stone. f f DRAW CONCLUSIONS
Does the speaker
present the place where
10 in the unknown world
the alchemists are in a
the woman positive or negative way?
threading together her need Tell what words in this
and her needle stanza make you think so.
nods toward the smiling girl
15 remember
this will keep us warm. g g SYMBOL
How is the world where
the mother and daughter
how does this poem end?
quilt different from the
do the daughters’ daughters quilt? alchemists’ world?
do the alchemists practice their tables?
20 do the worlds continue spinning
away from each other forever?
1. alchemist (BlQkE-mGst): a chemist who tries to turn

metals into gold.
quilting 481
After Reading
1. Recall What were the quilts in “My Mother Pieced Quilts” meant for? R3.6 Identify significant literary
2. Recall In “My Mother Pieced Quilts,” what does the mother consider doing dialect, irony) that define a writer’s
with the black silk from the grandmother’s funeral? interpret the work.
3. Summarize Describe the alchemists’ work in “quilting.”
Literary Analysis
4. Visualize In “My Mother Pieced Quilts,” the poet uses vivid language to
create a picture of the fabrics, patterns, and colors of the quilts. What three
descriptive phrases best help you visualize the quilts?
5. Clarify a Line In “quilting,” the mother threads together “her need and her
needle.” What need might quilting fulfill for the mother? Think about why
it’s important for her to share the experience with her daughter.
6. Interpret a Question In “quilting,” the poem ends with the following question:
“do the worlds continue spinning away from each other forever?” Think about
how the worlds are contrasted in the poem. Why might they be moving apart?
Explain your answer.
7. Analyze Symbols Finish filling in your graphics with any additional clues
to the meanings of “quilts” and “quilting” in the two poems. In “My Mother
Pieced Quilts,” what do the quilts symbolize? In “quilting,” what does the
act of quilting symbolize? Write the answers in your graphic.
8. Draw Conclusions In a chart like the one shown, list examples from the
poems of the practical, creative, and social reasons for quilting. Based on
this list, what can you conclude about the value in making quilts?
Reasons for Quilting
Practical
Creative
Social

9. Creative Project: Art If you were to make a quilt to represent your
life, what would it look like? Think about the fabrics, colors, and
designs you would choose and their meaning to you. Then make
a collage of your quilt.

Reading-Writing Connection
Delve deeper into “My Mother Pieced Quilts” and “quilting” by responding
to these prompts. Then complete the Grammar and Writing exercise.
A. Short Response: Describe a Relationship An effective description will . . .

In what way is the mother-daughter relationship • explain the importance of
central to the message in the poem “quilting”? In a quilting to the mother
one-paragraph description, explain why the mother
• reveal how quilting connects
wants to quilt with her daughter.
the generations
B. Extended Response: Write a Speech A successful speech will . . .

Imagine a museum has decided to show the quilts • include details about how the
described in “My Mother Pieced Quilts.” The speaker quilts were made and what
of the poem has been asked to discuss her mother’s some of the squares represent
work. Write a one-page speech in which the speaker
• reflect the relationship
explains to the audience how the quilts were created
between the mother and
and what they mean to her.
daughter
grammar and writing

USE THE ACTIVE VOICE Verbs can be in either the active voice or passive voice.
In a sentence that uses the active voice, the subject performs the verb’s action. 86A>;DGC>6
In a sentence that uses the passive voice, the subject receives the verb’s action. LC1.4 Edit written manuscripts to
ensure that correct grammar is used.
The passive voice tends to make sentences dull and weak, so you should use
the active voice whenever possible.
Passive: The quilt was sewn together by my mother. (The subject
quilt receives the action of the verb phrase was sewn.)
Active: My mother sewed the quilt together. (The subject mother
performs the action of the verb sewed.)
PRACTICE Rewrite each of these sentences in the active voice.

1. The quilts were worked on every night by my mother.
2. I am reminded of my fifth birthday by this piece of pink satin.
3. The denim that’s used in the quilt was worn by my father.
4. Our family was warmed and comforted by my mother’s quilts.
For more help with active and passive voice, see page R57 in the Grammar
Handbook.
my mother pieced quilts / quilting 483

Before Reading
The Diary of Anne Frank

Drama by Frances Goodrich and Albert Hackett
What impact will

you have on the world?
KEY IDEA Everyone makes an impact on the world in some way.
National leaders or sports heroes may inspire millions, while the rest
of us can influence a smaller circle of friends and family through our
86A>;DGC>6
actions, our beliefs, or our commitments. Whether you make your
themes (e.g., good versus evil) across mark quietly or boldly, a life well lived can be a guide to others.
traditional and contemporary works. In the play you’re about to read, a young girl doesn’t realize that
Also included in this lesson: W1.3
(p. 543), LC1.5 (p. 543)
the thoughts she expresses in her diary will later influence readers
all over the world.
QUICKWRITE People of all ages make important contributions to the

world. What impact do you now have on others? What impact do
you hope to have later in your life? Write your ideas in a brief journal
entry. Think about how education and life experience might affect
your goals for the future.
484
literary analysis: theme 86A>;DGC>6
The play you are about to read is based on a diary written by
From Comedies to
Anne Frank, a teenager who spent more than two years hiding Drama Screenwriting
from the Nazis. When Anne’s diary was published, readers team Frances Goodrich
around the world were profoundly touched that, despite all she and Albert Hackett
had been through, she still believed people were good at heart. were a married couple
When the playwrights adapted Anne’s diary, they used her known for their
upbeat comedies and
belief in the essential goodness of people as one of the work’s
musicals. In the late
themes, or messages about life. As you read, notice how Anne’s 1940s, they began
thoughts and feelings, as well as the characters’ relationships working on a drama
with each other, work together to express this theme. that would take eight
years to complete. Frances Goodrich
Their play, The Diary 1890–1984
reading skill: story mapping of Anne Frank, was
Albert Hackett
As you know, a road map can be a useful tool to help you get based on Anne Frank’s 1900–1995
someplace. Similarly, a story map can help you understand what diary entries. As
you’re reading. It shows how a story’s parts fit together and how part of their research, the couple traveled to
Amsterdam to interview Anne’s father and
the action moves from one event to another. As you read The
to see the family’s hiding place. Their play
Diary of Anne Frank, complete a story map like the one shown. adaptation won a Pulitzer Prize in 1956.
The Diary of Anne Frank
Setting: Background
Anne Frank’s Diary Anne Frank and her
Characters: family were Jewish citizens of Germany.
When the Nazi party, led by Adolf Hitler,
came to power in 1933, the Nazis blamed
Problem: the country’s problems on the Jews. Jews
were stripped of their rights. Many were
Events: eventually sent to concentration camps
where more than 6 million Jews died in
what became known as the Holocaust.
The Franks moved to the Netherlands to
Resolution:
escape persecution, but the Nazis invaded
that country in 1940. In order to survive,
Anne’s family went into hiding when she
vocabulary in context was 13 years old. They hid in attic rooms
The following words help the playwrights capture Anne’s behind Mr. Frank’s office, and several other
experiences. To see how many you know, try to match each Jews joined them. In this “Secret Annex,”
Anne kept a diary about her life in hiding.
word from the list with the word or phrase closest in meaning.
More than two years later, the group’s worst
fears came true when the Nazis found them.
word apprehension fortify remorse Everyone who had been living there was sent
list disgruntled indignantly unabashed to concentration camps. Anne’s diary was
foreboding pandemonium discovered later.

1. wild uproar 4. angrily 7. bold and background
2. displeased 5. strengthen 8. sorrow To learn more about the authors and
the Holocaust, visit the Literature
3. worry 6. sinking feeling Center at ClassZone.com.
the diary of anne fr ank 485

the
Diary
of
Anne
Frank Frances Goodrich
and Albert Hackett
CHARACTERS
SECRET ANNEX RESIDENTS WORKERS IN MR. FRANK’S BUSINESS
Anne Frank Mrs. Frank Mrs. Van Daan Miep Gies (mCp gCs)
Margot Frank Peter Van Daan Mr. Dussel Mr. Kraler (kräPlEr)
Mr. Frank Mr. Van Daan
The Time. July 1942–August 1944, November 1945 slightly raised, on either side. On the right is a
The Place. Amsterdam, the Netherlands bathroom, out of sight. A narrow steep flight of
The scene remains the same throughout the play. stairs at the back leads up to the attic. The rooms are
It is the top floor of a warehouse and office sparsely furnished with a few chairs, cots, a table or
building in Amsterdam, Holland. The sharply two. The windows are painted over, or covered with
peaked roof of the building is outlined against makeshift blackout curtains. In the main room there
a sea of other rooftops, stretching away into the is a sink, a gas ring for cooking and a wood-burning
distance. Nearby is the belfry of a church tower, stove for warmth.
the Westertoren, whose carillon rings out the hours. The room on the left is hardly more than a closet.
Occasionally faint sounds float up from below: the There is a skylight in the sloping ceiling. Directly
voices of children playing in the street, the tramp under this room is a small steep stairwell, with steps
of marching feet, a boat whistle from the canal. leading down to a door. This is the only entrance
The three rooms of the top floor and a small attic from the building below. When the door is opened
space above are exposed to our view. The largest of we see that it has been concealed on the outer side
the rooms is in the center, with two small rooms, by a bookcase attached to it.
The Diary of Anne Frank, starring Natalie Portman as

Anne, ran on Broadway at the Music Box Theatre from
December 1997 to June 1998.

ACT ONE Mr. Frank. I’ve come to say good-bye . . .
I’m leaving here, Miep.
Scene 1
40 Miep. What do you mean? Where are you going?
Where?
The curtain rises on an empty stage. It is late
Mr. Frank. I don’t know yet. I haven’t decided.
afternoon November, 1945.
Miep. Mr. Frank, you can’t leave here! This is your
The rooms are dusty, the curtains in rags.
Chairs and tables are overturned. home! Amsterdam is your home. Your business is
here, waiting for you . . . You’re needed here . . .
The door at the foot of the small stairwell swings Now that the war is over, there are things that . . .
open. Mr. Frank comes up the steps into view. He is a
Mr. Frank. I can’t stay in Amsterdam, Miep. It has
gentle, cultured European in his middle years. There is
still a trace of a German accent in his speech. too many memories for me. Everywhere there’s
something . . . the house we lived in . . . the
He stands looking slowly around, making a 50 school . . . that street organ playing out there . . .
10 supreme effort at self-control. He is weak, ill. I’m not the person you used to know, Miep.
His clothes are threadbare. I’m a bitter old man. (breaking off ) Forgive me.
After a second he drops his rucksack on the couch I shouldn’t speak to you like this . . . after all that
and moves slowly about. He opens the door to one of you did for us . . . the suffering . . .
the smaller rooms, and then abruptly closes it again, Miep. No. No. It wasn’t suffering. You can’t say
turning away. He goes to the window at the back, we suffered. (As she speaks, she straightens a chair
looking off at the Westertoren as its carillon strikes which is overturned.)
the hour of six, then he moves restlessly on.
Mr. Frank. I know what you went through, you
From the street below we hear the sound of a and Mr. Kraler. I’ll remember it as long as I live.
barrel organ and children’s voices at play. There is a 60 (He gives one last look around.) Come, Miep.
20 many-colored scarf hanging from a nail. Mr. Frank
takes it, putting it around his neck. As he starts back (He starts for the steps, then remembers his rucksack,
for his rucksack, his eye is caught by something lying going back to get it.)
on the floor. It is a woman’s white glove. He holds Miep (hurrying up to a cupboard ). Mr. Frank,
it in his hand and suddenly all of his self-control is did you see? There are some of your papers here.
gone. He breaks down, crying. (She brings a bundle of papers to him.) We found
We hear footsteps on the stairs. Miep Gies comes them in a heap of rubbish on the floor after . . .
up, looking for Mr. Frank. Miep is a Dutch girl of after you left.
about twenty-two. She wears a coat and hat, ready Mr. Frank. Burn them.
to go home. She is pregnant. Her attitude toward (He opens his rucksack to put the glove in it.)
30 Mr. Frank is protective, compassionate. 70 Miep. But, Mr. Frank, there are letters, notes . . .
Miep. Are you all right, Mr. Frank? Mr. Frank. Burn them. All of them.
Mr. Frank (quickly controlling himself ). Yes, Miep. Burn this?
Miep, yes.
(She hands him a paperbound notebook.)
Miep. Everyone in the office has gone home . . .
Mr. Frank (quietly). Anne’s diary. (He opens the
It’s after six. (then pleading) Don’t stay up here,
diary and begins to read.) “Monday, the sixth of
Mr. Frank. What’s the use of torturing yourself
July, nineteen forty-two.” (to Miep) Nineteen
like this?

489
forty-two. Is it possible, Miep? . . . Only three Scene 2
years ago. (As he continues his reading, he sits down
on the couch.) “Dear Diary, since you and I are It is early morning, July, 1942. The rooms are
80 going to be great friends, I will start by telling 120 bare, as before, but they are now clean and orderly.
you about myself. My name is Anne Frank. I am Mr. Van Daan, a tall, portly man in his late
thirteen years old. I was born in Germany the forties, is in the main room, pacing up and down,
twelfth of June, nineteen twenty-nine. As my nervously smoking a cigarette. His clothes and
family is Jewish, we emigrated to Holland when overcoat are expensive and well cut.
Hitler came to power.”
Mrs. Van Daan sits on the couch, clutching her
(As Mr. Frank reads on, another voice joins his, possessions, a hatbox, bags, etc. She is a pretty woman
as if coming from the air. It is Anne’s Voice.) in her early forties. She wears a fur coat over her
Mr. Frank and Anne. “My father started a business, other clothes.
importing spice and herbs. Things went well for Peter Van Daan is standing at the window of the
90 us until nineteen forty. Then the war came, and 130 room on the right, looking down at the street below.
the Dutch capitulation, followed by the arrival He is a shy, awkward boy of sixteen. He wears a cap,
of the Germans. Then things got very bad for a raincoat, and long Dutch trousers, like “plus fours.”
the Jews.” At his feet is a black case, a carrier for his cat.
(Mr. Frank’s Voice dies out. Anne’s Voice continues The yellow Star of David is conspicuous on all
alone. The lights dim slowly to darkness. The curtain of their clothes.
falls on the scene.)
Mrs. Van Daan (rising, nervous, excited ).
Anne’s Voice. You could not do this and you Something’s happened to them! I know it!
could not do that. They forced Father out of his
Mr. Van Daan. Now, Kerli!
business. We had to wear yellow stars.1 I had to
100 turn in my bike. I couldn’t go to a Dutch school Mrs. Van Daan. Mr. Frank said they’d be here
any more. I couldn’t go to the movies, or ride 140 at seven o’clock. He said . . .
in an automobile, or even on a streetcar, and a Mr. Van Daan. They have two miles to walk.
million other things. But somehow we children You can’t expect . . .
still managed to have fun. Yesterday Father told Mrs. Van Daan. They’ve been picked up. That’s
me we were going into hiding. Where, he wouldn’t what’s happened. They’ve been taken . . .
say. At five o’clock this morning Mother woke me (Mr. Van Daan indicates that he hears someone
and told me to hurry and get dressed. I was to put coming.)
on as many clothes as I could. It would look too
Mr. Van Daan. You see?
suspicious if we walked along carrying suitcases.
110 It wasn’t until we were on our way that I learned (Peter takes up his carrier and his schoolbag, etc.,
where we were going. Our hiding place was to and goes into the main room as Mr. Frank comes
be upstairs in the building where Father used 150 up the stairwell from below. Mr. Frank looks much
to have his business. Three other people were younger now. His movements are brisk, his manner
coming in with us . . . the Van Daans and their confident. He wears an overcoat and carries his hat
son Peter . . . Father knew the Van Daans but we and a small cardboard box. He crosses to the Van
had never met them . . . Daans, shaking hands with each of them.)
(During the last lines the curtain rises on the scene. Mr. Frank. Mrs. Van Daan, Mr. Van Daan, Peter.
The lights dim on. Anne’s Voice fades out.) (then, in explanation of their lateness) There were
1. yellow stars: the six-pointed Stars of David that the Nazis ordered all Jews to wear for identification.

too many of the Green Police2 on the streets . . . Mrs. Van Daan. Ration books? If they see our
we had to take the long way around. names on ration books, they’ll know we’re here.
}
(Up the steps come Margot Frank, Mrs. Frank, Mr. Kraler. There isn’t anything . . .
160 Miep [not pregnant now] and Mr. Kraler. All of Miep. Don’t worry. Your names won’t Together
them carry bags, packages, and so forth. The Star of be on them. (as she hurries out) I’ll be
David is conspicuous on all of the Franks’ clothing. 200 up later.
Margot is eighteen, beautiful, quiet, shy. Mrs. Frank Mr. Frank. Thank you, Miep.
is a young mother, gently bred, reserved. She, like
Mr. Frank, has a slight German accent. Mr. Kraler Mrs. Frank (to Mr. Kraler). It’s illegal, then, the
is a Dutchman, dependable, kindly. ration books? We’ve never done anything illegal.
As Mr. Kraler and Miep go upstage to put down Mr. Frank. We won’t be living here exactly according
their parcels, Mrs. Frank turns back to call Anne.) to regulations. (As Mr. Kraler reassures Mrs. Frank,
he takes various small things, such as matches, soap,
Mrs. Frank. Anne?
etc., from his pockets, handing them to her.)
170 (Anne comes running up the stairs. She is thirteen, Mr. Kraler. This isn’t the black market,4 Mrs.
quick in her movements, interested in everything, Frank. This is what we call the white market . . .
mercurial in her emotions. She wears a cape, long 210 helping all of the hundreds and hundreds who are
wool socks and carries a schoolbag.) hiding out in Amsterdam.
Mr. Frank (introducing them). My wife, Edith.
(The carillon is heard playing the quarter-hour
Mr. and Mrs. Van Daan (Mrs. Frank hurries over,
before eight. Mr. Kraler looks at his watch. Anne
shaking hands with them.) . . . their son, Peter . . .
stops at the window as she comes down the stairs.)
my daughters, Margot and Anne.
Anne. It’s the Westertoren!
(Anne gives a polite little curtsy as she shakes Mr. Van
Daan’s hand. Then she immediately starts off on a Mr. Kraler. I must go. I must be out of here and
180 tour of investigation of her new home, going upstairs downstairs in the office before the workmen get
to the attic room. Miep and Mr. Kraler are putting here. (He starts for the stairs leading out.) Miep or
the various things they have brought on the shelves.) I, or both of us, will be up each day to bring you
220 food and news and find out what your needs are.
Mr. Kraler. I’m sorry there is still so much confusion.
Tomorrow I’ll get you a better bolt for the door
Mr. Frank. Please. Don’t think of it. After all, at the foot of the stairs. It needs a bolt that you
we’ll have plenty of leisure to arrange everything can throw yourself and open only at our signal.
ourselves. (to Mr. Frank) Oh . . . You’ll tell them about
Miep (to Mrs. Frank). We put the stores of food the noise?
you sent in here. Your drugs are here . . . soap, Mr. Frank. I’ll tell them.
linen here. Mr. Kraler. Good-bye then for the moment.
190 Mrs. Frank. Thank you, Miep. I’ll come up again, after the workmen leave.
Miep. I made up the beds . . . the way Mr. Frank Mr. Frank. Good-bye, Mr. Kraler.
and Mr. Kraler said. (She starts out.) Forgive me. 230 Mrs. Frank (shaking his hand ). How can we thank
I have to hurry. I’ve got to go to the other side of you? (The others murmur their good-byes.)
town to get some ration books3 for you.
2. Green Police: the Nazi police who wore green uniforms.

3. ration books: books of stamps or coupons issued by the government in wartime. With these coupons,
people could purchase scarce items, such as food, clothing, and gasoline.
4. black market: a system for selling goods illegally, in violation of rationing and other restrictions.
the diary of anne frank: act one 491

Mr. Kraler. I never thought I’d live to see the day quietly into the room on the right to look down out
when a man like Mr. Frank would have to go into of the window. Anne runs after him, peering out
hiding. When you think—(He breaks off, going with him. The tramping feet pass without stopping.
out. Mr. Frank follows him down the steps, bolting The tension is relieved. Mr. Frank, followed by Anne,
the door after him. In the interval before he returns, returns to the main room and resumes his instructions
Peter goes over to Margot, shaking hands with her. to the group.) . . . No trash must ever be thrown
As Mr. Frank comes back up the steps, Mrs. Frank out which might reveal that someone is living up
questions him anxiously.) 280 here . . . not even a potato paring. We must burn
240 Mrs. Frank. What did he mean, about the noise? everything in the stove at night. This is the way
Mr. Frank. First let us take off some of these
we must live until it is over, if we are to survive.
clothes. (They all start to take off garment after (There is silence for a second.)
garment. On each of their coats, sweaters, blouses, Mrs. Frank. Until it is over.
suits, dresses, is another yellow Star of David. Mr. Mr. Frank (reassuringly). After six we can move
and Mrs. Frank are underdressed quite simply. about . . . we can talk and laugh and have our
The others wear several things, sweaters, extra supper and read and play games . . . just as we
dresses, bathrobes, aprons, nightgowns, etc.) would at home. (He looks at his watch.) And now
Mr. Van Daan. It’s a wonder we weren’t arrested, I think it would be wise if we all went to our
walking along the streets . . . Petronella with a fur 290 rooms, and were settled before eight o’clock. Mrs.
250 coat in July . . . and that cat of Peter’s crying all Van Daan, you and your husband will be upstairs.
the way. I regret that there’s no place up there for Peter.
Anne (as she is removing a pair of panties). A cat? But he will be here, near us. This will be our
Mrs. Frank (shocked ). Anne, please!
common room, where we’ll meet to talk and eat
and read, like one family.
Anne. It’s all right. I’ve got on three more.
Mr. Van Daan. And where do you and Mrs. Frank
(She pulls off two more. Finally, as they have all
sleep?
removed their surplus clothes, they look to Mr.
Frank, waiting for him to speak.) Mr. Frank. This room is also our bedroom.
}
Mr. Frank. Now. About the noise. While the men Mrs. Van Daan. That isn’t right. We’ll
are in the building below, we must have complete 300 sleep here and you take the room
upstairs. Together
260 quiet. Every sound can be heard down there, not
only in the workrooms, but in the offices too. The Mr. Van Daan. It’s your place.
men come at about eight-thirty, and leave at about Mr. Frank. Please. I’ve thought this out for weeks.
five-thirty. So, to be perfectly safe, from eight in It’s the best arrangement. The only arrangement.
the morning until six in the evening we must move Mrs. Van Daan (to Mr. Frank). Never, never can
only when it is necessary, and then in stockinged we thank you. (then to Mrs. Frank) I don’t know
feet. We must not speak above a whisper. We what would have happened to us, if it hadn’t been
must not run any water. We cannot use the sink, for Mr. Frank.
or even, forgive me, the w.c.5 The pipes go down
through the workrooms. It would be heard. No Mr. Frank. You don’t know how your husband
270 trash . . . (Mr. Frank stops abruptly as he hears the 310 helped me when I came to this country . . .
sound of marching feet from the street below. Everyone knowing no one . . . not able to speak the
is motionless, paralyzed with fear. Mr. Frank goes language. I can never repay him for that. (going
to Van Daan) May I help you with your things?
5. w.c.: water closet; toilet.

Mr. Van Daan. No. No. (to Mrs. Van Daan) I have one . . . a darling little cat. But they made me
6
Come along, liefje. leave her behind. I left some food and a note for the
Mrs. Van Daan. You’ll be all right, Peter? You’re neighbors to take care of her . . . I’m going to miss
not afraid? her terribly. What is yours? A him or a her?
Peter (embarrassed ). Please, Mother. Peter. He’s a tom. He doesn’t like strangers.
(They start up the stairs to the attic room above. (He takes the cat from her, putting it back in its
320 Mr. Frank turns to Mrs. Frank.) carrier.)
Mr. Frank. You too must have some rest, Edith. You Anne (unabashed ). Then I’ll have to stop being
didn’t close your eyes last night. Nor you, Margot. 360 a stranger, won’t I? Is he fixed?
Anne. I slept, Father. Wasn’t that funny? I knew it Peter (startled ). Huh?
was the last night in my own bed, and yet I slept Anne. Did you have him fixed?
soundly. Peter. No.
Mr. Frank. I’m glad, Anne. Now you’ll be able to Anne. Oh, you ought to have him fixed—to keep
help me straighten things in here. (to Mrs. Frank him from—you know, fighting. Where did you
and Margot) Come with me . . . You and Margot go to school?
rest in this room for the time being. (He picks up Peter. Jewish Secondary.
330 their clothes, starting for the room on the right.)
Anne. But that’s where Margot and I go! I never
Mrs. Frank. You’re sure . . . ? I could help . . .
saw you around.
And Anne hasn’t had her milk . . .
370 Peter. I used to see you . . . sometimes . . .
Mr. Frank. I’ll give it to her. (to Anne and Peter)
Anne, Peter . . . it’s best that you take off your Anne. You did?
shoes now, before you forget. (He leads the way Peter. . . . in the school yard. You were always in
to the room, followed by Margot.) the middle of a bunch of kids. (He takes a penknife
Mrs. Frank. You’re sure you’re not tired, Anne? from his pocket.)
Anne. I feel fine. I’m going to help Father. Anne. Why didn’t you ever come over?
Mrs. Frank. Peter, I’m glad you are to be with us. Peter. I’m sort of a lone wolf. (He starts to rip off
his Star of David.)
340 Peter. Yes, Mrs. Frank.
Anne. What are you doing?
(Mrs. Frank goes to join Mr. Frank and Margot.)
Peter. Taking it off.
(During the following scene Mr. Frank helps Margot
and Mrs. Frank to hang up their clothes. Then he 380 Anne. But you can’t do that. They’ll arrest you
persuades them both to lie down and rest. The Van if you go out without your star.
Daans in their room above settle themselves. In the (He tosses his knife on the table.)
main room Anne and Peter remove their shoes. Peter Peter. Who’s going out?
takes his cat out of the carrier.) Anne. Why, of course! You’re right! Of course we
Anne. What’s your cat’s name? don’t need them any more. (She picks up his knife
Peter. Mouschi.7 and starts to take her star off.) I wonder what our
350 Anne. Mouschi! Mouschi! Mouschi! (She picks up friends will think when we don’t show up today?
the cat, walking away with it. To Peter.) I love cats. Peter. I didn’t have any dates with anyone.
6. liefje (lCfPyE) Dutch: little darling.

7. Mouschi (mLPshC)

Anne. Oh, I did. I had a date with Jopie to go and Mr. Frank. We have some bread and butter.
390 play ping-pong at her house. Do you know Jopie Peter. No, thank you.
de Waal? 8 430 Mr. Frank. You can have it for luncheon then.
Peter. No. And tonight we will have a real supper . . .
Anne. Jopie’s my best friend. I wonder what our first supper together.
she’ll think when she telephones and there’s no Peter. Thanks. Thanks.
answer? . . . Probably she’ll go over to the house . . . (He goes into his room. During the following scene
I wonder what she’ll think . . . we left everything he arranges his possessions in his new room.)
as if we’d suddenly been called away . . . breakfast
dishes in the sink . . . beds not made . . . (As she Mr. Frank. That’s a nice boy, Peter.
pulls off her star, the cloth underneath shows clearly Anne. He’s awfully shy, isn’t he?
400 the color and form of the star.) Look! It’s still there! Mr. Frank. You’ll like him, I know.
(Peter goes over to the stove with his star.) What’re Anne. I certainly hope so, since he’s the only boy
you going to do with yours? 440 I’m likely to see for months and months.
Peter. Burn it. (Mr. Frank sits down, taking off his shoes.)
Anne (She starts to throw hers in, and cannot.) It’s Mr. Frank. Annele,9 there’s a box there. Will you
funny, I can’t throw mine away. I don’t know why. open it? (He indicates a carton on the couch. Anne
Peter. You can’t throw . . . ? Something they brings it to the center table. In the street below there
branded you with . . . ? That they made you wear is the sound of children playing.)
so they could spit on you? Anne (as she opens the carton). You know the way
Anne. I know. I know. But after all, it is the Star I’m going to think of it here? I’m going to think
410 of David, isn’t it? of it as a boarding house. A very peculiar summer
(In the bedroom, right, Margot and Mrs. Frank boarding house, like the one that we—(She breaks
are lying down. Mr. Frank starts quietly out.) 450 off as she pulls out some photographs.) Father! My
Peter. Maybe it’s different for a girl. movie stars! I was wondering where they were!
I was looking for them this morning . . . and
(Mr. Frank comes into the main room.)
Queen Wilhelmina! How wonderful!
Mr. Frank. Forgive me, Peter. Now let me see.
Mr. Frank. There’s something more. Go on.
We must find a bed for your cat. (He goes to a Look further. (He goes over to the sink, pouring
cupboard.) I’m glad you brought your cat. Anne a glass of milk from a thermos bottle.)
was feeling so badly about hers. (getting a used
small washtub) Here we are. Will it be comfortable Anne (pulling out a pasteboard-bound book).
420 in that? A diary! (She throws her arms around her father.)
I’ve never had a diary. And I’ve always longed for
Peter (gathering up his things). Thanks.
460 one. (She looks around the room.) Pencil, pencil,
Mr. Frank (opening the door of the room on the left). pencil, pencil. (She starts down the stairs.) I’m
And here is your room. But I warn you, Peter, you going down to the office to get a pencil.
can’t grow any more. Not an inch, or you’ll have Mr. Frank. Anne! No! (He goes after her, catching
to sleep with your feet out of the skylight. Are you her by the arm and pulling her back.)
hungry?
Anne (startled ). But there’s no one in the
Peter. No.
building now.
8. Jopie de Waal (yIPpC dE välP)

9. Annele/Anneke: a nickname for Anne.

Mr. Frank. It doesn’t matter. I don’t want you ever to him and pours some of the milk from her glass
to go beyond that door. 510 into the saucer for the cat. Peter squats on the floor,
Anne (sobered ). Never . . . ? Not even at putting the milk before the cat. Mr. Frank gives
470 nighttime, when everyone is gone? Or on Anne his fountain pen, and then goes into the room
Sundays? Can’t I go down to listen to the radio? at the right. For a second Anne watches the cat, then
Mr. Frank. Never. I am sorry, Anneke. It isn’t safe.
she goes over to the center table, and opens her diary.
No, you must never go beyond that door. In the room at the right, Mrs. Frank has sat up
(For the first time Anne realizes what “going into quickly at the sound of the carillon. Mr. Frank comes
hiding” means.) in and sits down beside her on the settee, his arm
comfortingly around her.
Anne. I see.
Upstairs, in the attic room, Mr. and Mrs. Van
Mr. Frank. It’ll be hard, I know. But always 520 Daan have hung their clothes in the closet and are
remember this, Anneke. There are no walls, there now seated on the iron bed. Mrs. Van Daan leans
are no bolts, no locks that anyone can put on your back exhausted. Mr. Van Daan fans her with a
480 mind. Miep will bring us books. We will read newspaper.
history, poetry, mythology. (He gives her the glass
of milk.) Here’s your milk. (With his arm about Anne starts to write in her diary. The lights dim
her, they go over to the couch, sitting down side by out, the curtain falls.
side.) As a matter of fact, between us, Anne, being In the darkness Anne’s Voice comes to us again,
here has certain advantages for you. For instance, faintly at first, and then with growing strength.)
you remember the battle you had with your Anne’s Voice. I expect I should be describing what
mother the other day on the subject of overshoes? it feels like to go into hiding. But I really don’t
You said you’d rather die than wear overshoes. 530 know yet myself. I only know it’s funny never to
But in the end you had to wear them? Well now, be able to go outdoors . . . never to breathe fresh
490 you see, for as long as we are here you will never air . . . never to run and shout and jump. It’s the
have to wear overshoes! Isn’t that good? And the silence in the nights that frightens me most. Every
coat that you inherited from Margot, you won’t time I hear a creak in the house, or a step on the
have to wear that any more. And the piano! You street outside, I’m sure they’re coming for us. The
won’t have to practice on the piano. I tell you, this days aren’t so bad. At least we know that Miep and
is going to be a fine life for you! Mr. Kraler are down there below us in the office.
(Anne’s panic is gone. Peter appears in the doorway Our protectors, we call them. I asked Father what
of his room, with a saucer in his hand. He is carrying would happen to them if the Nazis found out they
his cat.) 540 were hiding us. Pim said that they would suffer the
Peter. I . . . I . . . I thought I’d better get some
same fate that we would . . . Imagine! They know
500 water for Mouschi before . . . this, and yet when they come up here, they’re
always cheerful and gay as if there were nothing in
Mr. Frank. Of course. the world to bother them . . . Friday, the twenty-
(As he starts toward the sink the carillon begins to first of August, nineteen forty-two. Today I’m
chime the hour of eight. He tiptoes to the window at going to tell you our general news. Mother is
the back and looks down at the street below. He turns unbearable. She insists on treating me like a baby,
to Peter, indicating in pantomime that it is too late. which I loathe. Otherwise things are going better.
Peter starts back for his room. He steps on a creaking The weather is . . .
board. The three of them are frozen for a minute in 550 (As Anne’s Voice is fading out, the curtain rises
fear. As Peter starts away again, Anne tiptoes over on the scene.)

Scene 3 Peter. You’re going to be sorry!
590 Anne. Am I? (Peter goes after her. Anne, with his
It is a little after six o’clock in the evening, shoes in her hand, runs from him, dodging behind
two months later. her mother.)
Margot is in the bedroom at the right, studying. Mrs. Frank (protesting). Anne, dear!
Mr. Van Daan is lying down in the attic room Peter. Wait till I get you!
above.
Anne. I’m waiting! (Peter makes a lunge for her.
The rest of the “family” is in the main room. Anne They both fall to the floor. Peter pins her down,
and Peter sit opposite each other at the center table, wrestling with her to get the shoes.) Don’t! Don’t!
where they have been doing their lessons. Mrs. Frank Peter, stop it. Ouch!
560 is on the couch. Mrs. Van Daan is seated with her
Mrs. Frank. Anne! . . . Peter!
fur coat, on which she has been sewing, in her lap.
None of them are wearing their shoes. 600 (Suddenly Peter becomes self-conscious. He grabs his
shoes roughly and starts for his room.)
Their eyes are on Mr. Frank, waiting for him to
give them the signal which will release them from Anne (following him). Peter, where are you going?
their day-long quiet. Mr. Frank, his shoes in his Come dance with me.
hand, stands looking down out of the window at the Peter. I tell you I don’t know how.
back, watching to be sure that all of the workmen Anne. I’ll teach you.
have left the building below. Peter. I’m going to give Mouschi his dinner.
After a few seconds of motionless silence, Anne. Can I watch?
570 Mr. Frank turns from the window.
Peter. He doesn’t like people around while he eats.
Mr. Frank (quietly, to the group). It’s safe now.
Anne. Peter, please.
The last workman has left. (There is an immediate
stir of relief.) 610 Peter. No! (He goes into his room. Anne slams his
door after him.)
Anne (Her pent-up energy explodes.) WHEE!
Mrs. Frank. Anne, dear, I think you shouldn’t play
Mrs. Frank (startled, amused ). Anne!
like that with Peter. It’s not dignified.
Mrs. Van Daan. I’m first for the w.c. (She hurries off
Anne. Who cares if it’s dignified? I don’t want to
to the bathroom. Mrs. Frank puts on her shoes and
be dignified.
starts up to the sink to prepare supper. Anne sneaks
Peter’s shoes from under the table and hides them (Mr. Frank and Margot come from the room on the
580 behind her back. Mr. Frank goes in to Margot’s room.) right. Margot goes to help her mother. Mr. Frank
starts for the center table to correct Margot’s school
Mr. Frank (to Margot). Six o’clock. School’s over.
papers.)
(Margot gets up, stretching. Mr. Frank sits down
620 Mrs. Frank (to Anne). You complain that I don’t
to put on his shoes. In the main room Peter tries
treat you like a grownup. But when I do, you
to find his.)
resent it.
Peter (to Anne). Have you seen my shoes?
Anne. I only want some fun . . . someone to laugh
Anne (innocently). Your shoes? and clown with . . . After you’ve sat still all day
Peter. You’ve taken them, haven’t you? and hardly moved, you’ve got to have some fun.
Anne. I don’t know what you’re talking about. I don’t know what’s the matter with that boy.

Mr. Frank. He isn’t used to girls. Give him a little Mrs. Van Daan (to Peter). Now is that any way to
time. talk to your little girl friend?
Anne. Time? Isn’t two months time? I could cry. Peter. Mother . . . for heaven’s sake . . . will you
630 (catching hold of Margot) Come on, Margot . . . please stop saying that?
dance with me. Come on, please. Mrs. Van Daan. Look at him blush! Look at him!
Margot. I have to help with supper. 670 Peter. Please! I’m not . . . anyway . . . let me alone,
Anne. You know we’re going to forget how to will you?
dance . . . When we get out we won’t remember Mrs. Van Daan. He acts like it was something to be
a thing. ashamed of. It’s nothing to be ashamed of, to have
(She starts to sing and dance by herself. Mr. Frank a little girl friend.
takes her in his arms, waltzing with her. Mrs. Van Peter. You’re crazy. She’s only thirteen.
Daan comes in from the bathroom.) Mrs. Van Daan. So what? And you’re sixteen. Just
Mrs. Van Daan. Next? (She looks around as she starts perfect. Your father’s ten years older than I am. (to
640 putting on her shoes.) Where’s Peter? Mr. Frank) I warn you, Mr. Frank, if this war lasts
Anne (as they are dancing). Where would he be! much longer, we’re going to be related and then . . .
Mrs. Van Daan. He hasn’t finished his lessons, 680 Mr. Frank. Mazeltov! 10
has he? His father’ll kill him if he catches him Mrs. Frank (deliberately changing the conversation).
in there with that cat and his work not done. I wonder where Miep is. She’s usually so prompt.
(Mr. Frank and Anne finish their dance. They bow (Suddenly everything else is forgotten as they hear the
to each other with extravagant formality.) Anne, get sound of an automobile coming to a screeching stop
him out of there, will you? in the street below. They are tense, motionless in their
Anne (at Peter’s door). Peter? Peter? terror. The car starts away. A wave of relief sweeps
Peter (opening the door a crack). What is it? over them. They pick up their occupations again.
650 Anne. Your mother says to come out. Anne flings open the door of Peter’s room, making
Peter. I’m giving Mouschi his dinner.
a dramatic entrance. She is dressed in Peter’s clothes.
690 Peter looks at her in fury. The others are amused.)
Mrs. Van Daan. You know what your father says.
Anne. Good evening, everyone. Forgive me if
(She sits on the couch, sewing on the lining of her
I don’t stay. (She jumps up on a chair.) I have a
fur coat.)
friend waiting for me in there. My friend Tom.
Peter. For heaven’s sake, I haven’t even looked Tom Cat. Some people say that we look alike.
at him since lunch. But Tom has the most beautiful whiskers, and I
Mrs. Van Daan. I’m just telling you, that’s all. have only a little fuzz. I am hoping . . . in time . . .
Anne. I’ll feed him. Peter. All right, Mrs. Quack Quack!
Peter. I don’t want you in there. Anne (outraged—jumping down). Peter!
660 Mrs. Van Daan. Peter! Peter. I heard about you . . . How you talked
Peter (to Anne). Then give him his dinner and 700 so much in class they called you Mrs. Quack
come right out, you hear? (He comes back to the Quack. How Mr. Smitter made you write a
table. Anne shuts the door of Peter’s room after her composition . . . “‘Quack, quack,’ said Mrs.
and disappears behind the curtain covering his closet.) Quack Quack.”
10. Mazeltov! (mäPzEl tôfQ) Hebrew: Congratulations!

Anne. Well, go on. Tell them the rest. How it was Mrs. Van Daan. For heaven’s sake, don’t give that
so good he read it out loud to the class and then child any pills. I waited for fifteen minutes this
read it to all his other classes! morning for her to come out of the w.c.
Peter. Quack! Quack! Quack . . . Quack . . . Anne. I was washing my hair!
Quack . . . Mr. Frank. I think there’s nothing the matter
(Anne pulls off the coat and trousers.) with our Anne that a ride on her bike, or a
710 Anne. You are the most intolerable, insufferable 750 visit with her friend Jopie de Waal wouldn’t cure.
boy I’ve ever met! Isn’t that so, Anne?
(She throws the clothes down the stairwell. Peter goes (Mr. Van Daan comes down into the room.
down after them.) From outside we hear faint sounds of bombers going
Peter. Quack, quack, quack!
over and a burst of ack-ack.)
Mr. Van Daan. Miep not come yet?
Mrs. Van Daan (to Anne). That’s right, Anneke!
Give it to him! Mrs. Van Daan. The workmen just left, a little
Anne. With all the boys in the world . . . Why
while ago.
I had to get locked up with one like you! . . . Mr. Van Daan. What’s for dinner tonight?
Peter. Quack, quack, quack, and from now on stay Mrs. Van Daan. Beans.
720 out of my room! 760 Mr. Van Daan. Not again!
(As Peter passes her, Anne puts out her foot, tripping Mrs. Van Daan. Poor Putti! I know. But what can
him. He picks himself up, and goes on into his room.) we do? That’s all that Miep brought us.
Mrs. Frank (quietly). Anne, dear . . . your hair. (Mr. Van Daan starts to pace, his hands behind his
(She feels Anne’s forehead.) You’re warm. Are you back. Anne follows behind him, imitating him.)
feeling all right? Anne. We are now in what is known as the “bean
Anne. Please, Mother. (She goes over to the center cycle.” Beans boiled, beans en casserole, beans
table, slipping into her shoes.) with strings, beans without strings . . .
Mrs. Frank (following her). You haven’t a fever, (Peter has come out of his room. He slides into his
have you? place at the table, becoming immediately absorbed
730 Anne (pulling away). No. No. 770 in his studies.)
Mrs. Frank. You know we can’t call a doctor Mr. Van Daan (to Peter). I saw you . . . in there,
here, ever. There’s only one thing to do . . . playing with your cat.
watch carefully. Prevent an illness before it comes. Mrs. Van Daan. He just went in for a second,
Let me see your tongue. putting his coat away. He’s been out here all the
Anne. Mother, this is perfectly absurd. time, doing his lessons.
Mrs. Frank. Anne, dear, don’t be such a baby. Let Mr. Frank (looking up from the papers). Anne, you
me see your tongue. (As Anne refuses, Mrs. Frank got an excellent in your history paper today . . .
appeals to Mr. Frank.) Otto . . . ? and very good in Latin.
Mr. Frank. You hear your mother, Anne. (Anne Anne (sitting beside him). How about algebra?
740 flicks out her tongue for a second, then turns away.) 780 Mr. Frank. I’ll have to make a confession. Up until
Mrs. Frank. Come on—open up! (as Anne opens now I’ve managed to stay ahead of you in algebra.
her mouth very wide) You seem all right . . . but Today you caught up with me. We’ll leave it to
perhaps an aspirin . . . Margot to correct.

Anne. Isn’t algebra vile, Pim! Mrs. Van Daan. Oh, I embarrass you, do I? Well,
Mr. Frank. Vile! I just hope the girl you marry has as good. (then to
Margot (to Mr. Frank). How did I do?
Anne) My father used to worry about me, with so
many boys hanging round. He told me, if any of
Anne (getting up). Excellent, excellent, excellent, them gets fresh, you say to him . . . “Remember,
excellent! Mr. So-and-So, remember I’m a lady.”
Mr. Frank (to Margot). You should have used the 830 Anne. “Remember, Mr. So-and-So, remember
790 subjunctive here . . . I’m a lady.” (She gives Mrs. Van Daan her coat.)
Margot. Should I? . . . I thought . . . look here . . . Mr. Van Daan. Look at you, talking that way in
I didn’t use it here . . . (The two become absorbed front of her! Don’t you know she puts it all down
in the papers.) in that diary?
Anne. Mrs. Van Daan, may I try on your coat? Mrs. Van Daan. So, if she does? I’m only telling
Mrs. Frank. No, Anne. the truth!
Mrs. Van Daan (giving it to Anne). It’s all right . . . (Anne stretches out, putting her ear to the floor,
but careful with it. (Anne puts it on and struts with listening to what is going on below. The sound of
it.) My father gave me that the year before he died. the bombers fades away.)
He always bought the best that money could buy. 840 Mrs. Frank (setting the table). Would you mind,
800 Anne. Mrs. Van Daan, did you have a lot of boy Peter, if I moved you over to the couch?
friends before you were married? Anne (listening). Miep must have the radio on.
Mrs. Frank. Anne, that’s a personal question. (Peter picks up his papers, going over to the couch
It’s not courteous to ask personal questions. beside Mrs. Van Daan.)
Mrs. Van Daan. Oh I don’t mind. (to Anne) Mr. Van Daan (accusingly, to Peter). Haven’t you
Our house was always swarming with boys. finished yet?
When I was a girl we had . . .
Peter. No.
Mr. Van Daan. Oh, God. Not again!
Mr. Van Daan. You ought to be ashamed of yourself.
Mrs. Van Daan (good-humored ). Shut up!
Peter. All right. All right. I’m a dunce. I’m a
(Without a pause, to Anne. Mr. Van Daan
850 hopeless case. Why do I go on?
810 mimics Mrs. Van Daan, speaking the first few
words in unison with her.) One summer we had Mrs. Van Daan. You’re not hopeless. Don’t talk
a big house in Hilversum. The boys came buzzing that way. It’s just that you haven’t anyone to help
round like bees around a jam pot. And when I you, like the girls have. (to Mr. Frank) Maybe you
was sixteen! . . . We were wearing our skirts very could help him, Mr. Frank?
short those days and I had good-looking legs. Mr. Frank. I’m sure that his father . . . ?
(She pulls up her skirt, going to Mr. Frank.) I Mr. Van Daan. Not me. I can’t do anything with
still have ’em. I may not be as pretty as I used him. He won’t listen to me. You go ahead . . . if
to be, but I still have my legs. How about it, you want.
Mr. Frank? Mr. Frank (going to Peter). What about it, Peter?
820 Mr. Van Daan. All right. All right. We see them. 860 Shall we make our school coeducational?
Mrs. Van Daan. I’m not asking you. I’m asking Mrs. Van Daan (kissing Mr. Frank). You’re an
Mr. Frank. angel, Mr. Frank. An angel. I don’t know why
Peter. Mother, for heaven’s sake. I didn’t meet you before I met that one there.

Here, sit down, Mr. Frank . . . (She forces him
down on the couch beside Peter.) Now, Peter, you
listen to Mr. Frank.
Mr. Frank. It might be better for us to go into Peter’s
room. (Peter jumps up eagerly, leading the way.)
Mrs. Van Daan. That’s right. You go in there, Peter.
870 You listen to Mr. Frank. Mr. Frank is a highly
educated man. (As Mr. Frank is about to follow
Peter into his room, Mrs. Frank stops him and wipes
the lipstick from his lips. Then she closes the door
after them.)
Anne (on the floor, listening). Shh! I can hear a
man’s voice talking.
Mr. Van Daan (to Anne). Isn’t it bad enough here
without your sprawling all over the place? (Anne
sits up.)
880 Mrs. Van Daan (to Mr. Van Daan). If you didn’t
smoke so much, you wouldn’t be so bad-tempered.
Mr. Van Daan. Am I smoking? Do you see me
smoking?
Mrs. Van Daan. Don’t tell me you’ve used up all
those cigarettes.
Mr. Van Daan. One package. Miep only brought
me one package.
Mrs. Van Daan. It’s a filthy habit anyway. It’s a
good time to break yourself.
890 Mr. Van Daan. Oh, stop it, please. Mr. Van Daan. Yes!
Mrs. Van Daan. You’re smoking up all our money. Mrs. Frank (quickly). Anne, will you get me my
You know that, don’t you? knitting? (Anne goes to get it.) I must remember,
when Miep comes, to ask her to bring me some
Mr. Van Daan. Will you shut up? (During this,
more wool.
Mrs. Frank and Margot have studiously kept their
eyes down. But Anne, seated on the floor, has been Margot (going to her room). I need some hairpins
following the discussion interestedly. Mr. Van Daan 910 and some soap. I made a list. (She goes into her
turns to see her staring up at him.) And what are bedroom to get the list.)
you staring at? Mrs. Frank (to Anne). Have you some library
Anne. I never heard grownups quarrel before. books for Miep when she comes?
900 I thought only children quarreled. Anne. It’s a wonder that Miep has a life of her own,
Mr. Van Daan. This isn’t a quarrel! It’s a discussion. the way we make her run errands for us. Please,
And I never heard children so rude before. Miep, get me some starch. Please take my hair out
and have it cut. Tell me all the latest news, Miep.
Anne (rising, indignantly). I, rude!

(She goes over, kneeling on the couch beside Mrs. Van Mr. Van Daan (restraining himself with difficulty).
Daan.) Did you know she was engaged? His name Why aren’t you nice and quiet like your sister
920 is Dirk, and Miep’s afraid the Nazis will ship him 960 Margot? Why do you have to show off all the
off to Germany to work in one of their war plants. time? Let me give you a little advice, young lady.
That’s what they’re doing with some of the young Men don’t like that kind of thing in a girl. You
Dutchmen . . . they pick them up off the streets— know that? A man likes a girl who’ll listen to him
Mr. Van Daan (interrupting). Don’t you ever get once in a while . . . a domestic girl, who’ll keep
tired of talking? Suppose you try keeping still for her house shining for her husband . . . who loves
five minutes. Just five minutes. (He starts to pace to cook and sew and . . .
again. Again Anne follows him, mimicking him. Anne. I’d cut my throat first! I’d open my veins!
Mrs. Frank jumps up and takes her by the arm I’m going to be remarkable! I’m going to Paris . . .
up to the sink, and gives her a glass of milk.) Mr. Van Daan (scoffingly). Paris!
930 Mrs. Frank. Come here, Anne. It’s time for your 970 Anne. . . . to study music and art.
glass of milk. Mr. Van Daan. Yeah! Yeah!
Mr. Van Daan. Talk, talk, talk. I never heard such
Anne. I’m going to be a famous dancer or
a child. Where is my . . . ? Every evening it’s the singer . . . or something wonderful. (She makes
same, talk, talk, talk. (He looks around.) Where a wide gesture, spilling the glass of milk on the fur
is my . . . ? coat in Mrs. Van Daan’s lap. Margot rushes quickly
Mrs. Van Daan. What’re you looking for? over with a towel. Anne tries to brush the milk off
Mr. Van Daan. My pipe. Have you seen my pipe? with her skirt.)
Mrs. Van Daan. What good’s a pipe? You haven’t Mrs. Van Daan. Now look what you’ve done . . .
got any tobacco. you clumsy little fool! My beautiful fur coat my
940 Mr. Van Daan. At least I’ll have something to hold 980 father gave me . . .
in my mouth! (opening Margot’s bedroom door) Anne. I’m so sorry.
Margot, have you seen my pipe? Mrs. Van Daan. What do you care? It isn’t yours
Margot. It was on the table last night. (Anne puts . . . So go on, ruin it! Do you know what that coat
her glass of milk on the table and picks up his pipe, cost? Do you? And now look at it! Look at it!
hiding it behind her back.) Anne. I’m very, very sorry.
Mr. Van Daan. I know. I know. Anne, did you see Mrs. Van Daan. I could kill you for this. I could
my pipe? . . . Anne! just kill you! (Mrs. Van Daan goes up the stairs,
Mrs. Frank. Anne, Mr. Van Daan is speaking clutching the coat. Mr. Van Daan starts after her.)
to you. Mr. Van Daan. Petronella . . . liefje! Liefje! . . .
950 Anne. Am I allowed to talk now? 990 Come back . . . the supper . . . come back!
Mr. Van Daan. You’re the most aggravating . . . Mrs. Frank. Anne, you must not behave in
The trouble with you is, you’ve been spoiled. that way.
What you need is a good old-fashioned spanking. Anne. It was an accident. Anyone can have an
Anne (mimicking Mrs. Van Daan). “Remember, accident.
Mr. So-and-So, remember I’m a lady.” (She Mrs. Frank. I don’t mean that. I mean the
thrusts the pipe into his mouth, then picks up her answering back. You must not answer back.
glass of milk.) They are our guests. We must always show the

greatest courtesy to them. We’re all living under Margot. You know Anne. In half an hour she’ll
terrible tension. (She stops as Margot indicates that 1040 be out here, laughing and joking.
1000 Van Daan can hear. When he is gone, she continues.) Mrs. Frank. And . . . (She makes a motion upwards,
That’s why we must control ourselves . . . You don’t indicating the Van Daans.) . . . I told your father
hear Margot getting into arguments with them, do it wouldn’t work . . . but no . . . no . . . he had
you? Watch Margot. She’s always courteous with to ask them, he said . . . he owed it to him, he
them. Never familiar. She keeps her distance. said. Well, he knows now that I was right!
And they respect her for it. Try to be like Margot. These quarrels! . . . This bickering!
Anne. And have them walk all over me, the way Margot (with a warning look). Shush. Shush.
they do her? No, thanks! (The buzzer for the door sounds. Mrs. Frank gasps,
Mrs. Frank. I’m not afraid that anyone is going startled.)
to walk all over you, Anne. I’m afraid for other 1050 Mrs. Frank. Every time I hear that sound, my
1010 people, that you’ll walk on them. I don’t know
heart stops!
what happens to you, Anne. You are wild, self-
willed. If I had ever talked to my mother as you Margot (starting for Peter’s door). It’s Miep.
talk to me . . . (She knocks at the door.) Father?
Anne. Things have changed. People aren’t like (Mr. Frank comes quickly from Peter’s room.)
that any more. “Yes, Mother.” “No, Mother.” Mr. Frank. Thank you, Margot. (as he goes down the
“Anything you say, Mother.” I’ve got to fight steps to open the outer door) Has everyone his list?
things out for myself! Make something of myself! Margot. I’ll get my books. ( giving her mother a
Mrs. Frank. It isn’t necessary to fight to do it. list) Here’s your list. (Margot goes into her and
Margot doesn’t fight, and isn’t she . . . ? Anne’s bedroom on the right. Anne sits up, hiding
1020 Anne (violently rebellious). Margot! Margot!
1060 her tears, as Margot comes in.) Miep’s here.
Margot! That’s all I hear from everyone . . . how (Margot picks up her books and goes back. Anne
wonderful Margot is . . . “Why aren’t you like hurries over to the mirror, smoothing her hair.)
Margot?” Mr. Van Daan (coming down the stairs). Is it Miep?
Margot (protesting). Oh, come on, Anne, don’t Margot. Yes. Father’s gone down to let her in.
be so . . . Mr. Van Daan. At last I’ll have some cigarettes!
Anne (paying no attention). Everything she does Mrs. Frank (to Mr. Van Daan). I can’t tell you
is right, and everything I do is wrong! I’m the how unhappy I am about Mrs. Van Daan’s coat.
goat around here! . . . You’re all against me! . . . Anne should never have touched it.
And you worst of all!
Mr. Van Daan. She’ll be all right.
1030 (She rushes off into her room and throws herself
1070 Mrs. Frank. Is there anything I can do?
down on the settee, stifling her sobs. Mrs. Frank
sighs and starts toward the stove.) Mr. Van Daan. Don’t worry.
Mrs. Frank (to Margot). Let’s put the soup on (He turns to meet Miep. But it is not Miep who
the stove . . . if there’s anyone who cares to eat. comes up the steps. It is Mr. Kraler, followed by Mr.
Margot, will you take the bread out? (Margot gets Frank. Their faces are grave. Anne comes from the
the bread from the cupboard.) I don’t know how bedroom. Peter comes from his room.)
we can go on living this way . . . I can’t say Mrs. Frank. Mr. Kraler!
a word to Anne . . . she flies at me . . . Mr. Van Daan. How are you, Mr. Kraler?

Margot. This is a surprise. Mr. Frank. Forgive me. I spoke without consulting
Mrs. Frank. When Mr. Kraler comes, the sun you. But I knew you’d feel as I do.
1080 begins to shine. 1120 Mr. Van Daan. There’s no reason for you to
Mr. Van Daan. Miep is coming? consult anyone. This is your place. You have a
Mr. Kraler. Not tonight.
right to do exactly as you please. The only thing
I feel . . . there’s so little food as it is . . . and to
(Kraler goes to Margot and Mrs. Frank and Anne, take in another person . . .
shaking hands with them.)
(Peter turns away, ashamed of his father.)
Mrs. Frank. Wouldn’t you like a cup of coffee? . . .
Mr. Frank. We can stretch the food a little.
Or, better still, will you have supper with us?
It’s only for a few days.
Mr. Frank. Mr. Kraler has something to talk over
Mr. Van Daan. You want to make a bet?
with us. Something has happened, he says, which
demands an immediate decision. Mrs. Frank. I think it’s fine to have him. But,
1090 Mrs. Frank (fearful). What is it?
1130 Otto, where are you going to put him? Where?
Peter. He can have my bed. I can sleep on the
(Mr. Kraler sits down on the couch. As he talks he
floor. I wouldn’t mind.
takes bread, cabbages, milk, etc., from his briefcase,
giving them to Margot and Anne to put away.) Mr. Frank. That’s good of you, Peter. But your
Mr. Kraler. Usually, when I come up here, I try to
room’s too small . . . even for you.
bring you some bit of good news. What’s the use Anne. I have a much better idea. I’ll come in
of telling you the bad news when there’s nothing here with you and Mother, and Margot can take
that you can do about it? But today something Peter’s room and Peter can go in our room with
has happened . . . Dirk . . . Miep’s Dirk, you Mr. Dussel.
know, came to me just now. He tells me that he Margot. That’s right. We could do that.
1100 has a Jewish friend living near him. A dentist. 1140 Mr. Frank. No, Margot. You mustn’t sleep in
He says he’s in trouble. He begged me, could I that room . . . neither you nor Anne. Mouschi
do anything for this man? Could I find him a has caught some rats in there. Peter’s brave.
hiding place? . . . So I’ve come to you . . . I know He doesn’t mind.
it’s a terrible thing to ask of you, living as you are, Anne. Then how about this? I’ll come in here with
but would you take him in with you? you and Mother, and Mr. Dussel can have my bed.
Mr. Frank. Of course we will.
Mrs. Frank. No. No. No! Margot will come in
Mr. Kraler (rising). It’ll be just for a night or two here with us and he can have her bed. It’s the
. . . until I find some other place. This happened only way. Margot, bring your things in here.
so suddenly that I didn’t know where to turn. Help her, Anne.
1110 Mr. Frank. Where is he? 1150 (Margot hurries into her room to get her things.)
Mr. Kraler. Downstairs in the office. Anne (to her mother). Why Margot? Why can’t
Mr. Frank. Good. Bring him up. I come in here?
Mr. Kraler. His name is Dussel . . . Jan Dussel. Mrs. Frank. Because it wouldn’t be proper for
Mr. Frank. Dussel . . . I think I know him. Margot to sleep with a . . . Please, Anne. Don’t
Mr. Kraler. I’ll get him. (He goes quickly down
argue. Please. (Anne starts slowly away.)
the steps and out. Mr. Frank suddenly becomes Mr. Frank. (to Anne). You don’t mind sharing
conscious of the others.) your room with Mr. Dussel, do you, Anne?

Anne. No. No, of course not. Mr. Van Daan. Someone’s moving in with us.
Mr. Frank. Good. (Anne goes off into her bedroom, Mrs. Van Daan. In here? You’re joking.
1160 helping Margot. Mr. Frank starts to search in the Margot. It’s only for a night or two . . . until
cupboards.) Where’s the cognac? Mr. Kraler finds him another place.
Mrs. Frank. It’s there. But, Otto, I was saving it Mr. Van Daan. Yeah! Yeah!
in case of illness. 1180 (Mr. Frank hurries over as Mr. Kraler and
Mr. Frank. I think we couldn’t find a better time Dussel come up. Dussel is a man in his late fifties,
to use it. Peter, will you get five glasses for me? meticulous, finicky . . . bewildered now. He wears
(Peter goes for the glasses. Margot comes out of a raincoat. He carries a briefcase, stuffed full, and
her bedroom, carrying her possessions, which she a small medicine case.)
hangs behind a curtain in the main room. Mr. Mr. Frank. Come in, Mr. Dussel.
Frank finds the cognac and pours it into the five Mr. Kraler. This is Mr. Frank.
1170 glasses that Peter brings him. Mr. Van Daan
stands looking on sourly. Mrs. Van Daan comes Dussel. Mr. Otto Frank?
downstairs and looks around at all the bustle.) Mr. Frank. Yes. Let me take your things.
Mrs. Van Daan. What’s happening? What’s (He takes the hat and briefcase, but Dussel clings
going on? 1190 to his medicine case.) This is my wife Edith . . .

Mr. and Mrs. Van Daan . . . their son, Peter . . . me . . . She said she’d gone to your house . . . the
and my daughters, Margot and Anne. door was open, everything was in disorder, dishes
(Dussel shakes hands with everyone.) in the sink. She said she found a piece of paper
Mr. Kraler. Thank you, Mr. Frank. Thank you all. in the wastebasket with an address scribbled on
Mr. Dussel, I leave you in good hands. Oh . . . it . . . an address in Zurich. She said you must
Dirk’s coat. have escaped to Zurich.
(Dussel hurriedly takes off the raincoat, giving it to Anne. Father put that there purposely . . .
Mr. Kraler. Underneath is his white dentist’s jacket, just so people would think that very thing!
with a yellow Star of David on it.) Dussel. And you’ve been here all the time?
1200 Dussel (to Mr. Kraler). What can I say to thank 1240 Mrs. Frank. All the time . . . ever since July.
you . . . ? (Anne speaks to her father as he comes back.)
Mrs. Frank (to Dussel). Mr. Kraler and Miep . . . Anne. It worked, Pim . . . the address you left!
They’re our life line. Without them we couldn’t Mr. Dussel says that people believe we escaped
live. to Switzerland.
Mr. Kraler. Please. Please. You make us seem very Mr. Frank. I’m glad . . . And now let’s have a little
heroic. It isn’t that at all. We simply don’t like drink to welcome Mr. Dussel. (Before they can
the Nazis. (to Mr. Frank, who offers him a drink) drink, Mr. Dussel bolts his drink. Mr. Frank smiles
No, thanks. (then going on) We don’t like their and raises his glass.) To Mr. Dussel. Welcome.
methods. We don’t like . . . We’re very honored to have you with us.
1210 Mr. Frank (smiling). I know. I know. “No one’s 1250 Mrs. Frank. To Mr. Dussel, welcome.
going to tell us Dutchmen what to do with our (The Van Daans murmur a welcome. The “grown-
damn Jews!” ups” drink.)
Mr. Kraler (to Dussel). Pay no attention to Mr.
Mrs. Van Daan. Um. That was good.
Frank. I’ll be up tomorrow to see that they’re
treating you right. (to Mr. Frank) Don’t trouble Mr. Van Daan. Did Mr. Kraler warn you that you
to come down again. Peter will bolt the door after won’t get much to eat here? You can imagine . . .
me, won’t you, Peter? three ration books among the seven of us . . . and
now you make eight.
Peter. Yes, sir.
(Peter walks away, humiliated. Outside a street
Mr. Frank. Thank you, Peter. I’ll do it.
organ is heard dimly.)
1220 Mr. Kraler. Good night. Good night.
1260 Dussel (rising). Mr. Van Daan, you don’t realize
Group. Good night, Mr. Kraler. We’ll see you what is happening outside that you should
tomorrow, (etc., etc.) warn me of a thing like that. You don’t realize
(Mr. Kraler goes out with Mr. Frank. Mrs. Frank what’s going on . . . (As Mr. Van Daan starts
gives each one of the “grownups” a glass of cognac.) his characteristic pacing, Dussel turns to speak to
Mrs. Frank. Please, Mr. Dussel, sit down. the others.) Right here in Amsterdam every day
(Mr. Dussel sinks into a chair. Mrs. Frank gives hundreds of Jews disappear . . . They surround
him a glass of cognac.) a block and search house by house. Children
come home from school to find their parents
Dussel. I’m dreaming. I know it. I can’t believe gone. Hundreds are being deported . . . people
my eyes. Mr. Otto Frank here! (to Mrs. Frank) 1270 that you and I know . . . the Hallensteins . . .
1230 You’re not in Switzerland then? A woman told
the Wessels . . .

Mrs. Frank (in tears). Oh, no. No! Dussel (shaking hands with each in turn). Forgive
Dussel. They get their call-up notice . . . come me if I haven’t really expressed my gratitude to
to the Jewish theatre on such and such a day all of you. This has been such a shock to me. I’d
and hour . . . bring only what you can carry in always thought of myself as Dutch. I was born in
a rucksack. And if you refuse the call-up notice, Holland. My father was born in Holland, and my
then they come and drag you from your home grandfather. And now . . . after all these years . . .
and ship you off to Mauthausen.11 The death (He breaks off.) If you’ll excuse me.
camp! (Dussel gives a little bow and hurries off after
1280 Mrs. Frank. We didn’t know that things had got Anne. Mr. Frank and the others are subdued.)
so much worse. 1320 Anne (turning on the light). Well, here we are.
Dussel. Forgive me for speaking so. (Dussel looks around the room. In the main room
Anne (coming to Dussel). Do you know the Margot speaks to her mother.)
de Waals? . . . What’s become of them? Their Margot. The news sounds pretty bad, doesn’t it?
daughter Jopie and I are in the same class. It’s so different from what Mr. Kraler tells us.
Jopie’s my best friend. Mr. Kraler says things are improving.
Dussel. They are gone. Mr. Van Daan. I like it better the way Kraler tells it.
Anne. Gone? (They resume their occupations, quietly. Peter goes
Dussel. With all the others. off into his room. In Anne’s room, Anne turns to
1290 Anne. Oh, no. Not Jopie!
Dussel.)
1330 Anne. You’re going to share the room with me.
(She turns away, in tears. Mrs. Frank motions
to Margot to comfort her. Margot goes to Anne, Dussel. I’m a man who’s always lived alone.
putting her arms comfortingly around her.) I haven’t had to adjust myself to others. I hope
Mrs. Van Daan. There were some people called
you’ll bear with me until I learn.
Wagner. They lived near us . . . ? Anne. Let me help you. (She takes his briefcase.)
Mr. Frank (interrupting, with a glance at Anne).
Do you always live all alone? Have you no family
I think we should put this off until later. We all at all?
have many questions we want to ask . . . But I’m Dussel. No one. (He opens his medicine case and
sure that Mr. Dussel would like to get settled spreads his bottles on the dressing table.)
1300 before supper. Anne. How dreadful. You must be terribly lonely.
Dussel. Thank you. I would. I brought very little 1340 Dussel. I’m used to it.
with me. Anne. I don’t think I could ever get used to it.
Mr. Frank (giving him his hat and briefcase). I’m Didn’t you even have a pet? A cat, or a dog?
sorry we can’t give you a room alone. But I hope Dussel. I have an allergy for fur-bearing animals.
you won’t be too uncomfortable. We’ve had to They give me asthma.
make strict rules here . . . a schedule of hours . . . Anne. Oh, dear. Peter has a cat.
We’ll tell you after supper. Anne, would you like
to take Mr. Dussel to his room? Dussel. Here? He has it here?
Anne (controlling her tears). If you’ll come with Anne. Yes. But we hardly ever see it. He keeps it in
1310 me, Mr. Dussel? (She starts for her room.)
his room all the time. I’m sure it will be all right.
11. Mauthausen (moutPhouQzEn): a Nazi concentration camp in Austria.

Dussel. Let us hope so. Anne. Of course. I hope I’m not going to be too
1350 (He takes some pills to fortify himself.) much of a bother to you. I seem to be able to get
Anne. That’s Margot’s bed, where you’re going
1390 everyone’s back up.
to sleep. I sleep on the sofa there. (indicating the (Dussel lies down on the sofa, curled up, his back
clothes hooks on the wall) We cleared these off for to her.)
your things. (She goes over to the window.) The Dussel. I always get along very well with children.
best part about this room . . . you can look down My patients all bring their children to me,
and see a bit of the street and the canal. There’s because they know I get on well with them.
a houseboat . . . you can see the end of it . . . a So don’t you worry about that.
bargeman lives there with his family . . . They (Anne leans over him, taking his hand and shaking
have a baby and he’s just beginning to walk and it gratefully.)
1360 I’m so afraid he’s going to fall into the canal some
Anne. Thank you. Thank you, Mr. Dussel.
day. I watch him . . .
1400 (The lights dim to darkness. The curtain falls on the
Dussel (interrupting). Your father spoke of a
scene. Anne’s Voice comes to us faintly at first, and
schedule.
then with increasing power.)
Anne (coming away from the window). Oh, yes. It’s
Anne’s Voice. . . . And yesterday I finished
mostly about the times we have to be quiet. And Cissy Van Marxvelt’s latest book. I think she
times for the w.c. You can use it now if you like. is a first-class writer. I shall definitely let my
Dussel (stiffly). No, thank you. children read her. Monday the twenty-first of
Anne. I suppose you think it’s awful, my talking September, nineteen forty-two. Mr. Dussel
about a thing like that. But you don’t know and I had another battle yesterday. Yes, Mr.
1370 how important it can get to be, especially when Dussel! According to him, nothing, I repeat . . .
you’re frightened . . . About this room, the way 1410 nothing, is right about me . . . my appearance,
Margot and I did . . . she had it to herself in the my character, my manners. While he was going
afternoons for studying, reading . . . lessons, you on at me I thought . . . sometime I’ll give you
know . . . and I took the mornings. Would that such a smack that you’ll fly right up to the
be all right with you? ceiling! Why is it that every grownup thinks he
Dussel. I’m not at my best in the morning. knows the way to bring up children? Particularly
Anne. You stay here in the mornings then.
the grownups that never had any. I keep
I’ll take the room in the afternoons. wishing that Peter was a girl instead of a boy.
Then I would have someone to talk to. Margot’s
Dussel. Tell me, when you’re in here, what a darling, but she takes everything too seriously.
1380 happens to me? Where am I spending my time?
1420 To pause for a moment on the subject of Mrs.
In there, with all the people? Van Daan. I must tell you that her attempts to
Anne. Yes. flirt with Father are getting her nowhere. Pim,
Dussel. I see. I see. thank goodness, won’t play.
Anne. We have supper at half past six. (As she is saying the last lines, the curtain rises on
Dussel (going over to the sofa). Then, if you don’t the darkened scene. Anne’s Voice fades out.)
mind . . . I like to lie down quietly for ten minutes
before eating. I find it helps the digestion.

Scene 4 (In the main room Mrs. Frank grabs a shawl and
pulls it around her. She rushes in to Anne, taking
It is the middle of the night, several months later. her in her arms. Mr. Frank hurriedly gets up,
The stage is dark except for a little light which comes putting on his overcoat. Margot sits up, terrified.
through the skylight in Peter’s room. Peter’s light goes on in his room.)
Everyone is in bed. Mr. and Mrs. Frank lie on Mrs. Frank (to Anne, in her room). Hush, darling,
1430 the couch in the main room, which has been pulled hush. It’s all right. It’s all right. (over her shoulder
out to serve as a makeshift double bed. 1470 to Dussel) Will you be kind enough to turn on
Margot is sleeping on a mattress on the floor in the light, Mr. Dussel? (back to Anne) It’s nothing,
the main room, behind a curtain stretched across my darling. It was just a dream.
for privacy. The others are all in their accustomed (Dussel turns on the light in the bedroom. Mrs.
rooms. Frank holds Anne in her arms. Gradually Anne
From outside we hear two drunken soldiers comes out of her nightmare, still trembling with
singing “Lili Marlene.” A girl’s high giggle is heard. horror. Mr. Frank comes into the room, and goes
The sound of running feet is heard coming closer quickly to the window, looking out to be sure
and then fading in the distance. Throughout the that no one outside had heard Anne’s screams.
1440 scene there is the distant sound of airplanes passing Mrs. Frank holds Anne, talking softly to her. In
overhead. 1480 the main room Margot stands on a chair, turning
on the center hanging lamp. A light goes on in the
A match suddenly flares up in the attic.
Van Daan’s room overhead. Peter puts his robe on,
We dimly see Mr. Van Daan. He is getting his
coming out of his room.)
bearings. He comes quickly down the stairs, and goes
to the cupboard where the food is stored. Again the Dussel (to Mrs. Frank, blowing his nose). Something
match flares up, and is as quickly blown out. The must be done about that child, Mrs. Frank. Yelling
dim figure is seen to steal back up the stairs. like that! Who knows but there’s somebody on the
streets? She’s endangering all our lives.
There is quiet for a second or two, broken only
by the sound of airplanes, and running feet on the Mrs. Frank. Anne, darling.
1450 street below. Dussel. Every night she twists and turns. I don’t
Suddenly, out of the silence and the dark, we hear 1490 sleep. I spend half my night shushing her. And
Anne scream. now it’s nightmares!
Anne (screaming). No! No! Don’t . . . don’t take me! (Margot comes to the door of Anne’s room, followed
by Peter. Mr. Frank goes to them, indicating that
(She moans, tossing and crying in her sleep. The
everything is all right. Peter takes Margot back.)
other people wake, terrified. Dussel sits up in bed,
furious.) Mrs. Frank (to Anne). You’re here, safe, you see?
Nothing has happened. (to Dussel) Please, Mr.
Dussel. Shush! Anne! Anne, for God’s sake, shush!
Dussel, go back to bed. She’ll be herself in a
Anne (still in her nightmare). Save me! Save me! minute or two. Won’t you, Anne?
(She screams and screams. Dussel gets out of bed, Dussel (picking up a book and a pillow). Thank
1460 going over to her, trying to wake her.)
1500 you, but I’m going to the w.c. The one place
Dussel. For God’s sake! Quiet! Quiet! You want where there’s peace! (He stalks out. Mr. Van Daan,
someone to hear? in underwear and trousers, comes down the stairs.)

Mr. Van Daan (to Dussel). What is it? What Mr. Frank (sensing her hurt). Edith, Liebe,
happened? schau . . .13
Dussel. A nightmare. She was having a nightmare! Mrs. Frank. Es macht nichts! Ich danke dem lieben
Mr. Van Daan. I thought someone was murdering 1540 Herrgott, dass sie sich wenigstens an Dich wendet,
her. wenn sie Trost braucht! Geh hinein, Otto, sie ist ganz
Dussel. Unfortunately, no.
hysterisch vor Angst.14 (as Mr. Frank hesitates) Geh
zu ihr.15 (He looks at her for a second and then goes to
(He goes into the bathroom. Mr. Van Daan goes get a cup of water for Anne. Mrs. Frank sinks down
1510 back up the stairs. Mr. Frank, in the main room,
on the bed, her face in her hands, trying to keep from
sends Peter back to his own bedroom.) sobbing aloud. Margot comes over to her, putting her
Mr. Frank. Thank you, Peter. Go back to bed. arms around her.) She wants nothing of me. She
(Peter goes back to his room. Mr. Frank follows him, pulled away when I leaned down to kiss her.
turning out the light and looking out the window. Margot. It’s a phase . . . You heard Father . . .
Then he goes back to the main room, and gets up on 1550 Most girls go through it . . . they turn to their
a chair, turning out the center hanging lamp.) fathers at this age . . . they give all their love to
Mrs. Frank (to Anne). Would you like some water? their fathers.
(Anne shakes her head.) Was it a very bad dream? Mrs. Frank. You weren’t like this. You didn’t shut
Perhaps if you told me . . . ? me out.
1520 Anne. I’d rather not talk about it. Margot. She’ll get over it . . . (She smooths the bed
Mrs. Frank. Poor darling. Try to sleep then. for Mrs. Frank and sits beside her a moment as
I’ll sit right here beside you until you fall asleep. Mrs. Frank lies down. In Anne’s room Mr. Frank
(She brings a stool over, sitting there.) comes in, sitting down by Anne. Anne flings her
Anne. You don’t have to. arms around him, clinging to him. In the distance
1560 we hear the sound of ack-ack.)
Mrs. Frank. But I’d like to stay with you . . .
very much. Really. Anne. Oh, Pim. I dreamed that they came to get
us! The Green Police! They broke down the door
Anne. I’d rather you didn’t.
and grabbed me and started to drag me out the
Mrs. Frank. Good night, then. (She leans down to way they did Jopie.
kiss Anne. Anne throws her arm up over her face,
Mr. Frank. I want you to take this pill.
1530 turning away. Mrs. Frank, hiding her hurt, kisses
Anne’s arm.) You’ll be all right? There’s nothing Anne. What is it?
that you want? Mr. Frank. Something to quiet you.
Anne. Will you please ask Father to come. (She takes it and drinks the water. In the main
Mrs. Frank (after a second ). Of course, Anne dear. room Margot turns out the light and goes back
(She hurries out into the other room. Mr. Frank 1570 to her bed.)
comes to her as she comes in.) Sie verlangt nach Dir! 12 Mr. Frank (to Anne). Do you want me to read
to you for a while?
12. Sie verlangt nach Dir (zC fer-längtP näKH dîr) German: She is asking for you.
13. Liebe, schau (lCPbE shouP) German: Dear, look.
14. Es macht . . . vor Angst (Ds mäKHtQ nGKHtsP! GKH dängkPE dAm lCPbEn hDrQgôtP, däs zC zGKHQ vAnPGKH-
shtEnz än dGKHQ vDnPdEt, vDn zC trôstP brouKHtQ! gA hGn-FnP, ôtPtô; zC Gst gänts hü-stDrPGsh fôr ängstP)
German: It’s all right. I thank dear God that at least she turns to you when she needs comfort. Go in,
Otto; she is hysterical with fear.
15. Geh zu ihr (gAP tsL îrQ) German: Go to her.

Anne. No. Just sit with me for a minute. Was I Of course I may do something worse . . . but at
awful? Did I yell terribly loud? Do you think least I’ll never do that again! . . . I have a nicer side,
anyone outside could have heard? Father . . . a sweeter, nicer side. But I’m scared to
Mr. Frank. No. No. Lie quietly now. Try to sleep. show it. I’m afraid that people are going to laugh at
Anne. I’m a terrible coward. I’m so disappointed
me if I’m serious. So the mean Anne comes to the
in myself. I think I’ve conquered my fear . . . I outside and the good Anne stays on the inside, and
think I’m really grown-up . . . and then something I keep on trying to switch them around and have
1580 happens . . . and I run to you like a baby . . . I love
the good Anne outside and the bad Anne inside
you, Father. I don’t love anyone but you. and be what I’d like to be . . . and might be . . . if
1620 only . . . only . . . (She is asleep. Mr. Frank watches
Mr. Frank (reproachfully). Annele! her for a moment and then turns off the light, and
Anne. It’s true. I’ve been thinking about it for starts out. The lights dim out. The curtain falls on the
a long time. You’re the only one I love. scene. Anne’s Voice is heard dimly at first, and then
Mr. Frank. It’s fine to hear you tell me that you with growing strength.)
love me. But I’d be happier if you said you loved Anne’s Voice. . . . The air raids are getting worse.
your mother as well . . . She needs your help so They come over day and night. The noise is
much . . . your love . . . terrifying. Pim says it should be music to our ears.
Anne. We have nothing in common. She doesn’t The more planes, the sooner will come the end of
1590 understand me. Whenever I try to explain my the war. Mrs. Van Daan pretends to be a fatalist.
views on life to her she asks me if I’m constipated. 1630 What will be, will be. But when the planes come
Mr. Frank. You hurt her very much just now. over, who is the most frightened? No one else but
She’s crying. She’s in there crying. Petronella! . . . Monday, the ninth of November,
nineteen forty-two. Wonderful news! The Allies
Anne. I can’t help it. I only told the truth. I didn’t
have landed in Africa. Pim says that we can look
want her here . . . (then, with sudden change) Oh,
for an early finish to the war. Just for fun he asked
Pim, I was horrible, wasn’t I? And the worst of
each of us what was the first thing we wanted to
it is, I can stand off and look at myself doing it
do when we got out of here. Mrs. Van Daan longs
and know it’s cruel and yet I can’t stop doing it.
to be home with her own things, her needle-point
What’s the matter with me? Tell me. Don’t say it’s
chairs, the Beckstein piano her father gave her . . .
1600 just a phase! Help me.
1640 the best that money could buy. Peter would like
Mr. Frank. There is so little that we parents can do to go to a movie. Mr. Dussel wants to get back to
to help our children. We can only try to set a good his dentist’s drill. He’s afraid he is losing his touch.
example . . . point the way. The rest you must do For myself, there are so many things . . . to ride a
yourself. You must build your own character. bike again . . . to laugh till my belly aches . . . to
Anne. I’m trying. Really I am. Every night I think have new clothes from the skin out . . . to have a
back over all of the things I did that day that hot tub filled to overflowing and wallow in it for
were wrong . . . like putting the wet mop in Mr. hours . . . to be back in school with my friends . . .
Dussel’s bed . . . and this thing now with Mother. (As the last lines are being said, the curtain rises on
I say to myself, that was wrong. I make up my the scene. The lights dim on as Anne’s Voice fades
1610 mind, I’m never going to do that again. Never! 1650 away.)

Scene 5 nor the moon by night. The Lord shall keep thee
from all evil. He shall keep thy soul. The Lord shall
It is the first night of the Hanukkah16 celebration. guard thy going out and thy coming in, from this
Mr. Frank is standing at the head of the table on 1690 time forth and forevermore.” Amen.
which is the Menorah.17 He lights the Shamos, or All. Amen.
servant candle, and holds it as he says the blessing. (Mrs. Frank puts down the prayer book and goes to
Seated listening is all of the “family,” dressed in their get the food and wine. Margot helps her. Mr. Frank
best. The men wear hats, Peter wears his cap. takes the men’s hats and puts them aside.)
Mr. Frank (reading from a prayer book). “Praised be
Dussel (rising). That was very moving.
Thou, oh Lord our God, Ruler of the universe,
Anne (pulling him back). It isn’t over yet!
who has sanctified us with Thy commandments
1660 and bidden us kindle the Hanukkah lights. Mrs. Van Daan. Sit down! Sit down!
Praised be Thou, oh Lord our God, Ruler of the Anne. There’s a lot more, songs and presents.
universe, who has wrought wondrous deliverances Dussel. Presents?
for our fathers in days of old. Praised be Thou, oh
1700 Mrs. Frank. Not this year, unfortunately.
Lord our God, Ruler of the universe, that Thou
has given us life and sustenance and brought Mrs. Van Daan. But always on Hanukkah
us to this happy season.” (Mr. Frank lights the everyone gives presents . . . everyone!
one candle of the Menorah as he continues.) “We Dussel. Like our St. Nicholas’ Day.18 (There is
kindle this Hanukkah light to celebrate the a chorus of “no’s” from the group.)
great and wonderful deeds wrought through Mrs. Van Daan. No! Not like St. Nicholas!
1670 the zeal with which God filled the hearts of the What kind of a Jew are you that you don’t know
heroic Maccabees, two thousand years ago. They Hanukkah?
fought against indifference, against tyranny and Mrs. Frank (as she brings the food ). I remember
oppression, and they restored our Temple to us. particularly the candles . . . First one, as we have
May these lights remind us that we should ever 1710 tonight. Then the second night you light two
look to God, whence cometh our help.” Amen. candles, the next night three . . . and so on until
[Pronounced O-mayn.] you have eight candles burning. When there are
All. Amen. eight candles it is truly beautiful.
(Mr. Frank hands Mrs. Frank the prayer book.) Mrs. Van Daan. And the potato pancakes.
Mrs. Frank (reading). “I lift up mine eyes unto Mr. Van Daan. Don’t talk about them!
1680 the mountains, from whence cometh my help.
Mrs. Van Daan. I make the best latkes19 you ever
My help cometh from the Lord who made heaven tasted!
and earth. He will not suffer thy foot to be moved.
Mrs. Frank. Invite us all next year . . . in your own
He that keepeth thee will not slumber. He that
home.
keepeth Israel doth neither slumber nor sleep. The
Lord is thy keeper. The Lord is thy shade upon thy 1720 Mr. Frank. God willing!
right hand. The sun shall not smite thee by day, Mrs. Van Daan. God willing.
16. Hanukkah (häPnE-kE): a Jewish holiday, celebrated in December and lasting eight days.
17. Menorah (mE-nôrPE): a candleholder with nine branches, used in the celebration of Hanukkah.
18. St. Nicholas’s Day: December 6, the day that Christian children in the Netherlands receive gifts.
19. latkes (lätPkEz): potato pancakes.

Margot. What I remember best is the presents Mr. Van Daan. What’s she got on her head?
we used to get when we were little . . . eight days Peter. A lamp shade!
of presents . . . and each day they got better and Anne (She picks out one at random). This is for
better. Margot. (She hands it to Margot, pulling her to
Mrs. Frank (sitting down). We are all here, alive. 1740 her feet.) Read it out loud.
That is present enough. Margot (reading).
Anne. No, it isn’t. I’ve got something . . . “You have never lost your temper.
(She rushes into her room, hurriedly puts on a little You never will, I fear,
1730 hat improvised from the lamp shade, grabs a satchel You are so good.
bulging with parcels and comes running back.) But if you should,
Mrs. Frank. What is it? Put all your cross words here.”
Anne. Presents! (She tears open the package.)
Mrs. Van Daan. Presents! A new crossword puzzle book! Where did you
Dussel. Look! get it?

1750 Anne. It isn’t new. It’s one that you’ve done. (Anne rushes back to her satchel for another
But I rubbed it all out, and if you wait a little 1790 present.)
and forget, you can do it all over again. Anne (handing her mother a piece of paper).
Margot (sitting). It’s wonderful, Anne. Thank For Mother, Hanukkah greeting. (She pulls her
you. You’d never know it wasn’t new. mother to her feet.)
(From outside we hear the sound of a streetcar Mrs. Frank (She reads.) “Here’s an I.O.U. that I
passing.) promise to pay. Ten hours of doing whatever you
Anne (with another gift). Mrs. Van Daan. say. Signed, Anne Frank.” (Mrs. Frank, touched,
Mrs. Van Daan (taking it). This is awful . . .
takes Anne in her arms, holding her close.)
I haven’t anything for anyone . . . I never Dussel (to Anne). Ten hours of doing what you’re
1760 thought . . . told? Anything you’re told?
Mr. Frank. This is all Anne’s idea. 1800 Anne. That’s right.
Mrs. Van Daan (holding up a bottle). What is it? Dussel. You wouldn’t want to sell that, Mrs.
Anne. It’s hair shampoo. I took all the odds and
Frank?
ends of soap and mixed them with the last of my Mrs. Frank. Never! This is the most precious gift
toilet water. I’ve ever had!
Mrs. Van Daan. Oh, Anneke! (She sits, showing her present to the others. Anne
Anne. I wanted to write a poem for all of them,
hurries back to the satchel and pulls out a scarf,
but I didn’t have time. (offering a large box to the scarf that Mr. Frank found in the first scene.)
Mr. Van Daan) Yours, Mr. Van Daan, is really Anne (offering it to her father). For Pim.
1770 something . . . something you want more than Mr. Frank. Anneke . . . I wasn’t supposed to have
anything. (as she waits for him to open it) Look! 1810 a present! (He takes it, unfolding it and showing
Cigarettes! it to the others.)
Mr. Van Daan. Cigarettes! Anne. It’s a muffler . . . to put round your
Anne. Two of them! Pim found some old pipe neck . . . like an ascot, you know. I made it myself
tobacco in the pocket lining of his coat . . . and out of odds and ends . . . I knitted it in the dark
we made them . . . or rather, Pim did. each night, after I’d gone to bed. I’m afraid it
Mrs. Van Daan. Let me see . . . Well, look at that!
looks better in the dark!
Light it, Putti! Light it. Mr. Frank ( putting it on). It’s fine. It fits me
perfectly. Thank you, Annele.
(Mr. Van Daan hesitates.)
1780 Anne. It’s tobacco, really it is! There’s a little fluff
(Anne hands Peter a ball of paper, with a string
in it, but not much.
1820 attached to it.)
Anne. That’s for Mouschi.
(Everyone watches intently as Mr. Van Daan
cautiously lights it. The cigarette flares up. Everyone Peter (rising to bow). On behalf of Mouschi,
laughs.) I thank you.
Peter. It works! Anne (hesitant, handing him a gift). And . . . this
Mrs. Van Daan. Look at him.
is yours . . . from Mrs. Quack Quack. (as he holds
it gingerly in his hands) Well . . . open it . . . Aren’t
Mr. Van Daan (spluttering). Thank you, Anne. you going to open it?
Thank you.

Peter. I’m scared to. I know something’s going Anne. To put in your ears so you won’t hear
to jump out and hit me. me when I thrash around at night. I saw them
1830 Anne. No. It’s nothing like that, really. advertised in a magazine. They’re not real
Mrs. Van Daan (as he is opening it). What is it,
ones . . . I made them out of cotton and candle
Peter? Go on. Show it. wax. Try them . . . See if they don’t work . . .
1870 see if you can hear me talk . . .
Anne (excitedly). It’s a safety razor!
Dussel (putting them in his ears). Wait now until
Dussel. A what? I get them in . . . so.
Anne. A razor! Anne. Are you ready?
Mrs. Van Daan (looking at it). You didn’t make Dussel. Huh?
that out of odds and ends.
Anne. Are you ready?
Anne (to Peter). Miep got it for me. It’s not new.
Dussel. Good God! They’ve gone inside! I can’t
It’s second-hand. But you really do need a razor
get them out! (They laugh as Mr. Dussel jumps
1840 now.
about, trying to shake the plugs out of his ears.
Dussel. For what? Finally he gets them out. Putting them away.)
Anne. Look on his upper lip . . . you can see the 1880 Thank you, Anne! Thank you!
beginning of a mustache.
}
Mr. Van Daan. A real Hanukkah!
Dussel. He wants to get rid of that? Put a little Mrs. Van Daan. Wasn’t it cute of her?
milk on it and let the cat lick it off. Together
Mrs. Frank. I don’t know when she
Peter (starting for his room). Think you’re funny, did it.
don’t you.
Margot. I love my present.
Dussel. Look! He can’t wait! He’s going in to
Anne (sitting at the table). And now let’s have the
try it!
song, Father . . . please . . . (to Dussel) Have you
1850 Peter. I’m going to give Mouschi his present! heard the Hanukkah song, Mr. Dussel? The song
(He goes into his room, slamming the door is the whole thing! (She sings.) “Oh, Hanukkah!
behind him.) 1890 Oh Hanukkah! The sweet celebration . . . ”
Mr. Van Daan (disgustedly). Mouschi, Mouschi, Mr. Frank (quieting her). I’m afraid, Anne, we
Mouschi. shouldn’t sing that song tonight. (to Dussel)
(In the distance we hear a dog persistently barking. It’s a song of jubilation, of rejoicing. One is apt
Anne brings a gift to Dussel.) to become too enthusiastic.
Anne. And last but never least, my roommate, Anne. Oh, please, please. Let’s sing the song.
Mr. Dussel. I promise not to shout!
Dussel. For me? You have something for me? Mr. Frank. Very well. But quietly now . . . I’ll keep
1860 (He opens the small box she gives him.) an eye on you and when . . .
Anne. I made them myself. (As Anne starts to sing, she is interrupted by Dussel,
Dussel (puzzled ). Capsules! Two capsules! 1900 who is snorting and wheezing.)
Anne. They’re ear-plugs! Dussel (pointing to Peter). You . . . You! (Peter is
Dussel. Ear-plugs? coming from his bedroom, ostentatiously holding a
bulge in his coat as if he were holding his cat, and

dangling Anne’s present before it.) How many Anne (singing). “Oh, Hanukkah! Oh, Hanukkah!
times . . . I told you . . . Out! Out! The sweet celebration.”
Mr. Van Daan (going to Peter). What’s the matter Mr. Frank (rising). I think we should first blow
with you? Haven’t you any sense? Get that cat out out the candle . . . then we’ll have something for
of here. tomorrow night.
Peter (innocently). Cat? Margot. But, Father, you’re supposed to let it
1910 Mr. Van Daan. You heard me. Get it out of here! burn itself out.
Peter. I have no cat. (Delighted with his joke, he Mr. Frank. I’m sure that God understands
opens his coat and pulls out a bath towel. The group 1950 shortages. (before blowing it out) “Praised be
at the table laugh, enjoying the joke.) Thou, oh Lord our God, who hast sustained us
Dussel (still wheezing). It doesn’t need to be the
and permitted us to celebrate this joyous festival.”
cat . . . his clothes are enough . . . when he comes (He is about to blow out the candle when suddenly
out of that room . . . there is a crash of something falling below. They all
Mr. Van Daan. Don’t worry. You won’t be bothered
freeze in horror, motionless. For a few seconds there
any more. We’re getting rid of it. is complete silence. Mr. Frank slips off his shoes.
The others noiselessly follow his example. Mr. Frank
Dussel. At last you listen to me. (He goes off into turns out a light near him. He motions to Peter
1920 his bedroom.)
to turn off the center lamp. Peter tries to reach it,
Mr. Van Daan (calling after him). I’m not doing 1960 realizes he cannot and gets up on a chair. Just as he
it for you. That’s all in your mind . . . all of it! is touching the lamp he loses his balance. The chair
(He starts back to his place at the table.) I’m doing goes out from under him. He falls. The iron lamp
it because I’m sick of seeing that cat eat all our shade crashes to the floor. There is a sound of feet
food. below, running down the stairs.)
Peter. That’s not true! I only give him bones . . . Mr. Van Daan (under his breath). God Almighty!
scraps . . . (The only light left comes from the Hanukkah
Mr. Van Daan. Don’t tell me! He gets fatter every candle. Dussel comes from his room. Mr. Frank
day! Damn cat looks better than any of us. Out creeps over to the stairwell and stands listening.
1930 he goes tonight! The dog is heard barking excitedly.) Do you hear
Peter. No! No! 1970 anything?
Anne. Mr. Van Daan, you can’t do that! That’s Mr. Frank (in a whisper). No. I think they’ve gone.
Peter’s cat. Peter loves that cat. Mrs. Van Daan. It’s the Green Police. They’ve
Mrs. Frank (quietly). Anne. found us.
Peter (to Mr. Van Daan). If he goes, I go. Mr. Frank. If they had, they wouldn’t have left.
They’d be up here by now.
Mr. Van Daan. Go! Go!
Mrs. Van Daan. I know it’s the Green Police.
Mrs. Van Daan. You’re not going and the cat’s
They’ve gone to get help. That’s all. They’ll be
not going! Now please . . . this is Hanukkah . . .
back!
Hanukkah . . . this is the time to celebrate . . .
1940 What’s the matter with all of you? Come on, Mr. Van Daan. Or it may have been the Gestapo,20
Anne. Let’s have the song. 1980 looking for papers . . .
20. Gestapo (gE-stäPpI): the Nazi secret police force, known for its terrorism and brutality.

Mr. Frank (interrupting). Or a thief, looking for 2020 off, so much a head. Go upstairs quick! Get the
money. money!
Mrs. Van Daan. We’ve got to do something . . . Mr. Van Daan. Keep still!
Quick! Quick! Before they come back. Mrs. Van Daan (kneeling before him, pleading).
Mr. Van Daan. There isn’t anything to do. Just Do you want to be dragged off to a concentration
wait. camp? Are you going to stand there and wait for
(Mr. Frank holds up his hand for them to be quiet. them to come up and get you? Do something,
He is listening intently. There is complete silence I tell you!
as they all strain to hear any sound from below. Mr. Van Daan ( pushing her aside). Will you keep
1990 Suddenly Anne begins to sway. With a low cry she still! (He goes over to the stairwell to listen. Peter
falls to the floor in a faint. Mrs. Frank goes to her 2030 goes to his mother, helping her up onto the sofa.
quickly, sitting beside her on the floor and taking There is a second of silence, then Anne can stand it
her in her arms.) no longer.)
Mrs. Frank. Get some water, please! Get some Anne. Someone go after Father! Make Father
water! come back!
(Margot starts for the sink.) Peter (starting for the door). I’ll go.
Mr. Van Daan ( grabbing Margot). No! No! No Mr. Van Daan. Haven’t you done enough?
one’s going to run water! (He pushes Peter roughly away. In his anger against
Mr. Frank. If they’ve found us, they’ve found us. his father Peter grabs a chair as if to hit him with
2000 Get the water. (Margot starts again for the sink. it, then puts it down, burying his face in his hands.
Mr. Frank, getting a flashlight) I’m going down. 2040 Mrs. Frank begins to pray softly.)
(Margot rushes to him, clinging to him. Anne Anne. Please, please, Mr. Van Daan. Get Father.
struggles to consciousness.) Mr. Van Daan. Quiet! Quiet!
Margot. No, Father, no! There may be someone (Anne is shocked into silence. Mrs. Frank pulls her
there, waiting . . . It may be a trap! closer, holding her protectively in her arms.)
Mr. Frank. This is Saturday. There is no way for Mrs. Frank (softly, praying). “I lift up mine eyes unto
us to know what has happened until Miep or Mr. the mountains, from whence cometh my help. My
Kraler comes on Monday morning. We cannot help cometh from the Lord who made heaven and
live with this uncertainty. earth. He will not suffer thy foot to be moved . . .
2010 Margot. Don’t go, Father! He that keepeth thee will not slumber . . . ” (She
Mrs. Frank. Hush, darling, hush. (Mr. Frank slips 2050 stops as she hears someone coming. They all watch the
quietly out, down the steps and out through the door door tensely. Mr. Frank comes quietly in. Anne rushes
below.) Margot! Stay close to me. to him, holding him tight.)
(Margot goes to her mother.) Mr. Frank. It was a thief. That noise must have
Mr. Van Daan. Shush! Shush!
scared him away.
Mrs. Van Daan. Thank God.
(Mrs. Frank whispers to Margot to get the water.
Margot goes for it.) Mr. Frank. He took the cash box. And the radio.
Mrs. Van Daan. Putti, where’s our money? Get
He ran away in such a hurry that he didn’t stop
our money. I hear you can buy the Green Police to shut the street door. It was swinging wide

open. (A breath of relief sweeps over them.) I think that they’d come for us. We were sure it was the
2060 it would be good to have some light. end. But it wasn’t the end. We’re alive, safe. (Mr.
Margot. Are you sure it’s all right? Van Daan goes to the table and sits. Mr. Frank
2100 prays.) “We thank Thee, oh Lord our God, that
Mr. Frank. The danger has passed. (Margot goes to
light the small lamp.) Don’t be so terrified, Anne. in Thy infinite mercy Thou hast again seen fit
We’re safe. to spare us.” (He blows out the candle, then turns
to Anne.) Come on, Anne. The song! Let’s have
Dussel. Who says the danger has passed? Don’t the song! (He starts to sing. Anne finally starts
you realize we are in greater danger than ever? falteringly to sing, as Mr. Frank urges her on. Her
Mr. Frank. Mr. Dussel, will you be still! voice is hardly audible at first.)
(Mr. Frank takes Anne back to the table, making Anne (singing). “Oh, Hanukkah! Oh, Hanukkah!
her sit down with him, trying to calm her.) The sweet . . . celebration . . . ” (As she goes on
2070 Dussel (pointing to Peter). Thanks to this clumsy singing, the others gradually join in, their voices
fool, there’s someone now who knows we’re up 2110 still shaking with fear. Mrs. Van Daan sobs as
here! Someone now knows we’re up here, hiding! she sings.)
Mrs. Van Daan (going to Dussel). Someone knows Group. “Around the feast . . . we . . . gather
we’re here, yes. But who is the someone? A thief! In complete . . . jubilation . . .
A thief! You think a thief is going to go to the Happiest of sea . . . sons
Green Police and say . . . I was robbing a place Now is here.
the other night and I heard a noise up over my Many are the reasons for good cheer.”
head? You think a thief is going to do that? (Dussel comes from the bedroom. He comes over to
Dussel. Yes. I think he will. the table, standing beside Margot, listening to them
2080 Mrs. Van Daan (hysterically). You’re crazy! as they sing.)
(She stumbles back to her seat at the table. Peter 2120 “Together
follows protectively, pushing Dussel aside.) We’ll weather
Dussel. I think some day he’ll be caught and then Whatever tomorrow may bring.”
he’ll make a bargain with the Green Police . . . if (As they sing on with growing courage, the lights
they’ll let him off, he’ll tell them where some Jews start to dim.)
are hiding! “So hear us rejoicing
(He goes off into the bedroom. There is a second of And merrily voicing
appalled silence.) The Hanukkah song that we sing.
Mr. Van Daan. He’s right. Hoy!”
2090 Anne. Father, let’s get out of here! We can’t stay (The lights are out. The curtain starts slowly
2130 to fall.)
here now . . . Let’s go . . .
Mr. Van Daan. Go! Where? “Hear us rejoicing
And merrily voicing
Mrs. Frank (sinking into her chair at the table).
The Hanukkah song that we sing.”
Yes. Where?
(They are still singing, as the curtain falls.)
Mr. Frank (rising, to them all ). Have we lost all
faith? All courage? A moment ago we thought The Curtain Falls.

Reading for Information
DIARY ENTRY Anne Frank’s diary entries give readers an intimate understanding
of what was going through her mind while she was in hiding. This entry from
December 1943 describes her conflicting emotions about life in the Annex.
Friday, December 24, 1943
Dear Kitty,
As I’ve written you many times before, moods have a tendency to affect us quite
a bit here, and in my case it’s been getting worse lately. “Himmelhoch jauchzend, zu
Tode betrübt” 1 certainly applies to me. I’m “on top of the world” when I think of how
fortunate we are and compare myself to other Jewish children, and “in the depths of
despair” when, for example, Mrs. Kleiman comes by and talks about Jopie’s hockey
club, canoe trips, school plays and afternoon teas with friends.
I don’t think I’m jealous of Jopie, but I long to have a really good time for once and
to laugh so hard it hurts. We’re stuck in this house like lepers, especially during winter
and the Christmas and New Year’s holidays. Actually, I shouldn’t even be writing this,
since it makes me seem so ungrateful, but I can’t keep everything to myself, so I’ll repeat
what I said at the beginning: “Paper is more patient than people.”
Whenever someone comes in from outside, with the wind in their clothes and the
cold on their cheeks, I feel like burying my head under the blankets to keep from
thinking, “When will we be allowed to breathe fresh air again?” I can’t do that—on the
contrary, I have to hold my head up high
and put a bold face on things, but the
thoughts keep coming anyway. Not just
once, but over and over.
Believe me, if you’ve been shut up
for a year and a half, it can get to be too
much for you sometimes. But feelings
can’t be ignored, no matter how unjust
or ungrateful they seem. I long to ride a
bike, dance, whistle, look at the world,
feel young and know that I’m free, and
yet I can’t let it show. Just imagine what
would happen if all eight of us were to
feel sorry for ourselves or walk around
with the discontent clearly visible on our
faces. Where would that get us? . . .
Yours, Anne
1. “Himmelhoch jauchzend, zu Tode betrübt”: A famous line from Goethe: “On top of the world,
or in the depths of despair.”

After Reading
1. Recall How do the people in the Annex get food and other supplies? R3.5 Identify and analyze recurring
2. Recall Why do some of the people in the Annex complain about Anne? traditional and contemporary works.
3. Clarify Why does Mr. Frank say that the loud air raids should be music
to the ears of those hiding in the attic?
Literary Analysis
4. Interpret a Character’s Words What does Anne mean when she writes in her
diary, “Paper is more patient than people”? Cite specific examples from the
play that explain Anne’s attitude.
5. Examine Your Story Map Look over your story map and make sure it’s
complete so far. What is the last major event in this act? What do you predict
might happen in Act Two as a result of this event?
6. Understand Conflicts A conflict in literature External Conflicts Internal Conficts
is a struggle between two opposing forces.
An external conflict is a struggle between
a character and society, another character,
or a force of nature. An internal conflict is
a struggle within a character’s mind. In a chart like the one shown, include
the external and internal conflicts you notice so far in the play. Circle the one
or two conflicts you think are the main ones.
7. Identify Subplot A subplot is an additional, or secondary, plot in a work of
literature. The subplot contains its own conflict, often separate from the
main conflicts of the story. What is one subplot that has been introduced
in Act One?
8. Analyze Theme “Good triumphs over evil” has been a recurring theme
in literature. A similar message is a major theme in this play: people are
basically good at heart. Which characters help to develop that theme?
Which characters, circumstances, or events appear to contradict it?

9. Readers’ Circle Review the diary entry included on page 520. Anne admits
she sometimes feels like burying her head under the blankets. Yet she
holds her head up high and puts a “bold face on things.” What impact do
you think her behavior had on those around her? Discuss this question
with a small group.
the diary of anne frank 521

Mr. Frank. It’s Miep! (He goes quickly down the steps
ACT TWO to unbolt the door. Mrs. Frank calls upstairs to the
Scene 1 Van Daans and then to Peter.)
Mrs. Frank. Wake up, everyone! Miep is here!
In the darkness we hear Anne’s Voice, again reading (Anne quickly puts her diary away. Margot sits
from the diary. up, pulling the blanket around her shoulders.
Anne’s Voice. Saturday, the first of January, Mr. Dussel sits on the edge of his bed, listening,
nineteen forty-four. Another new year has begun disgruntled. Miep comes up the steps, followed by
and we find ourselves still in our hiding place. Mr. Kraler. They bring flowers, books, newspapers,
We have been here now for one year, five months 50 etc. Anne rushes to Miep, throwing her arms
and twenty-five days. It seems that our life is at a affectionately around her.) Miep . . . and Mr.
standstill. Kraler . . . What a delightful surprise!
The curtain rises on the scene. It is late afternoon. Mr. Kraler. We came to bring you New Year’s
10 Everyone is bundled up against the cold. In the greetings.
main room Mrs. Frank is taking down the laundry Mrs. Frank. You shouldn’t . . . you should have
which is hung across the back. Mr. Frank sits in at least one day to yourselves. (She goes quickly
the chair down left, reading. Margot is lying on the to the stove and brings down teacups and tea for
couch with a blanket over her and the many-colored all of them.)
knitted scarf around her throat. Anne is seated at
Anne. Don’t say that, it’s so wonderful to see them!
the center table, writing in her diary. Peter, Mr. and
Mrs. Van Daan, and Dussel are all in their own 60 (sniffing at Miep’s coat) I can smell the wind and
rooms, reading or lying down. the cold on your clothes.
Miep (giving her the flowers). There you are.
As the lights dim on, Anne’s Voice continues,
20 without a break. (then to Margot, feeling her forehead ) How are you,
Margot? . . . Feeling any better?
Anne’s Voice. We are all a little thinner. The Van
Margot. I’m all right.
Daans’ “discussions” are as violent as ever. Mother
still does not understand me. But then I don’t Anne. We filled her full of every kind of pill so she
understand her either. There is one great change, won’t cough and make a noise. (She runs into her
however. A change in myself. I read somewhere room to put the flowers in water. Mr. and Mrs. Van
that girls of my age don’t feel quite certain of Daan come from upstairs. Outside there is the sound
themselves. That they become quiet within and 70 of a band playing.)
begin to think of the miracle that is taking place Mrs. Van Daan. Well, hello, Miep. Mr. Kraler.
in their bodies. I think that what is happening Mr. Kraler (giving a bouquet of flowers to Mrs. Van
30 to me is so wonderful . . . not only what can be Daan). With my hope for peace in the New Year.
seen, but what is taking place inside. Each time it
Peter (anxiously). Miep, have you seen Mouschi?
has happened I have a feeling that I have a sweet
Have you seen him anywhere around?
secret. (We hear the chimes and then a hymn being
played on the carillon outside.) And in spite of any Miep. I’m sorry, Peter. I asked everyone in the
pain, I long for the time when I shall feel that neighborhood had they seen a gray cat. But they
secret within me again. said no.
(The buzzer of the door below suddenly sounds. (Mrs. Frank gives Miep a cup of tea. Mr. Frank
Everyone is startled, Mr. Frank tiptoes cautiously 80 comes up the steps, carrying a small cake on a plate.)
to the top of the steps and listens. Again the buzzer Mr. Frank. Look what Miep’s brought for us!
40 sounds, in Miep’s V-for-Victory signal.) Mrs. Frank (taking it). A cake!

523
}
Mr. Van Daan. A cake! (He pinches Miep’s cheeks Mrs. Van Daan (going to Dussel). What
gaily and hurries up to the cupboard.) I’ll get some are you trying to say?
plates. Together
Mr. Van Daan. Oh, come on! Stop
(Dussel, in his room, hastily puts a coat on and wasting time!
starts out to join the others.) Mrs. Van Daan (to Dussel). Don’t I always give
Mrs. Frank. Thank you, Miepia. You shouldn’t everybody exactly the same? Don’t I?
have done it. You must have used all of your sugar Mr. Van Daan. Forget it, Kerli.
90 ration for weeks. (giving it to Mrs. Van Daan) 130 Mrs. Van Daan. No. I want an answer! Don’t I?
It’s beautiful, isn’t it?
Dussel. Yes. Yes. Everybody gets exactly the
Mrs. Van Daan. It’s been ages since I even saw
same . . . except Mr. Van Daan always gets a little
a cake. Not since you brought us one last year.
bit more.
(without looking at the cake, to Miep) Remember?
Don’t you remember, you gave us one on New (Mr. Van Daan advances on Dussel, the knife still
Year’s Day? Just this time last year? I’ll never forget in his hand.)
it because you had “Peace in nineteen forty-three” Mr. Van Daan. That’s a lie!
on it. (She looks at the cake and reads.) “Peace in (Dussel retreats before the onslaught of the Van
nineteen forty-four!” Daans.)
100 Miep. Well, it has to come sometime, you know. Mr. Frank. Please, please! (then to Miep) You see
(as Dussel comes from his room) Hello, Mr. Dussel. 140 what a little sugar cake does to us? It goes right to
Mr. Kraler. How are you? our heads!
Mr. Van Daan (bringing plates and a knife). Here’s Mr. Van Daan (handing Mrs. Frank the knife).
the knife, liefje. Now, how many of us are there? Here you are, Mrs. Frank.
Miep. None for me, thank you. Mrs. Frank. Thank you. (then to Miep as she goes
Mr. Frank. Oh, please. You must. to the table to cut the cake) Are you sure you won’t
have some?
Miep. I couldn’t.
Miep (drinking her tea). No, really, I have to go
Mr. Van Daan. Good! That leaves one . . . two . . .
in a minute.
three . . . seven of us.
(The sound of the band fades out in the distance.)
110 Dussel. Eight! Eight! It’s the same number as it
always is! 150 Peter (to Miep). Maybe Mouschi went back to our
house . . . they say that cats . . . Do you ever get
Mr. Van Daan. I left Margot out. I take it for
over there . . . ? I mean . . . do you suppose you
granted Margot won’t eat any.
could . . . ?
Anne. Why wouldn’t she!
Miep. I’ll try, Peter. The first minute I get I’ll try.
Mrs. Frank. I think it won’t harm her. But I’m afraid, with him gone a week . . .
Mr. Van Daan. All right! All right! I just didn’t want Dussel. Make up your mind, already someone has
her to start coughing again, that’s all. had a nice big dinner from that cat!
Dussel. And please, Mrs. Frank should cut the cake. (Peter is furious, inarticulate. He starts toward
}
Mr. Van Daan. What’s the difference? Dussel as if to hit him. Mr. Frank stops him.
120 Mrs. Van Daan. It’s not Mrs. Frank’s Together 160 Mrs. Frank speaks quickly to ease the situation.)
cake, is it, Miep? It’s for all of us. Mrs. Frank (to Miep). This is delicious, Miep!
Dussel. Mrs. Frank divides things better. Mrs. Van Daan (eating hers). Delicious!

Mr. Van Daan (finishing it in one gulp). Dirk’s in such desperate need of clothing . . . (He gives the
luck to get a girl who can bake like this! coat to Miep.) So if you will please to sell it for us?
Miep (putting down her empty teacup). I have to It should fetch a good price. And by the way, will
run. Dirk’s taking me to a party tonight. you get me cigarettes. I don’t care what kind they
Anne. How heavenly! Remember now what
are . . . get all you can.
everyone is wearing, and what you have to eat Miep. It’s terribly difficult to get them, Mr. Van
and everything, so you can tell us tomorrow. 210 Daan. But I’ll try. Good-bye.
170 Miep. I’ll give you a full report! Good-bye, everyone! (She goes. Mr. Frank follows her down the steps to
Mr. Van Daan (to Miep). Just a minute. There’s
bolt the door after her. Mrs. Frank gives Mr. Kraler
something I’d like you to do for me. (He hurries a cup of tea.)
off up the stairs to his room.) Mrs. Frank. Are you sure you won’t have some
Mrs. Van Daan (sharply). Putti, where are you
cake, Mr. Kraler?
going? (She rushes up the stairs after him, calling Mr. Kraler. I’d better not.
hysterically.) What do you want? Putti, what are Mr. Van Daan. You’re still feeling badly? What does
you going to do? your doctor say?
Miep (to Peter). What’s wrong? Mr. Kraler. I haven’t been to him.
Peter (his sympathy is with his mother). Father says 220 Mrs. Frank. Now, Mr. Kraler! . . .
180 he’s going to sell her fur coat. She’s crazy about Mr. Kraler (sitting at the table). Oh, I tried. But
that old fur coat. you can’t get near a doctor these days . . . they’re
Dussel. Is it possible? Is it possible that anyone so busy. After weeks I finally managed to get
is so silly as to worry about a fur coat in times one on the telephone. I told him I’d like an
like this? appointment . . . I wasn’t feeling very well. You
Peter. It’s none of your darn business . . . and if know what he answers . . . over the telephone . . .
you say one more thing . . . I’ll, I’ll take you and Stick out your tongue! (They laugh. He turns to
I’ll . . . I mean it . . . I’ll . . . Mr. Frank as Mr. Frank comes back.) I have some
(There is a piercing scream from Mrs. Van Daan contracts here . . . I wonder if you’d look over
above. She grabs at the fur coat as Mr. Van Daan
230 them with me . . .
190 is starting downstairs with it.) Mr. Frank (putting out his hand ). Of course.
Mrs. Van Daan. No! No! No! Don’t you dare take Mr. Kraler (He rises.) If we could go downstairs . . .
that! You hear? It’s mine! (Downstairs Peter turns (Mr. Frank starts ahead, Mr. Kraler speaks to the
away, embarrassed, miserable.) My father gave me others.) Will you forgive us? I won’t keep him but
that! You didn’t give it to me. You have no right. a minute. (He starts to follow Mr. Frank down
Let go of it . . . you hear? the steps.)
(Mr. Van Daan pulls the coat from her hands and Margot (with sudden foreboding). What’s happened?
hurries downstairs. Mrs. Van Daan sinks to the floor, Something’s happened! Hasn’t it, Mr. Kraler?
sobbing. As Mr. Van Daan comes into the main (Mr. Kraler stops and comes back, trying to reassure
room the others look away, embarrassed for him.) 240 Margot with a pretense of casualness.)
200 Mr. Van Daan (to Mr. Kraler). Just a little— Mr. Kraler. No, really. I want your father’s
discussion over the advisability of selling this coat. advice . . .
As I have often reminded Mrs. Van Daan, it’s very Margot. Something’s gone wrong! I know it!
selfish of her to keep it when people outside are in
the diary of anne frank: act two 525

Mr. Frank (coming back, to Mr. Kraler). If it’s Dussel (frantic). For God’s sake don’t fire him!
something that concerns us here, it’s better that Pay him what he asks . . . keep him here where
we all hear it. you can have your eye on him.
Mr. Kraler (turning to him, quietly). But . . . the Mr. Frank. Is it so much that he’s asking? What are
children . . . ? they paying nowadays?
Mr. Frank. What they’d imagine would be worse 290 Mr. Kraler. He could get it in a war plant. But this
250 than any reality. isn’t a war plant. Mind you, I don’t know if he
(As Mr. Kraler speaks, they all listen with intense really knows . . . or if he doesn’t know.
apprehension. Mrs. Van Daan comes down the Mr. Frank. Offer him half. Then we’ll soon find
stairs and sits on the bottom step.) out if it’s blackmail or not.
Mr. Kraler. It’s a man in the storeroom . . . I don’t Dussel. And if it is? We’ve got to pay it, haven’t we?
know whether or not you remember him . . . Carl, Anything he asks we’ve got to pay!
about fifty, heavy-set, near-sighted . . . He came Mr. Frank. Let’s decide that when the time comes.
with us just before you left. Mr. Kraler. This may be all my imagination.
Mr. Frank. He was from Utrecht? You get to a point, these days, where you suspect
Mr. Kraler. That’s the man. A couple of weeks ago, 300 everyone and everything. Again and again . . . on
260 when I was in the storeroom, he closed the door some simple look or word, I’ve found myself . . .
and asked me . . . how’s Mr. Frank? What do you (The telephone rings in the office below.)
hear from Mr. Frank? I told him I only knew there Mrs. Van Daan (hurrying to Mr. Kraler). There’s the
was a rumor that you were in Switzerland. He said telephone! What does that mean, the telephone
he’d heard that rumor too, but he thought I might ringing on a holiday?
know something more. I didn’t pay any attention
to it . . . but then a thing happened yesterday . . . Mr. Kraler. That’s my wife. I told her I had to go
He’d brought some invoices to the office for me to over some papers in my office . . . to call me there
sign. As I was going through them, I looked up. when she got out of church. (He starts out.) I’ll
He was standing staring at the bookcase . . . your offer him half then. Good-bye . . . we’ll hope for
270 bookcase. He said he thought he remembered a 310 the best!
door there . . . Wasn’t there a door there that used (The group call their good-byes half-heartedly.
to go up to the loft? Then he told me he wanted Mr. Frank follows Mr. Kraler, to bolt the door
more money. Twenty guilders1 more a week. below. During the following scene, Mr. Frank comes
Mr. Van Daan. Blackmail! back up and stands listening, disturbed.)
Mr. Frank. Twenty guilders? Very modest blackmail. Dussel (to Mr. Van Daan). You can thank your son
for this . . . smashing the light! I tell you, it’s just
Mr. Van Daan. That’s just the beginning.
a question of time now. (He goes to the window at
Dussel (coming to Mr. Frank). You know what I the back and stands looking out.)
think? He was the thief who was down there that Margot. Sometimes I wish the end would come
night. That’s how he knows we’re here. 320 . . . whatever it is.
280 Mr. Frank (to Mr. Kraler). How was it left?
Mrs. Frank (shocked ). Margot!
What did you tell him?
(Anne goes to Margot, sitting beside her on the couch
Mr. Kraler. I said I had to think about it. What
with her arms around her.)
shall I do? Pay him the money? . . . Take a chance
on firing him . . . or what? I don’t know. Margot. Then at least we’d know where we were.
1. guilders (gGlPdErz): the basic monetary unit of the Netherlands at the time.

Mrs. Frank. You should be ashamed of yourself! Peter. I thought you were fine just now. You know
Talking that way! Think how lucky we are! Think just how to talk to them. You know just how to say
of the thousands dying in the war, every day. it. I’m no good . . . I never can think . . . especially
Think of the people in concentration camps. when I’m mad . . . That Dussel . . . when he said
Anne (interrupting). What’s the good of that? that about Mouschi . . . someone eating him . . . all
330 What’s the good of thinking of misery when 370 I could think is . . . I wanted to hit him. I wanted
you’re already miserable? That’s stupid! to give him such a . . . a . . . that he’d . . . That’s
Mrs. Frank. Anne!
what I used to do when there was an argument at
school . . . That’s the way I . . . but here . . . And an
(As Anne goes on raging at her mother, Mrs. Frank old man like that . . . it wouldn’t be so good.
tries to break in, in an effort to quiet her.)
Anne. You’re making a big mistake about me. I do
Anne. We’re young, Margot and Peter and I! it all wrong. I say too much. I go too far. I hurt
You grownups have had your chance! But look people’s feelings . . .
at us . . . If we begin thinking of all the horror in
(Dussel leaves the window, going to his room.)
the world, we’re lost! We’re trying to hold onto
some kind of ideals . . . when everything . . .
340 ideals, hopes . . . everything, are being destroyed!
It isn’t our fault that the world is in such a mess!
We weren’t around when all this started! So don’t
try to take it out on us!
(She rushes off to her room, slamming the door after
her. She picks up a brush from the chest and hurls
it to the floor. Then she sits on the settee, trying to
control her anger.)
Mr. Van Daan. She talks as if we started the war!
Did we start the war? (He spots Anne’s cake. As he
350 starts to take it, Peter anticipates him.)
Peter. She left her cake. (He starts for Anne’s room
with the cake. There is silence in the main room.
Mrs. Van Daan goes up to her room, followed by
Van Daan. Dussel stays looking out the window.
Mr. Frank brings Mrs. Frank her cake. She eats it
slowly, without relish. Mr. Frank takes his cake to
Margot and sits quietly on the sofa beside her. Peter
stands in the doorway of Anne’s darkened room,
looking at her, then makes a little movement to let
360 her know he is there. Anne sits up, quickly, trying to
hide the signs of her tears. Peter holds out the cake to
her.) You left this.
Anne (dully). Thanks.
(Peter starts to go out, then comes back.)
527
Peter. I think you’re just fine . . . What I want to 420 really intimate with anyone if he holds something
380 say . . . if it wasn’t for you around here, I don’t back, do you?
know. What I mean . . . Peter. I think your father’s fine.
(Peter is interrupted by Dussel’s turning on the light. Anne. Oh, he is, Peter! He is! He’s the only one
Dussel stands in the doorway, startled to see Peter. who’s ever given me the feeling that I have any
Peter advances toward him forbiddingly. Dussel backs sense. But anyway, nothing can take the place of
out of the room. Peter closes the door on him.) school and play and friends of your own age . . .
Anne. Do you mean it, Peter? Do you really mean it? or near your age . . . can it?
Peter. I said it, didn’t I? Peter. I suppose you miss your friends and all.
Anne. Thank you, Peter! Anne. It isn’t just . . . (She breaks off, staring up
(In the main room Mr. and Mrs. Frank collect the 430 at him for a second .) Isn’t it funny, you and I?
390 dishes and take them to the sink, washing them. Here we’ve been seeing each other every minute
Margot lies down again on the couch. Dussel, lost, for almost a year and a half, and this is the first
wanders into Peter’s room and takes up a book, time we’ve ever really talked. It helps a lot to have
starting to read.) someone to talk to, don’t you think? It helps you
Peter (looking at the photographs on the wall).
to let off steam.
You’ve got quite a collection. Peter (going to the door). Well, any time you want
Anne. Wouldn’t you like some in your room?
to let off steam, you can come into my room.
I could give you some. Heaven knows you spend Anne (following him). I can get up an awful lot of
enough time in there . . . doing heaven knows steam. You’ll have to be careful how you say that.
what . . . 440 Peter. It’s all right with me.
400 Peter. It’s easier. A fight starts, or an argument . . . Anne. Do you mean it?
I duck in there. Peter. I said it, didn’t I?
Anne. You’re lucky, having a room to go to. (He goes out. Anne stands in her doorway looking
His lordship is always here . . . I hardly ever get a after him. As Peter gets to his door he stands for a
minute alone. When they start in on me, I can’t minute looking back at her. Then he goes into his
duck away. I have to stand there and take it. room. Dussel rises as he comes in, and quickly passes
Peter. You gave some of it back just now. him, going out. He starts across for his room. Anne
Anne. I get so mad. They’ve formed their sees him coming, and pulls her door shut. Dussel
opinions . . . about everything . . . but we . . . turns back toward Peter’s room. Peter pulls his door
we’re still trying to find out . . . We have problems 450 shut. Dussel stands there, bewildered, forlorn.
410 here that no other people our age have ever The scene slowly dims out. The curtain falls on the
had. And just as you think you’ve solved them, scene. Anne’s Voice comes over in the darkness . . .
something comes along and bang! You have to faintly at first, and then with growing strength.)
start all over again. Anne’s Voice. We’ve had bad news. The people
Peter. At least you’ve got someone you can talk to. from whom Miep got our ration books have been
Anne. Not really. Mother . . . I never discuss arrested. So we have had to cut down on our food.
anything serious with her. She doesn’t understand. Our stomachs are so empty that they rumble and
Father’s all right. We can talk about everything . . . make strange noises, all in different keys. Mr. Van
everything but one thing. Mother. He simply Daan’s is deep and low, like a bass fiddle. Mine is
won’t talk about her. I don’t think you can be 460 high, whistling like a flute. As we all sit around

waiting for supper, it’s like an orchestra tuning In the main room Dussel can stand it no longer.
up. It only needs Toscanini2 to raise his baton and He comes over, rapping sharply on the door of his and
we’d be off in the Ride of the Valkyries.3 Monday, 500 Anne’s bedroom.
the sixth of March, nineteen forty-four. Mr. Kraler Anne (calling to him). No, no, Mr. Dussel! I am
is in the hospital. It seems he has ulcers. Pim says not dressed yet. (Dussel walks away, furious, sitting
we are his ulcers. Miep has to run the business down and burying his head in his hands. Anne turns
and us too. The Americans have landed on the to Margot.) How is that? How does that look?
southern tip of Italy. Father looks for a quick Margot (glancing at her briefly). Fine.
finish to the war. Mr. Dussel is waiting every day
470 for the warehouse man to demand more money. Anne. You didn’t even look.
Have I been skipping too much from one subject Margot. Of course I did. It’s fine.
to another? I can’t help it. I feel that spring is Anne. Margot, tell me, am I terribly ugly?
coming. I feel it in my whole body and soul. I feel Margot. Oh, stop fishing.
utterly confused. I am longing . . . so longing . . .
510 Anne. No. No. Tell me.
for everything . . . for friends . . . for someone
to talk to . . . someone who understands . . . Margot. Of course you’re not. You’ve got nice
someone young, who feels as I do . . . eyes . . . and a lot of animation, and . . .
(As these last lines are being said, the curtain rises on Anne. A little vague, aren’t you?
the scene. The lights dim on. Anne’s Voice fades out.) (She reaches over and takes a brassière out of
Margot’s sewing basket. She holds it up to herself,
studying the effect in the mirror. Outside, Mrs.
Frank, feeling sorry for Dussel, comes over, knocking
Scene 2 at the girls’ door.)
480 It is evening, after supper. From outside we hear Mrs. Frank (outside). May I come in?
the sound of children playing. The “grownups,” with 520 Margot. Come in, Mother.
the exception of Mr. Van Daan, are all in the main Mrs. Frank (shutting the door behind her).
room. Mrs. Frank is doing some mending, Mrs. Van Mr. Dussel’s impatient to get in here.
Daan is reading a fashion magazine. Mr. Frank is Anne (still with the brassière). Heavens, he takes
going over business accounts. Dussel, in his dentist’s the room for himself the entire day.
jacket, is pacing up and down, impatient to get into
Mrs. Frank (gently). Anne, dear, you’re not going
his bedroom. Mr. Van Daan is upstairs working on
a piece of embroidery in an embroidery frame. in again tonight to see Peter?
Anne (dignified ). That is my intention.
In his room Peter is sitting before the mirror,
490 smoothing his hair. As the scene goes on, he puts on his Mrs. Frank. But you’ve already spent a great deal
tie, brushes his coat and puts it on, preparing himself of time in there today.
meticulously for a visit from Anne. On his wall are 530 Anne. I was in there exactly twice. Once to get
now hung some of Anne’s motion picture stars. the dictionary, and then three-quarters of an hour
In her room Anne too is getting dressed. She stands before supper.
before the mirror in her slip, trying various ways Mrs. Frank. Aren’t you afraid you’re disturbing him?
of dressing her hair. Margot is seated on the sofa, Anne. Mother, I have some intuition.
hemming a skirt for Anne to wear.
2. Toscanini (tJsQkE-nCPnC): Arturo Toscanini, a famous Italian orchestral conductor.

3. Ride of the Valkyries (vBl-kîrPCz): a moving passage from an opera by Richard Wagner, a German
composer.

Mrs. Frank. Then may I ask you this much, Anne. shakes her head.) I know if it were me, I’d be wild.
Please don’t shut the door when you go in. I’d be desperately jealous, if it were me.
Anne. You sound like Mrs. Van Daan! (She throws Margot. Well, I’m not.
the brassière back in Margot’s sewing basket and Anne. You don’t feel badly? Really? Truly?
picks up her blouse, putting it on.) You’re not jealous?
540 Mrs. Frank. No. No. I don’t mean to suggest 580 Margot. Of course I’m jealous . . . jealous that
anything wrong. I only wish that you wouldn’t you’ve got something to get up in the morning
expose yourself to criticism . . . that you wouldn’t for . . . But jealous of you and Peter? No.
give Mrs. Van Daan the opportunity to be (Anne goes back to the mirror.)
unpleasant.
Anne. Maybe there’s nothing to be jealous of.
Anne. Mrs. Van Daan doesn’t need an opportunity
Maybe he doesn’t really like me. Maybe I’m just
to be unpleasant!
taking the place of his cat . . . (She picks up a pair
Mrs. Frank. Everyone’s on edge, worried about of short white gloves, putting them on.) Wouldn’t
Mr. Kraler. This is one more thing . . . you like to come in with us?
Anne. I’m sorry, Mother. I’m going to Peter’s Margot. I have a book.
550 room. I’m not going to let Petronella Van Daan 590 (The sound of the children playing outside fades
spoil our friendship. out. In the main room Dussel can stand it no
(Mrs. Frank hesitates for a second, then goes out, longer. He jumps up, going to the bedroom door
closing the door after her. She gets a pack of playing and knocking sharply.)
cards and sits at the center table, playing solitaire. Dussel. Will you please let me in my room!
In Anne’s room Margot hands the finished skirt to
Anne. As Anne is putting it on, Margot takes off her Anne. Just a minute, dear, dear Mr. Dussel. (She
high-heeled shoes and stuffs paper in the toes so that picks up her Mother’s pink stole and adjusts it
Anne can wear them.) elegantly over her shoulders, then gives a last look
in the mirror.) Well, here I go . . . to run the
Margot (to Anne). Why don’t you two talk in the
gauntlet.4 (She starts out, followed by Margot.)
560 main room? It’d save a lot of trouble. It’s hard on
Mother, having to listen to those remarks from 600 Dussel (as she appears—sarcastic). Thank you
Mrs. Van Daan and not say a word. so much.
Anne. Why doesn’t she say a word? I think it’s (Dussel goes into his room. Anne goes toward Peter’s
ridiculous to take it and take it. room, passing Mrs. Van Daan and her parents at the
center table.)
Margot. You don’t understand Mother at all,
do you? She can’t talk back. She’s not like you. Mrs. Van Daan. My God, look at her! (Anne pays no
It’s just not in her nature to fight back. attention. She knocks at Peter’s door.) I don’t know
what good it is to have a son. I never see him. He
Anne. Anyway . . . the only one I worry about is
wouldn’t care if I killed myself. (Peter opens the door
you. I feel awfully guilty about you.
and stands aside for Anne to come in.) Just a minute,
570 (She sits on the stool near Margot, putting on 610 Anne. (She goes to them at the door.) I’d like to say
Margot’s high-heeled shoes.) a few words to my son. Do you mind? (Peter and
Margot. What about? Anne stand waiting.) Peter, I don’t want you staying
Anne. I mean, every time I go into Peter’s room, up till all hours tonight. You’ve got to have your
I have a feeling I may be hurting you. (Margot sleep. You’re a growing boy. You hear?
4. to run the gauntlet: to endure a series of troubles or difficulties.

Mrs. Frank. Anne won’t stay late. She’s going to all been playing ping-pong . . . We used to have
bed promptly at nine. Aren’t you, Anne? heavenly times . . . we’d finish up with ice cream
Anne. Yes, Mother . . . (to Mrs. Van Daan) at the Delphi, or the Oasis, where Jews were
May we go now? allowed . . . there’d always be a lot of boys . . .
Mrs. Van Daan. Are you asking me? I didn’t know
660 we’d laugh and joke . . . I’d like to go back to it for
620 I had anything to say about it. a few days or a week. But after that I know I’d be
bored to death. I think more seriously about life
Mrs. Frank. Listen for the chimes, Anne dear. now. I want to be a journalist . . . or something.
(The two young people go off into Peter’s room, I love to write. What do you want to do?
shutting the door after them.) Peter. I thought I might go off some place . . .
Mrs. Van Daan (to Mrs. Frank). In my day it was work on a farm or something . . . some job that
the boys who called on the girls. Not the girls on doesn’t take much brains.
the boys. Anne. You shouldn’t talk that way. You’ve got the
Mrs. Frank. You know how young people like to most awful inferiority complex.
feel that they have secrets. Peter’s room is the only 670 Peter. I know I’m not smart.
place where they can talk.
Anne. That isn’t true. You’re much better than I
630 Mrs. Van Daan. Talk! That’s not what they called it am in dozens of things . . . arithmetic and algebra
when I was young. and . . . well, you’re a million times better than
(Mrs. Van Daan goes off to the bathroom. Margot I am in algebra. (with sudden directness) You like
settles down to read her book. Mr. Frank puts his Margot, don’t you? Right from the start you liked
papers away and brings a chess game to the center her, liked her much better than me.
table. He and Mrs. Frank start to play. In Peter’s Peter (uncomfortably). Oh, I don’t know.
room, Anne speaks to Peter, indignant, humiliated.)
(In the main room Mrs. Van Daan comes from
Anne. Aren’t they awful? Aren’t they impossible? the bathroom and goes over to the sink, polishing
Treating us as if we were still in the nursery. 680 a coffee pot.)
(She sits on the cot. Peter gets a bottle of pop and Anne. It’s all right. Everyone feels that way.
640 two glasses.) Margot’s so good. She’s sweet and bright and
Peter. Don’t let it bother you. It doesn’t bother me. beautiful and I’m not.
Anne. I suppose you can’t really blame them . . . Peter. I wouldn’t say that.
they think back to what they were like at our age. Anne. Oh, no, I’m not. I know that. I know quite
They don’t realize how much more advanced well that I’m not a beauty. I never have been and
we are . . . When you think what wonderful never shall be.
discussions we’ve had! . . . Oh, I forgot. I was
Peter. I don’t agree at all. I think you’re pretty.
going to bring you some more pictures.
Anne. That’s not true!
Peter. Oh, these are fine, thanks.
690 Peter. And another thing. You’ve changed . . . from
Anne. Don’t you want some more? Miep just
at first, I mean.
650 brought me some new ones.
Anne. I have?
Peter. Maybe later. (He gives her a glass of pop and,
taking some for himself, sits down facing her.) Peter. I used to think you were awful noisy.
Anne (looking up at one of the photographs). Anne. And what do you think now, Peter?
I remember when I got that . . . I won it. I bet How have I changed?
Jopie that I could eat five ice-cream cones. We’d Peter. Well . . . er . . . you’re . . . quieter.

(In his room Dussel takes his pajamas and toilet Peter. I wouldn’t say so.
articles and goes into the bathroom to change.) Anne. I know almost for certain that Margot
Anne. I’m glad you don’t just hate me. 740 would never kiss anyone unless she was engaged
700 Peter. I never said that. to them. And I’m sure too that Mother never
Anne. I bet when you get out of here you’ll never
touched a man before Pim. But I don’t know . . .
think of me again. things are so different now . . . What do you
think? Do you think a girl shouldn’t kiss anyone
Peter. That’s crazy. except if she’s engaged or something? It’s so hard
Anne. When you get back with all of your friends, to try to think what to do, when here we are with
you’re going to say . . . now what did I ever see in the whole world falling around our ears and you
that Mrs. Quack Quack. think . . . well . . . you don’t know what’s going to
Peter. I haven’t got any friends. happen tomorrow and . . . What do you think?
Anne. Oh, Peter, of course you have. Everyone 750 Peter. I suppose it’d depend on the girl. Some girls,
has friends. anything they do’s wrong. But others . . . well . . .
710 Peter. Not me. I don’t want any. I get along all it wouldn’t necessarily be wrong with them. (The
right without them. carillon starts to strike nine o’clock.) I’ve always
thought that when two people . . .
Anne. Does that mean you can get along without
me? I think of myself as your friend. Anne. Nine o’clock. I have to go.
Peter. No. If they were all like you, it’d be Peter. That’s right.
different. Anne (without moving). Good night.
(He takes the glasses and the bottle and puts them (There is a second’s pause, then Peter gets up and
away. There is a second’s silence and then Anne moves toward the door.)
speaks, hesitantly, shyly.) 760 Peter. You won’t let them stop you coming?
Anne. Peter, did you ever kiss a girl? Anne. No. (She rises and starts for the door.)
720 Peter. Yes. Once. Sometime I might bring my diary. There are so
Anne (to cover her feelings). That picture’s crooked. many things in it that I want to talk over with
(Peter goes over, straightening the photograph.) you. There’s a lot about you.
Was she pretty? Peter. What kind of things?
Peter. Huh? Anne. I wouldn’t want you to see some of it.
Anne. The girl that you kissed. I thought you were a nothing, just the way you
thought about me.
Peter. I don’t know. I was blindfolded. (He comes
back and sits down again.) It was at a party. One of Peter. Did you change your mind, the way I
those kissing games. 770 changed my mind about you?
Anne (relieved ). Oh. I don’t suppose that really Anne. Well . . . You’ll see . . .
730 counts, does it? (For a second Anne stands looking up at Peter,
Peter. It didn’t with me. longing for him to kiss her. As he makes no move she
turns away. Then suddenly Peter grabs her awkwardly
Anne. I’ve been kissed twice. Once a man I’d
in his arms, kissing her on the cheek. Anne walks out
never seen before kissed me on the cheek when
dazed. She stands for a minute, her back to the people
he picked me up off the ice and I was crying. And
in the main room. As she regains her poise she goes to
the other was Mr. Koophuis, a friend of Father’s
her mother and father and Margot, silently kissing
who kissed my hand. You wouldn’t say those
them. They murmur their good nights to her. As she
counted, would you?

780 is about to open her bedroom door, she catches sight of bearable to have someone with whom you can
Mrs. Van Daan. She goes quickly to her, taking her exchange views. No more tonight. P.S. . . . I must
face in her hands and kissing her first on one cheek be honest. I must confess that I actually live for the
and then on the other. Then she hurries off into her next meeting. Is there anything lovelier than to sit
room. Mrs. Van Daan looks after her, and then looks under the skylight and feel the sun on your cheeks
over at Peter’s room. Her suspicions are confirmed.) and have a darling boy in your arms? I admit now
Mrs. Van Daan (She knows.) Ah hah! that I’m glad the Van Daans had a son and not a
(The lights dim out. The curtain falls on the scene.
810 daughter. I’ve outgrown another dress. That’s the
In the darkness Anne’s Voice comes faintly at first third. I’m having to wear Margot’s clothes after
and then with growing strength.) all. I’m working hard on my French and am now
reading La Belle Nivernaise.
790 Anne’s Voice. By this time we all know each other
so well that if anyone starts to tell a story, the rest (As she is saying the last lines—the curtain rises on the
can finish it for him. We’re having to cut down scene. The lights dim on, as Anne’s Voice fades out.)
still further on our meals. What makes it worse,
the rats have been at work again. They’ve carried
off some of our precious food. Even Mr. Dussel Scene 3
wishes now that Mouschi was here. Thursday, the
twentieth of April, nineteen forty-four. Invasion It is night, a few weeks later. Everyone is in bed.
fever is mounting every day. Miep tells us that There is complete quiet. In the Van Daans’ room a
people outside talk of nothing else. For myself, match flares up for a moment and then is quickly put
800 life has become much more pleasant. I often go to out. Mr. Van Daan, in bare feet, dressed in underwear
Peter’s room after supper. Oh, don’t think I’m in 820 and trousers, is dimly seen coming stealthily down the
love, because I’m not. But it does make life more stairs and into the main room, where Mr. and Mrs.
533
Frank and Margot are sleeping. He goes to the food Mrs. Frank. We’re all of us hungry! I see the children
safe and again lights a match. Then he cautiously getting thinner and thinner. Your own son Peter . . .
opens the safe, taking out a half-loaf of bread. As he 860 I’ve heard him moan in his sleep, he’s so hungry.
closes the safe, it creaks. He stands rigid. Mrs. Frank And you come in the night and steal food that
sits up in bed. She sees him. should go to them . . . to the children!
Mrs. Frank (screaming). Otto! Otto! Komme schnell! 5 Mrs. Van Daan (going to Mr. Van Daan
(The rest of the people wake, hurriedly getting up.) protectively). He needs more food than the rest of
Mr. Frank. Was ist los? Was ist passiert? 6
us. He’s used to more. He’s a big man.
830 (Dussel, followed by Anne, comes from his room.) (Mr. Van Daan breaks away, going over and sitting
on the couch.)
Mrs. Frank (as she rushes over to Mr. Van Daan).
Mrs. Frank (turning on Mrs. Van Daan). And
Er stiehlt das Essen! 7
you . . . you’re worse than he is! You’re a mother,
Dussel (grabbing Mr. Van Daan). You! You! 870 and yet you sacrifice your child to this man . . .
Give me that. this . . . this . . .
Mrs. Van Daan (coming down the stairs). Putti . . . Mr. Frank. Edith! Edith!
Putti . . . what is it?
(Margot picks up the pink woolen stole, putting it
Dussel (his hands on Van Daan’s neck). You over her mother’s shoulders.)
dirty thief . . . stealing food . . . you good-for-
Mrs. Frank (paying no attention, going on to Mrs.
nothing . . .
Van Daan). Don’t think I haven’t seen you! Always
840 Mr. Frank. Mr. Dussel! For God’s sake! Help me, saving the choicest bits for him! I’ve watched you
Peter! day after day and I’ve held my tongue. But not
(Peter comes over, trying, with Mr. Frank, to any longer! Not after this! Now I want him to go!
separate the two struggling men.) 880 I want him to get out of here!
Peter. Let him go! Let go!
}
Mr. Frank. Edith!
(Dussel drops Mr. Van Daan, pushing him away. Mr. Van Daan. Get out of here? Together
He shows them the end of a loaf of bread that he has Mrs. Van Daan. What do you mean?
taken from Van Daan.)
Mrs. Frank. Just that! Take your things and get out!
Dussel. You greedy, selfish . . . !
Mr. Frank (to Mrs. Frank). You’re speaking in
(Margot turns on the lights.) anger. You cannot mean what you are saying.
850 Mrs. Van Daan. Putti . . . what is it? Mrs. Frank. I mean exactly that!
(All of Mrs. Frank’s gentleness, her self-control, is (Mrs. Van Daan takes a cover from the Franks’ bed,
gone. She is outraged, in a frenzy of indignation.) pulling it about her.)
Mrs. Frank. The bread! He was stealing the bread! 890 Mr. Frank. For two long years we have lived here,
Dussel. It was you, and all the time we thought it side by side. We have respected each other’s
was the rats! rights . . . we have managed to live in peace. Are
Mr. Frank. Mr. Van Daan, how could you! we now going to throw it all away? I know this
Mr. Van Daan. I’m hungry. will never happen again, will it, Mr. Van Daan?
5. Komme schnell! (kômPe shnDlP) German: Come quickly!

6. Was ist los? Was ist passiert? (väs Gst lôsP? väs Gst päsCrtP?) German: What’s the matter?
What has happened?
7. Er stiehlt das Essen! (Dr shtCltP däs DsPEn) German: He is stealing food!

Mr. Van Daan. No. No. (Peter rises from the steps where he has been sitting.)
Mrs. Frank. He steals once! He’ll steal again! Peter. I’d have to go if Father goes.
(Mr. Van Daan, holding his stomach, starts for the (Mr. Van Daan comes from the bathroom. Mrs. Van
bathroom. Anne puts her arms around him, helping Daan hurries to him and takes him to the couch.
him up the step.) 940 Then she gets water from the sink to bathe his face.)
900 Mr. Frank. Edith, please. Let us be calm. We’ll Mrs. Frank (while this is going on). He’s no father to
all go to our rooms . . . and afterwards we’ll sit you . . . that man! He doesn’t know what it is to
down quietly and talk this out . . . we’ll find be a father!
some way . . . Peter (starting for his room). I wouldn’t feel right.
Mrs. Frank. No! No! No more talk! I want them I couldn’t stay.
to leave! Mrs. Frank. Very well, then. I’m sorry.
Mrs. Van Daan. You’d put us out, on the streets? Anne (rushing over to Peter). No, Peter! No!
Mrs. Frank. There are other hiding places. (Peter goes into his room, closing the door after him.
Mrs. Van Daan. A cellar . . . a closet. I know. Anne turns back to her mother, crying.) I don’t care
And we have no money left even to pay for that. 950 about the food. They can have mine! I don’t want
910 Mrs. Frank. I’ll give you money. Out of my own
it! Only don’t send them away. It’ll be daylight
pocket I’ll give it gladly. (She gets her purse from soon. They’ll be caught . . .
a shelf and comes back with it.) Margot (putting her arms comfortingly around
Mrs. Van Daan. Mr. Frank, you told Putti you’d
Anne). Please, Mother!
never forget what he’d done for you when you Mrs. Frank. They’re not going now. They’ll stay
came to Amsterdam. You said you could never here until Miep finds them a place. (to Mrs. Van
repay him, that you . . . Daan) But one thing I insist on! He must never
Mrs. Frank (counting out money). If my husband had
come down here again! He must never come to
any obligation to you, he’s paid it, over and over. this room where the food is stored! We’ll divide
960 what we have . . . an equal share for each! (Dussel
Mr. Frank. Edith, I’ve never seen you like this hurries over to get a sack of potatoes from the food
920 before. I don’t know you. safe. Mrs. Frank goes on, to Mrs. Van Daan.)
Mrs. Frank. I should have spoken out long ago. You can cook it here and take it up to him.
Dussel. You can’t be nice to some people. (Dussel brings the sack of potatoes back to the center
Mrs. Van Daan (turning on Dussel). There would table.)
have been plenty for all of us, if you hadn’t come Margot. Oh, no. No. We haven’t sunk so far
in here! that we’re going to fight over a handful of rotten
Mr. Frank. We don’t need the Nazis to destroy us. potatoes.
We’re destroying ourselves. Dussel (dividing the potatoes into piles). Mrs. Frank,
(He sits down, with his head in his hands. Mrs. 970 Mr. Frank, Margot, Anne, Peter, Mrs. Van Daan,
Frank goes to Mrs. Van Daan.) Mr. Van Daan, myself . . . Mrs. Frank . . .
930 Mrs. Frank (giving Mrs. Van Daan some money). (The buzzer sounds in Miep’s signal.)
Give this to Miep. She’ll find you a place. Mr. Frank. It’s Miep! (He hurries over, getting
Anne. Mother, you’re not putting Peter out. his overcoat and putting it on.)
Peter hasn’t done anything. Margot. At this hour?
Mrs. Frank. He’ll stay, of course. When I say Mrs. Frank. It is trouble.
I must protect the children, I mean Peter too.

Mr. Frank (as he starts down to unbolt the door). Mrs. Frank tries to make herself heard above the
I beg you, don’t let her see a thing like this! excitement.)
Mr. Dussel (counting without stopping). . . . Anne, 1020 Mrs. Frank (to Miep). How do you know?
980 Peter, Mrs. Van Daan, Mr. Van Daan, myself . . . Miep. The radio . . . The B.B.C.! They said they
Margot (to Dussel). Stop it! Stop it! landed on the coast of Normandy!
Dussel. . . . Mr. Frank, Margot, Anne, Peter, Mrs. Peter. The British?
Van Daan, Mr. Van Daan, myself, Mrs. Frank . . . Miep. British, Americans, French, Dutch, Poles,
Mrs. Van Daan. You’re keeping the big ones for Norwegians . . . all of them! More than four
yourself! All the big ones . . . Look at the size of thousand ships! Churchill spoke, and General
that! . . . And that! . . . Eisenhower! D-Day they call it!
(Dussel continues on with his dividing. Peter, with Mr. Frank. Thank God, it’s come!
his shirt and trousers on, comes from his room.) Mrs. Van Daan. At last!
Margot. Stop it! Stop it! 1030 Miep (starting out). I’m going to tell Mr. Kraler.
990 (We hear Miep’s excited voice speaking to Mr. This’ll be better than any blood transfusion.
Frank below.) Mr. Frank (stopping her). What part of Normandy
Miep. Mr. Frank . . . the most wonderful did they land, did they say?
news! . . . The invasion has begun! Miep. Normandy . . . that’s all I know now . . .
Mr. Frank. Go on, tell them! Tell them! I’ll be up the minute I hear some more! (She goes
(Miep comes running up the steps, ahead of Mr. hurriedly out.)
Frank. She has a man’s raincoat on over her Mr. Frank (to Mrs. Frank). What did I tell you?
nightclothes and a bunch of orange-colored flowers What did I tell you?
in her hand.) (Mrs. Frank indicates that he has forgotten to bolt
Miep. Did you hear that, everybody? Did you hear 1040 the door after Miep. He hurries down the steps.
1000 what I said? The invasion has begun! The invasion! Mr. Van Daan, sitting on the couch, suddenly
(They all stare at Miep, unable to grasp what she is breaks into a convulsive sob. Everybody looks at
telling them. Peter is the first to recover his wits.) him, bewildered.)
Peter. Where? Mrs. Van Daan (hurrying to him). Putti! Putti!
Mrs. Van Daan. When? When, Miep?
What is it? What happened?
Mr. Van Daan. Please. I’m so ashamed.
Miep. It began early this morning . . .
(Mr. Frank comes back up the steps.)
(As she talks on, the realization of what she has
said begins to dawn on them. Everyone goes crazy. Dussel. Oh, for God’s sake!
A wild demonstration takes place. Mrs. Frank hugs Mrs. Van Daan. Don’t, Putti.
Mr. Van Daan.) 1050 Margot. It doesn’t matter now!
1010 Mrs. Frank. Oh, Mr. Van Daan, did you hear that? Mr. Frank (going to Mr. Van Daan). Didn’t you
(Dussel embraces Mrs. Van Daan. Peter grabs a hear what Miep said? The invasion has come!
frying pan and parades around the room, beating on We’re going to be liberated! This is a time to
it, singing the Dutch National Anthem. Anne and celebrate!
Margot follow him, singing, weaving in and out (He embraces Mrs. Frank and then hurries to the
among the excited grownups. Margot breaks away cupboard and gets the cognac and a glass.)
to take the flowers from Miep and distribute them Mr. Van Daan. To steal bread from children!
to everyone. While this pandemonium is going on

Mrs. Frank. We’ve all done things that we’re the second of July, nineteen forty-four. The
ashamed of. invasion seems temporarily to be bogged down.
1060 Anne. Look at me, the way I’ve treated 1100 Mr. Kraler has to have an operation, which looks
Mother . . . so mean and horrid to her. bad. The Gestapo have found the radio that was
Mrs. Frank. No, Anneke, no.
stolen. Mr. Dussel says they’ll trace it back and
back to the thief, and then, it’s just a matter of
(Anne runs to her mother, putting her arms time till they get to us. Everyone is low. Even
around her.) poor Pim can’t raise their spirits. I have often
Anne. Oh, Mother, I was. I was awful. been downcast myself . . . but never in despair. I
Mr. Van Daan. Not like me. No one is as bad as me! can shake off everything if I write. But . . . and
Dussel (to Mr. Van Daan). Stop it now! Let’s be that is the great question . . . will I ever be able
happy! to write well? I want to so much. I want to go
1110 on living even after my death. Another birthday
Mr. Frank (giving Mr. Van Daan a glass of cognac).
has gone by, so now I am fifteen. Already I know
1070 Here! Here! Schnapps! L’chaim! 8
what I want. I have a goal, an opinion.
(Van Daan takes the cognac. They all watch him.
(As this is being said—the curtain rises on the scene,
He gives them a feeble smile. Anne puts up her
the lights dim on, and Anne’s Voice fades out.)
fingers in a V-for-Victory sign. As Van Daan gives
an answering V-sign, they are startled to hear a
loud sob from behind them. It is Mrs. Frank,
stricken with remorse. She is sitting on the other Scene 4
side of the room.)
Mrs. Frank (through her sobs). When I think of the It is an afternoon a few weeks later . . . Everyone
terrible things I said . . . but Margot is in the main room. There is a sense of
great tension.
1080 (Mr. Frank, Anne, and Margot hurry to her, trying
to comfort her. Mr. Van Daan brings her his glass of Both Mrs. Frank and Mr. Van Daan are
cognac.) nervously pacing back and forth, Dussel is standing
1120 at the window, looking down fixedly at the street
Mr. Van Daan. No! No! You were right!
below. Peter is at the center table, trying to do his
Mrs. Frank. That I should speak that way to lessons. Anne sits opposite him, writing in her diary.
you! . . . Our friends! . . . Our guests! (She starts Mrs. Van Daan is seated on the couch, her eyes on
to cry again.) Mr. Frank as he sits reading.
Dussel. Stop it, you’re spoiling the whole invasion! The sound of a telephone ringing comes from
(As they are comforting her, the lights dim out. the office below. They all are rigid, listening tensely.
The curtain falls.) Mr. Dussel rushes down to Mr. Frank.
1090 Anne’s Voice (faintly at first and then with growing Dussel. There it goes again, the telephone!
strength). We’re all in much better spirits these Mr. Frank, do you hear?
days. There’s still excellent news of the invasion. 1130 Mr. Frank (quietly). Yes. I hear.
The best part about it is that I have a feeling that
Dussel (pleading, insistent). But this is the
friends are coming. Who knows? Maybe I’ll be
third time, Mr. Frank! The third time in quick
back in school by fall. Ha, ha! The joke is on us!
succession! It’s a signal! I tell you it’s Miep, trying
The warehouse man doesn’t know a thing and we
to get us! For some reason she can’t come to us
are paying him all that money! . . . Wednesday,
and she’s trying to warn us of something!
8. Schnapps! (shnäps) German: Brandy! L’chaim! (lE KHäPyGm) Hebrew: To life!

Mr. Frank. Please. Please. up the steps.) Too late. (Mr. Frank goes to Margot in
Mr. Van Daan (to Dussel). You’re wasting your Anne’s bedroom.)
breath. Mr. Van Daan. So we just wait here until we die.
Dussel. Something has happened, Mr. Frank. Mrs. Van Daan (hysterically). I can’t stand it! I’ll
1140 For three days now Miep hasn’t been to see us! 1180 kill myself ! I’ll kill myself !
And today not a man has come to work. There Mr. Van Daan. For God’s sake, stop it!
hasn’t been a sound in the building! (In the distance, a German military band is heard
Mrs. Frank. Perhaps it’s Sunday. We may have lost playing a Viennese waltz.)
track of the days. Mrs. Van Daan. I think you’d be glad if I did!
Mr. Van Daan (to Anne). You with the diary there. I think you want me to die!
What day is it? Mr. Van Daan. Whose fault is it we’re here? (Mrs.
Dussel (going to Mrs. Frank). I don’t lose track of Van Daan starts for her room. He follows, talking
the days! I know exactly what day it is! It’s Friday, at her.) We could’ve been safe somewhere . . .
the fourth of August. Friday, and not a man at in America or Switzerland. But no! No! You
1150 work. (He rushes back to Mr. Frank, pleading 1190 wouldn’t leave when I wanted to. You couldn’t
with him, almost in tears.) I tell you Mr. Kraler’s leave your things. You couldn’t leave your
dead. That’s the only explanation. He’s dead and precious furniture.
they’ve closed down the building, and Miep’s Mrs. Van Daan. Don’t touch me!
trying to tell us!
(She hurries up the stairs, followed by Mr. Van
Mr. Frank. She’d never telephone us.
Daan. Peter, unable to bear it, goes to his room.
Dussel (frantic). Mr. Frank, answer that! I beg Anne looks after him, deeply concerned. Dussel
you, answer it! returns to his post at the window. Mr. Frank comes
Mr. Frank. No. back into the main room and takes a book, trying to
Mr. Van Daan. Just pick it up and listen. You don’t read. Mrs. Frank sits near the sink, starting to peel
1160 have to speak. Just listen and see if it’s Miep. 1200 some potatoes. Anne quietly goes to Peter’s room,
Dussel (speaking at the same time). For God’s
closing the door after her. Peter is lying face down
sake . . . I ask you. on the cot. Anne leans over him, holding him in her
arms, trying to bring him out of his despair.)
Mr. Frank. No. I’ve told you, no. I’ll do nothing
Anne. Look, Peter, the sky. (She looks up through
that might let anyone know we’re in the building.
the skylight.) What a lovely, lovely day! Aren’t the
Peter. Mr. Frank’s right. clouds beautiful? You know what I do when it
Mr. Van Daan. There’s no need to tell us what side seems as if I couldn’t stand being cooped up for one
you’re on. more minute? I think myself out. I think myself
Mr. Frank. If we wait patiently, quietly, I believe on a walk in the park where I used to go with
that help will come. 1210 Pim. Where the jonquils and the crocus and the
1170 (There is silence for a minute as they all listen to the violets grow down the slopes. You know the most
telephone ringing.) wonderful part about thinking yourself out? You
can have it any way you like. You can have roses
Dussel. I’m going down. (He rushes down the steps.
and violets and chrysanthemums all blooming at
Mr. Frank tries ineffectually to hold him. Dussel runs
the same time . . . It’s funny . . . I used to take it
to the lower door, unbolting it. The telephone stops
all for granted . . . and now I’ve gone crazy about
ringing. Dussel bolts the door and comes slowly back
everything to do with nature. Haven’t you?

Peter. I’ve just gone crazy. I think if something in the life . . . (She breaks off.) Listen to us, going
doesn’t happen soon . . . if we don’t get out of at each other like a couple of stupid grownups!
1220 here . . . I can’t stand much more of it! 1260 Look at the sky now. Isn’t it lovely? (She holds out
Anne (softly). I wish you had a religion, Peter. her hand to him. Peter takes it and rises, standing
Peter. No, thanks! Not me!
with her at the window looking out, his arms
around her.) Some day, when we’re outside again,
Anne. Oh, I don’t mean you have to be I’m going to . . .
Orthodox9 . . . or believe in heaven and hell
and purgatory and things . . . I just mean some (She breaks off as she hears the sound of a car, its
religion . . . it doesn’t matter what. Just to brakes squealing as it comes to a sudden stop. The
believe in something! When I think of all that’s people in the other rooms also become aware of the
out there . . . the trees . . . and flowers . . . and sound. They listen tensely. Another car roars up to a
seagulls . . . when I think of the dearness of you, screeching stop. Anne and Peter come from Peter’s
1230 Peter . . . and the goodness of the people we
1270 room. Mr. and Mrs. Van Daan creep down the
know . . . Mr. Kraler, Miep, Dirk, the vegetable stairs. Dussel comes out from his room. Everyone is
man, all risking their lives for us every day . . . listening, hardly breathing. A doorbell clangs again
When I think of these good things, I’m not afraid and again in the building below. Mr. Frank starts
any more . . . I find myself, and God, and I . . . quietly down the steps to the door. Dussel and Peter
follow him. The others stand rigid, waiting, terrified.
(Peter interrupts, getting up and walking away.)
In a few seconds Dussel comes stumbling back
Peter. That’s fine! But when I begin to think, up the steps. He shakes off Peter’s help and goes
I get mad! Look at us, hiding out for two years. to his room. Mr. Frank bolts the door below, and
Not able to move! Caught here like . . . waiting comes slowly back up the steps. Their eyes are all on
for them to come and get us . . . and all for what? 1280 him as he stands there for a minute. They realize
1240 Anne. We’re not the only people that’ve had that what they feared has happened. Mrs. Van
to suffer. There’ve always been people that’ve Daan starts to whimper. Mr. Van Daan puts her
had to . . . sometimes one race . . . sometimes gently in a chair, and then hurries off up the stairs
another . . . and yet . . . to their room to collect their things. Peter goes to
Peter. That doesn’t make me feel any better! comfort his mother. There is a sound of violent
Anne (going to him). I know it’s terrible, trying pounding on a door below.)
to have any faith . . . when people are doing such Mr. Frank (quietly). For the past two years we have
horrible . . . But you know what I sometimes lived in fear. Now we can live in hope.
think? I think the world may be going through (The pounding below becomes more insistent. There
a phase, the way I was with Mother. It’ll pass, 1290 are muffled sounds of voices, shouting commands.)
1250 maybe not for hundreds of years, but some Men’s Voices. Auf machen! Da drinnen! Auf
day . . . I still believe, in spite of everything, machen! Schnell! Schnell! Schnell! etc., etc.10
that people are really good at heart.
(The street door below is forced open. We hear the
Peter. I want to see something now . . . Not a heavy tread of footsteps coming up. Mr. Frank gets
thousand years from now! (He goes over, sitting two school bags from the shelves, and gives one to
down again on the cot.) Anne and the other to Margot. He goes to get a bag
Anne. But, Peter, if you’d only look at it as part of for Mrs. Frank. The sound of feet coming up grows
a great pattern . . . that we’re just a little minute
9. Orthodox: Orthodox Jews who strictly observe Jewish laws and traditions.
10. Auf machen! . . . Schnell! (oufP mäzKHPEn! dä drGnPEn! oufP mäKHPEn! shnDl! shnDl! shnDl!) German:
Open up! Inside there! Open up! Quick! Quick! Quick!

louder. Peter comes to Anne, kissing her good-bye, (Miep goes up to the gas burner, bringing back a pot
then he goes to his room to collect his things. The of coffee.)
1300 buzzer of their door starts to ring. Mr. Frank brings Mr. Frank (after a pause). It seems strange to
Mrs. Frank a bag. They stand together, waiting. say this, that anyone could be happy in a
We hear the thud of gun butts on the door, trying 1340 concentration camp. But Anne was happy in
to break it down. the camp in Holland where they first took us.
Anne stands, holding her school satchel, looking After two years of being shut up in these rooms,
over at her father and mother with a soft, reassuring she could be out . . . out in the sunshine and
smile. She is no longer a child, but a woman with the fresh air that she loved.
courage to meet whatever lies ahead. Miep (offering the coffee to Mr. Frank). A little
The lights dim out. The curtain falls on the scene. more?
We hear a mighty crash as the door is shattered. Mr. Frank (holding out his cup to her). The news
1310 After a second Anne’s Voice is heard.) of the war was good. The British and Americans
Anne’s Voice. And so it seems our stay here were sweeping through France. We felt sure
is over. They are waiting for us now. They’ve 1350 that they would get to us in time. In September
allowed us five minutes to get our things. We we were told that we were to be shipped to
can each take a bag and whatever it will hold Poland . . . The men to one camp. The women
of clothing. Nothing else. So, dear Diary, that to another. I was sent to Auschwitz. They went
means I must leave you behind. Good-bye for a to Belsen. In January we were freed, the few of us
while. P.S. Please, please, Miep, or Mr. Kraler, or who were left. The war wasn’t yet over, so it took
anyone else. If you should find this diary, will you us a long time to get home. We’d be sent here
please keep it safe for me, because some day and there behind the lines where we’d be safe.
1320 I hope . . . Each time our train would stop . . . at a siding,
(Her voice stops abruptly. There is silence. After a or a crossing . . . we’d all get out and go from
second the curtain rises.) 1360 group to group . . . Where were you? Were you
at Belsen? At Buchenwald? At Mauthausen? Is it
possible that you knew my wife? Did you ever see
my husband? My son? My daughter? That’s how
Scene 5 I found out about my wife’s death . . . of Margot,
the Van Daans . . . Dussel. But Anne . . . I still
It is again the afternoon in November, 1945. The
hoped . . . Yesterday I went to Rotterdam. I’d
rooms are as we saw them in the first scene. Mr.
heard of a woman there . . . She’d been in Belsen
Kraler has joined Miep and Mr. Frank. There are
with Anne . . . I know now.
coffee cups on the table. We see a great change in Mr.
Frank. He is calm now. His bitterness is gone. He (He picks up the diary again, and turns the pages
slowly turns a few pages of the diary. They are blank. 1370 back to find a certain passage. As he finds it we hear
Anne’s Voice.)
Mr. Frank. No more. (He closes the diary and puts it
1330 down on the couch beside him.)
Anne’s Voice. In spite of everything, I still believe
that people are really good at heart.
Miep. I’d gone to the country to find food. When
I got back the block was surrounded by police . . . (Mr. Frank slowly closes the diary.)
Mr. Kraler. We made it our business to learn how Mr. Frank. She puts me to shame. (They are silent.)
they knew. It was the thief . . . the thief who The Curtain Falls.
told them.

After Reading
1. Recall Who was stealing the bread in the Annex? R3.5 Identify and analyze recurring
2. Clarify According to Margot, why don’t Anne and her mother get along? traditional and contemporary works.
3. Summarize Why does the man from the storeroom request extra money?
Literary Analysis
4. Complete Your Story Map Review your story map and make sure you’re
satisfied. Then circle the event you consider to be the climax of the play,
and add the play’s resolution. Remember the climax is the point of highest
action, and the resolution is the point at which the conflict is resolved.
5. Draw Conclusions Mrs. Van Daan doesn’t need her fur coat in the attic.
Why does she react so strongly when Mr. Van Daan wants to sell it?
6. Interpret Characters’ Actions Why do Anne and Mrs. Frank apologize to each
other after hearing about the invasion of Normandy? Think about what
impact the circumstances might have had on their attitudes.
7. Analyze Flashback A flashback is a scene from an earlier time that interrupts
the ongoing action of a story. Most of the play takes place during the war
years, but the first and last scene take place after the war. Make a timeline
like the one shown that clarifies the order in which important events happen.
How does reading about the events out of order affect your understanding?
Arrive at Annex
July 1942
8. Evaluate Theme At the end of Act Two, Anne shares with Peter her ideas
about the tragic events they have been hearing about. She says, “I think the
world may be going through a phase . . . . It’ll pass.” How do Anne’s ideas
illustrate the theme of the play? How does Peter react to her ideas?

9. Creative Project: Drama With a small group of classmates, choose a scene
that supports the play’s theme and practice acting it out. When you perform
for the class, explain why you chose the scene you did.
10. SOCIAL STUDIES CONNECTION Many Jews in Europe escaped their
countries or went into hiding when the Nazis came to power. Research
one of the following people to find out how ordinary people tried to save
themselves from the Nazis: Yettie Mendels, Erika Van Hesteren, Alfred Lessing,
and Joseph Heinrich. Present your findings to the class.
research links
For more on the Holocaust, visit the Research Center at ClassZone.com.

86A>;DGC>6
Reading-Writing Connection W1.3 Support theses or conclusions
with analogies, paraphrases,
Increase your understanding of The Diary of Anne Frank by responding to these quotations, opinions from authorities,
comparisons, and similar devices.
prompts. Then complete the Grammar and Writing exercise.

A. Short Response: Describe a Relationship An effective description will . . .
Anne’s relationship with Peter is an important • describe Anne’s feelings
subplot in the play. Write a one-paragraph toward Peter at different
description that summarizes her changing feelings points in the play
toward Peter. Consider how having a peer to talk
• support statements with
to helped Anne cope with conflict both inside and
quotations from the characters
outside the Annex.
B. Extended Response: Evaluate a Legacy An insightful evaluation will . . .

Why do you think Anne Frank’s diary has made • describe Anne’s personality
an impact on countless readers around the
• convey your ideas about
world? Write two or three paragraphs explaining
why Anne’s outlook on life
why readers might identify with Anne and draw
is inspiring and unique
inspiration from her life.
grammar and writing

CAPITALIZE CORRECTLY Languages, nationalities, ethnicities, political parties,
and religions should always be capitalized. Here are some examples: 86A>;DGC>6
LC1.5 Use correct punctuation and
Languages—English, Spanish, Russian, Chinese capitalization.
Countries and Nationalities—Mexico, Canada, Irish, South African
Ethnicities—Hispanic, Native American, Caucasian, Asian
Political Parties—Democrats, Republicans, Socialists, Nazis
Religions—Judaism, Islam, Christianity, Buddhism
Example: Although the Franks lived in Holland, their first language
was German.
PRACTICE Rewrite the following sentences, correcting any errors in

capitalization. A sentence may contain more than one error.
1. Not all germans wanted the nazis to be in control.
2. For many europeans, it was dangerous to practice judaism.
3. Because they were jewish, the Franks fled to holland to escape persecution.
4. Anne Frank’s diary was translated into many languages, including english.
For more help with capitalization, see page R51 in the Grammar Handbook.
the diary of anne frank 543

Reading for
Information
i Beyond The Diary of Anne Frank
• Newspaper Article, page 545
• Interview, page 547
$IA RY
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OF
THE
What’s the Connection?
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Use with The Diary of

Anne Frank, page 486. Skill Focus: Synthesize
Reading a play, diary, or book about a topic can teach you a great deal.
However, you can seldom get a complete picture from any one source.
To fully understand something, you have to synthesize, or connect facts,
86A>;DGC>6
details, and ideas from different sources in order to form new ideas
Included in this lesson:
W1.3 (p. 553)
about the topic.
In this lesson, you will synthesize what you have already learned
from The Diary of Anne Frank and one of Anne’s diary entries (page 520)
with information and impressions from two more sources. Your goal is
to develop a fuller picture of what life was like for Jewish families in
Nazi-occupied Amsterdam and in the Bergen-Belsen concentration camp.
To begin, use a chart like the one shown to record what you’ve learned
from the play and from Anne’s diary entry. Then read the next selections
to add to your knowledge and fill in gaps in your understanding. Continue
filling in the chart with what you learn about life under the Nazis.
Life for a Life for a Life in a Impressions

Jewish family Jewish family German of Anne
hiding in living openly concentration Frank
Amsterdam in Amsterdam camp
The Diary of Anne
Frank & Anne’s
December 1943
diary entry
“A Diary from
Another World”
from The Last
Seven Months of
Anne Frank

86A>;DGC>6
loved freedom and equality and was

free of prejudice became an enemy of
30 the Nazi regime. . . .
I visited Anne Frank’s house the
other day. Actually, I visited it twice—
once alone at night when it was tightly
closed, the inside shrouded in darkness.
It conveyed then the eerie feeling of a
tomb in which Anne’s unfulfilled
dreams had been dreamed during
many lonely nights. . . .
Then I returned during the daytime,
40 as the sun shone brightly and the
carillon1 from the nearby clock tower,
of which Anne had written, was just
playing a merry tune. In the bright
“O n Friday, June 12, I woke up at

6 a.m. and—small wonder—
it was my birthday. I received a warm
sunlight, I heard music playing, saw
boats moving on the canal and
observed people walking by.
welcome from my cat and masses of Across the canal I noticed a
a SYNTHESIZE
things from Mummy and Daddy . . .” boutique, saw some young people What are Gerda
Any 13-year-old girl could have looking at sweaters. Two kids in jeans Weissmann Klein’s
written that on her birthday. As it 50 rode on bicycles. Life was going on, impressions of Anne
happens these words appear in a diary even as it must have gone on while she Frank’s house and
which was one of the “masses of things” lived there. a neighborhood?
10 and in which Anne Frank wrote: “I
hope I shall be able to confide in you
completely, as I have never been able to
do in anyone before . . .”
She thought that what she would
write in her diary would be for her
eyes alone, so she committed her
innermost thoughts to it. She thought
that perhaps in the very distant
future—when she might have
20 children, or even grandchildren, that
they might on a rainy afternoon find
their grandmother’s old diary. . . .
Alas, Anne Frank died as a young
girl, for no other reason than that she
was Jewish. The Nazis invaded
Holland, as they did most other
European countries, and anyone who
1. carillon (kBrPE-lJnQ): set of tuned bells in Front of Anne Frank House, Amsterdam,
a tower. the Netherlands
reading for information 545

Actually, I found it sadder during want to run downstairs into the tiny
the daytime, for the night at least 80 garden where sunflowers now bloom
seemed to shut out the rest of the against the fence, instead of having to
world, whereas during the day glimpse them from far above.
everything revolved around the silent, She thought of touching them and
subdued girl who so desperately wanted running through a meadow in the
to be a part of that stream of life. spring, of buying an ice cream cone from
60 What did she think about in those a vendor on a hot summer afternoon.
tiny rooms where shutters had to be She thought of ordinary things,
closed in the daytime? She tells us such as going to school with other kids.
that often the heat became oppressive She thought of dressing up and being
from the tiny stove on which the 90 able to go to the movies.
families cooked their meals. We know In short, she thought of all the
that the toilet could not be flushed in things which millions of kids do every
the daytime, lest the neighbors would day and find boring. But to Anne, who
be alerted to the existence of the occasionally dared to climb to the roof
hiding place. to see the sky and the patch of world
70 What did Anne Frank think about below, that world was as remote as the
b SYNTHESIZE as she sat on her bed during those evening star. b
Reread lines 76–97. perilous days looking at the pictures of This is the legacy she left us, the
What new insights American movie stars and a picture of understanding of things all of us take
about Anne’s thoughts a chimpanzee’s birthday party which 100 for granted. Through understanding,
do you get from this
still hangs there today? let us assure that all people everywhere
article?
Her diary tells us that she thought can live in freedom so that a book like
not of fame, nor wealth, nor greatness. The Diary of Anne Frank will never be
She thought rather how much she would written again as a true story.
Anne Frank’s diary

F OCUS ON FORM
An interview is a
meeting in which one
person asks another
about his or her
thoughts, feelings,
insights, or experiences.
In this interview, which
was conducted for a
television documentary
about Anne Frank, the
questions asked by
Willy Lindwer have
been omited. Only
Pick-Goslar’s answers
are printed.
Hannah Elisabeth
Pick-Goslar and
Anne Frank
from
Willy Lindwer
M r. Frank’s factory, Opekta,

produced a substance for
making jam. My mother always got
but no one opened the door. I didn’t
know why no one answered. I rang
again, and finally, Mr. Goudsmit,
the old packages as a gift. Soon after a tenant, opened the door. c c INTERVIEW
school let out, my mother sent me to “What do you want? What have you On the basis of the
the Franks’ house to get the scale come for?” he asked in astonishment. photograph and what
because she wanted to make jam. “I’ve come to borrow the scale.” you’ve read so far, what
do you think might be
It was a beautiful day. “Don’t you know that the entire
the relationship between
I went as usual to the Franks’ Frank family has gone to Hannah and Anne?
10 house and rang and rang and rang, 20 Switzerland?”

I didn’t know anything about it. to school after the summer, fewer
“Why?” I asked. children came to class every day.
He didn’t know either. We stayed in Amsterdam almost a
This was a bolt out of the blue. full year longer, until June 20, 1943,
Why had they gone to Switzerland? and all this time things were getting
The only connection the Frank worse and worse. Jews had to wear a
family had with Switzerland was that yellow star. We had an Ausweis (an
Otto Frank’s mother lived there. identification card), with a large “J”
But later it appeared that, in fact, 50 on it—for Jew. People were stopped
30 the family had always reckoned that it on the street: “May I see your
would get worse for Jews. They had Ausweis?” If you were Jewish, you
been preparing for a whole year to go were taken away and you never
into hiding. We didn’t know anything returned home. And a mother
about this. You can’t talk about waiting for her child would ask
something like that. Because if herself: Where is my child? Have they
d SYNTHESIZE anyone talked, then the whole affair taken her away? . . . d
After the Franks went would go amiss. . . . So far, my family had been lucky
into hiding, what I believe that Anne was the first insofar as we were able to buy South
happened to other girlfriend that I lost. It was, of course, 60 American citizenship through an
Jews in Amsterdam?
40 very frightening, but we began to get uncle in Switzerland. We were
used to the idea. When I went back expatriates. That’s why it was
A Dutch Jewish
star with the word
Jood (Jew) on it
A household identification
card (Ausweis) that identified
families as Jewish

possible. We got passports from 90 something new. At five o’clock in the

Paraguay. Laughing, my father said, morning while everyone was asleep
“You’d better know something about they blocked off all the southern part
Paraguay in case they ask.” So I of Amsterdam. They went from door
learned the name of the capital, to door, rang, and asked:
Asunción. I didn’t know anything “Do Jews live here?”
else, but no one ever asked me “Yes.”
70 anything. “You have fifteen minutes; take a
Because of these passports we backpack, put a few things in it, and
could still go out for a while longer get outside quickly.”
without trembling in fear, but you 100 That was our neighborhood, so
never knew what would happen we had to pack too. A passport no
tomorrow. . . . longer helped. We had a quarter of
So we continued to live, with an hour, and we had to go with
little to eat and with a great deal of them. . . .
fear, but at least we were at home. So we were taken to Westerbork.
In October, my mother died during My father ended up in a very large
80 childbirth. The baby was born dead. barracks. My sister and I were put in
e SYNTHESIZE
That was in Anne’s diary. Someone an orphanage, where, they said, there Reread lines 58–85. What
told Anne that our baby had died, was more to eat. My father had strategies did Jews living
but not that my mother had died 110 known the director of the orphanage openly use to survive?
too. They probably didn’t have the when he was in Germany. My little What hardships did they
heart to tell her. . . . e sister wasn’t there very long. She endure?
Everything went along fine until became seriously ill and had to have
June 20, 1943, when there was the operations on both ears. She was in
big roundup in Amsterdam-South. the hospital for almost the entire time
On that day, the Germans started that we were in Westerbork. . . .
The Franks’ names on a transport list from the Westerbork transit camp

On February 15, 1944, we were just have one more little child
f SYNTHESIZE transported to Bergen-Belsen. . . . with us.” f
Reread lines 148–162. When we arrived, our clothes weren’t And that’s how it worked out.
What is the relationship 120 taken away and families weren’t The next morning her daughter,
between this incident and separated. My father and my sister who seemed to be about my age,
the theme of the play?
stayed with me. We slept in different came and took the little girl with her.
places, but we could see each other Meanwhile, my father was able to
every evening. The trip took—I don’t visit me. We were together with that
remember precisely—two or three family until the end. To this day we
days to get to Bergen-Belsen. . . . 170 have stayed on friendly terms with
In Bergen-Belsen, it was very cold them. . . .
in the winter. We soon found that One day, we looked in the
out. Because we had been arrested in direction where there hadn’t been
130 June we hadn’t thought about winter any barracks and saw that tents had
clothes. Especially me, a young girl, suddenly appeared there. . . . Then a
who had to do her own packing. barbed-wire fence was built through
But what I had brought, I kept. the middle of the camp and filled
My sister had a large bandage on with straw so that we couldn’t see the
her head because she had had other side. But we were, of course,
surgery on her ears in Westerbork. 180 very close to each other, because the
The first day we arrived in Bergen- camp wasn’t large. All those people
Belsen, I got jaundice. The policy of from the tents were taken to the
the Germans was: whoever got sick barracks on the other side. In spite
140 had to go to the hospital; otherwise, of the German guards on the high
all the others could be infected. watchtowers, we tried to make
I didn’t know what to do with my contact. . . .
little sister. My father was confined One of my acquaintances, an older
in another barracks and I couldn’t woman, came up to me one day.
take her to him. He also had to “Do you know, there are some Dutch
work, so that wouldn’t have 190 people there. I spoke to Mrs. Van
worked out. Daan.” The woman had known her
So there I was and didn’t know from before, and she told me that
what to do. This situation showed me Anne was there. She knew that I knew
150 that there were very special people in Anne.
that camp. I told an old lady that I “Go over to the barbed-wire fence
was at my wits’ end: “Tomorrow and try to talk to her.” And, of
morning, I have to go to the hospital course, I did. In the evening, I stood
and my little sister is sick.” by the barbed-wire fence and began
Two hours later, a woman came, to call out. And quite by chance Mrs.
who said, “My name is Abrahams. 200 Van Daan was there again. I asked
Mrs. Lange told me that you were her, “Could you call Anne?”
here and that you don’t know what She said, “Yes, yes, wait a minute,
to do with your sister. I have seven I’ll go to get Anne. I can’t get Margot;
160 children; give her to me; then we’ll she is very, very ill and is in bed.”

A sign posted by the British army outside the Bergen-Belsen concentration camp
But naturally I was much more 220 because she couldn’t have known
interested in Anne, and I waited there anything else. She thought that her
a few minutes in the dark. father had been gassed right away.
Anne came to the barbed-wire But Mr. Frank looked very young
fence—I couldn’t see her. The fence and healthy, and of course the
210 and the straw were between us. There Germans didn’t know how old
wasn’t much light. Maybe I saw her everybody was who they wanted to
g SYNTHESIZE
shadow. It wasn’t the same Anne. gas, but selected them on the basis
What happened to
She was a broken girl. I probably of their appearance. Someone who Jewish people in the
was, too, but it was so terrible. She looked healthy had to work, but concentration camps who
immediately began to cry, and she 230 another who might even be younger, looked healthy? What
told me, “I don’t have any parents but who was sick or looked bad, happened to those who
anymore.” went directly to the gas chamber. g were sick or looked ill?
I remember that with absolute I always think, if Anne had known
certainty. That was terribly sad, that her father was still alive, she

might have had more strength to package: my sister, my father, and I.
survive, because she died very shortly 280 A very small package, the size of a
before the end—only a few days book, with knäckebrot (Scandinavian
before [liberation]. But maybe it was crackers), and a few cookies. You can’t
all predestined. imagine how little that was. My son
240 So we stood there, two young girls, always says, “But Mama, that was
and we cried. I told her about my something really very special.” But
mother. She hadn’t known that; she in those days we really collected
only knew that the baby had died. everything, half a cookie, a sock, a
And I told her about my little sister. glove—anything that gave a little
I told her that my father was in the warmth or something to eat. My
hospital. He died two weeks later; he 290 friends also gave me something for
was already very sick. She told me Anne. I certainly couldn’t have
that Margot was seriously ill and she thrown a large package over the
told me about going into hiding barbed-wire fence; not that I had one,
250 because I was, of course, extremely but that wouldn’t have been possible
curious. at all.
“But what are you doing here? You We agreed to try to meet the next
were supposed to be in Switzerland, evening at eight o’clock—I believe I
weren’t you?” And then she told me still had a watch. And, in fact, I
what had happened. That they didn’t succeeded in throwing the package
go to Switzerland at all and why they 300 over.
had said that; so that everyone should But I heard her screaming, and
think that they had gone to her I called out, “What happened?”
grandmother’s. And Anne answered, “Oh, the
260 Then she said, “We don’t have woman standing next to me caught it,
anything at all to eat here, almost and she won’t give it back to me.”
nothing, and we are cold; we don’t have Then she began to scream.
any clothes and I’ve gotten very thin I calmed her down a bit and said,
and they shaved my hair.” That was “I’ll try again but I don’t know if I’ll
terrible for her. She had always been be able to.” We arranged to meet
very proud of her hair. It may have 310 again, two or three days later, and I
grown back a bit in the meantime, but was actually able to throw over
it certainly wasn’t the long hair she’d another package. She caught it; that
had before, which she playfully curled was the main thing.
h SYNTHESIZE 270 around her fingers. It was much worse After these three or four meetings
What do you learn about for them than for us. I said, “They at the barbed-wire fence in Bergen-
Anne’s circumstances
didn’t take away our clothes.” That Belsen, I didn’t see her again, because
from this first meeting?
was our first meeting. h the people in Anne’s camp were
i SYNTHESIZE Then for the first time—we had transferred to another section in
By the end of this already been in the camp for more Bergen-Belsen. That happened
account, what have you than a year; we arrived in February 320 around the end of February. i
learned about life in 1944, and this was February 1945— That was the last time I saw Anne
Bergen-Belsen? we received a very small Red Cross alive and spoke to her.

Comprehension
1. Recall For what occasion does Anne Frank receive her diary?
2. Summarize Briefly describe Hannah Elisabeth Pick-Goslar’s experiences
in Bergen-Belsen before she reconnects with Anne.
Critical Analysis
3. Evaluate a Source Gerda Weissmann Klein, the author of “A Diary from
Another World,” is Jewish. When she was 15, Nazis invaded her home country,
Poland. She was forced to work as a slave laborer in German factories.
Her entire family was killed in the Holocaust. What effect does Klein’s
background have on the way you view the information in the article?
4. Analyze an Interview Pick-Goslar has a unique view of Anne. Explain why
that is. What new information about Anne and her family do you learn from
Pick-Goslar’s account?
5. Synthesize What were the physical and emotional effects of living in a Nazi-
occupied country as a Jew? What survival techniques allowed people to
withstand the hardships they did? Refer to the chart you filled in as you read,
and support your answer with evidence from at least three selections.
Read for Information: Make a Generalization

86A>;DGC>6
W1.3 Support theses or conclusions
writing prompt with analogies, paraphrases,
quotations, opinions from
Identify an important life lesson you take away from these Jewish families’ authorities, comparisons and
experiences. Support your response with evidence from the selections. similar devices.
To respond to this prompt, you will have to make a generalization.

A generalization is a broad statement about a topic that follows logically
from solid evidence. To arrive at your generalization, follow these steps:
1. Review the information you gathered in your chart, jotting down any general
statements about life or human nature that this information suggests to you.
2. Pick the most convincing statement you have jotted down and rephrase it as a
life lesson. To do this, begin with a phrase such as “It is human nature to . . .”
3. Review the evidence for your generalization to make sure it comes from more
than one source and supports your statement.
4. In a paragraph, state Broad Life Lesson Evidence
the life lesson you’ve Statements
identified. Then present 1.
evidence for this 2.
generalization.

Media from Anne Frank Remembered
Study Film Clips on MediaSmart DVD
Can films make

history fresh?
KEY IDEA Have you ever wanted to meet a famous figure from
history? We can learn the facts about a famous person’s life, but we
can’t know what it would be like to sit down and talk to him or her.
86A>;DGC>6
In this lesson, you’ll watch a biographical documentary about Anne
LS1.9 Interpret and evaluate the
various ways that visual image
Frank. You’ll explore how the filmmakers try to bring you into Anne’s
makers (e.g., graphic artists, world and give you a sense of what she was really like.
illustrators, news photographers)
communicate information and affect
impressions and opinions.
Background
Behind the Symbol Anne Frank’s diary has sold over 31 million
copies in approximately 67 languages. She has become an
enduring symbol of the tragedy of the Holocaust. But behind
that symbol was a real girl, a teenager trapped for two years in
a small hiding place with seven other people.
Anne Frank Remembered is a documentary
that explores the life and death of the girl
behind the symbol. The film takes viewers
inside the Franks’ hidden annex,
revealing what it was like to live
in such cramped quarters. It also
tells the story of Anne’s diary, and
how her private thoughts became
the book that has touched readers
throughout the world.
554
86A>;DGC>6
Media Literacy: Documentary
A documentary is a nonfiction film that often presents social, political, or
historical subject matter. Famous historical figures make good subjects for
documentaries, because the filmmakers can tell the story of both the individual
and the time period. To create a documentary, filmmakers often gather primary
sources, firsthand information such as diaries, photographs, and eyewitness
accounts. They then combine these materials with voice-over narration and,
often, a re-enactment of scenes or settings to re-create the times for viewers.
features of a documentary
Footage is recorded material that gives information

about a subject. It includes film clips, photographs,
news reports, and interviews. Footage from a
particular time period can show viewers what life
was like back then.
Voice-over narration is the voice of an unseen

speaker that is heard in a documentary. The voice-
over tells the subject’s story and explains the
footage. Primary sources, such as diary entries, can
also be read as part of the voice-over narration.
Re-enactment is the re-creation of key events or

important settings. Filmmakers shoot scenes or
settings using sets, props, actors, and costumes.
They try to re-create the subject’s story as
realistically as possible.
STRATEGIES FOR VIEWING

• Identify the different types of footage. Notice how the filmmakers
combine primary source footage with footage they shoot themselves,
such as interviews and re-enactments, to tell the whole story.
• Think about the purpose of the voice-over narration. Different narrators
can present different sides of someone’s personality.
• Notice the type of information you learn from any re-enactments.
Re-enactments are often used in historical documentaries. Think about
why the filmmakers might have chosen to present the information in
this way.
media study 555

Viewing Guide for
. MediaSmart DVD Anne Frank Remembered
• Film: Anne Frank Remembered
• Director: Jon Blair
You’ll view three clips from Anne Frank Remembered. They reveal
• Voice-over Narrators: Kenneth
the Franks’ secret annex in Amsterdam, the story of the publication
Branagh and Glenn Close
• Genre: Documentary of the diary, and the only known moving footage of Anne Frank. As
• Running Time: 4 minutes you view the clips, think about how the documentary features add a
freshness to her story. You’ll hear two different voice-over narrators.
Notice the different types of information you learn from each. Watch
for different types of footage and any re-enactment of setting the
film provides. Before answering these questions, you may want to
view the clip more than once.
now view
FIRST VIEWING: Comprehension
1. Recall After Otto Frank had such trouble getting Anne’s diary
published, what finally caused a publisher to step forward?
2. Clarify Give two examples of primary source material used in the

clips you viewed.
CLOSE VIEWING: Media Literacy
3. Examine the Visuals Think about the re-enactment of the setting of

the secret annex. Why do you think the filmmakers show the food
and furniture fading away to leave empty rooms?
4. Analyze Voice-over Narration Think about the different types of

information the two voice-over narrators provide. Why might the
filmmakers have decided to use two narrators rather than one?
5. Determine Filmmakers’ Purpose The clip of Anne Frank standing at

the window is from the end of the documentary. What effect do you
think the filmmakers intended this clip to have on viewers?
556
Media Study
Write or Discuss
Compare the Texts Think about the impression you had of Anne Frank from
the play you read. Now think about the documentary clips you viewed. Write a
brief comparison of the Anne you read about in the play and the Anne described
in the film. Which is most effective at going beyond the symbol and revealing
what you believe to be the real Anne Frank? Think about the following:
• the documentary footage of the actual secret annex where the Franks hid
• how the play portrays Anne’s personality
• the footage of Anne at the window, and the voice-over reading of her diary
Produce Your Own Media media tools

Create a Visual Timeline When filmmakers plan a biographical documentary, For help with creating a
they look closely at their subject’s entire life story. They decide what events to timeline, visit the Media
include in the documentary and what to leave out. Imagine you’re planning
a documentary about a friend’s life. Choose five or six events in that person’s
life, and create a visual timeline depicting these events. Your timeline should
include a photograph or drawing and a caption for each event.
HERE’S HOW Here are a few suggestions for preparing your visual timeline:
• Start by choosing the events you want to show. Choose the most exciting
and interesting things that have happened to your friend.
• Collect or take photographs to illustrate each event. You might want to have
your friend re-enact a favorite event, such as a time he or she won a contest.
• Write a brief sentence for each picture that describes the event depicted.
• Arrange your pictures on a board in chronological order.
student model
Tech Tip
Age 1 Age 6 Age 10 If available, use a computer
software program to present
your timeline.
Joel celebrates his At age six, a new friend After a rough start, Joel
first birthday. enters Joel’s life. He finds his way at Frontier
names the puppy Buster. Middle School.
Age 11 Age 13 Age 13
He takes second at the Joel’s competitive nature . . . and on the basketball

spelling bee, after missing shows through, both on court.
the “h” in “gherkin.” the mantel . . .
media study 557

Writing Short Story
Workshop What did you like best about the stories you read this year—the characters, the
suspense, or maybe the satisfying endings? In this workshop, you will weave your
narration
own tale of adventure, mystery, triumph, or woe. Follow the Writer’s Road Map to
learn how.
writer’s road map

Short Story
writing prompt 1 key traits

Writing from Your Imagination Write a short story 1. ideas
that has an interesting plot. Make sure that your story • Has an intriguing plot and at least
includes a conflict and at least two characters. two characters
Plots to Consider: • Develops and resolves a central
conflict
• Two people adopt an unusual dog.
• Includes descriptive details that
• An alien lands on the school football field. reveal the setting and characters
• A family gets locked in at the local natural • Uses dialogue to show characters’
history museum. personalities
2. organization
writing prompt 2 • Introduces the characters, setting,
Writing from Literature Choose a “big question” or action in a way that gets the
from this unit that really made you think. Then write reader’s attention
a short story inspired by that question. Create a plot, • Follows a clear sequence of events
conflict, setting, and at least two characters to hold • Resolves the conflict in a
your reader’s attention. convincing conclusion
Questions to Make You Think: 3. voice
• What makes something priceless? (“Gil’s Furniture • Shows the writer’s unique style
Bought and Sold”) 4. word choice
• Is curiosity a gift or a curse? (“Pandora’s Box”)
• Includes sensory language to help
readers imagine the fictional world
• What impact will you have on the world? (The Diary
5. sentence fluency
of Anne Frank)
• Varies sentence lengths
writing tools 6. conventions
For prewriting, revision, and • Uses correct grammar, spelling,
editing tools, visit the Writing and punctuation
Center at Classzone.com.

Part 1: Analyze a Student Model 86A>;DGC>6
Included in this lesson: W2.1abc, W1.6
interactive model James Pickford

cl asszone .com Eldridge Middle School
Flight Patterns
Working with Joe on the science project hadn’t been Samuel’s idea. key traits in action
Joe was a good kid, but he was the school soccer star, not the school Introduces three
science star. Samuel loved science but didn’t think he was any good at characters and a central
conflict (Samuel is
sports. So when Ms. Krunkner shouted, “Joe and Samuel, you’re up!” nervous about working
5 Samuel wondered for the twentieth time why she had ever put them with Joe).
on the same team.

Samuel, who hated standing in front of the class, shuffled to the
front of the room as Joe walked confidently to the starting line that
Ms. Krunkner had taped on the floor. Joe was holding the paper
10 airplane that Samuel had designed.
“Joe, are you launching it?” Ms. Krunkner asked.
“Yeah. Is that okay, Samuel?” Joe asked.
After Samuel nodded a timid yes, Ms. Krunkner gave Samuel the
tape measure so he could measure how far the plane flew.
15 “You have three tries, but all of them will count toward your Develops an interesting
average,” Ms. Krunkner said. plot with a clear
sequence of events.
Joe cranked his arm back and threw the plane fast—it looped
straight up, back toward Joe, and then forward only a few feet before it
hit the ground. Samuel measured the distance. It was barely five feet.
20 The class started laughing. Samuel brought the plane back to Joe,
who looked embarrassed.
“Throw it as level to the ground as you can,” Samuel said.
“That’s what I’m trying to do,” Joe said.
Joe threw it again, and again it did a dramatic loop and crashed six
25 feet away. Samuel picked it up and smoothed the nose, which had gotten
a little crunched, and made sure the wings were evenly folded.
writing workshop 559

“Samuel, you do it this time,” Joe said.
“What?” Samuel said, panicking. Descriptive details
(highlighted) and lots of
“You throw it!” Joe whispered, refusing to take the plane out of dialogue are important
30 Samuel’s hands. parts of this writer’s
style.
“Come on, boys,” Ms. Krunkner said.
Samuel’s heart was racing as he stepped up to the line. As he raised Highlighted sensory
the plane up above his shoulder, he paused for an instant to imagine language helps the
reader understand
it flying smoothly in a straight line. Then he pulled his arm back and Samuel’s emotions.
35 launched the plane gently forward. It sailed smoothly to the opposite Varied sentence lengths
add interest and
wall. When Samuel heard his classmates cheering, he let out the breath sophistication.
that he realized he’d been holding.
“Very nice, Samuel,” Ms. Krunkner said. As the boys returned to
their places, some kids high-fived them.
40 Samuel was in a great mood for the rest of the day. He felt as if
people were looking at him with admiration.
At the end of the day, as Samuel walked by the soccer field, Joe
called out, “Hey Samuel! Come and play Frisbee with us.” Samuel
started to say he wasn’t good at sports, but Joe just smiled.
45 A second later, someone threw the Frisbee right at Samuel. Samuel
put his hands up and caught it. He looked at the Frisbee and realized
Satisfying, thoughtful
that making it fly would be all about getting it to spin and stay level. He
conclusion shows how
held it flat and flicked his wrist to throw the Frisbee back. It soared over Samuel is changing.
the grass and straight into waiting hands. He didn’t even have to think
50 about it; it just felt right. It was a good day for new flight patterns.

Writing Workshop
Part 2: Apply the Writing Process

prewriting
What Should I Do? What Does It Look Like?
1. Find an idea.
Characters Settings Events or
Start with a list. Jot down any story elements
Situations
that come to mind, such as characters (two
brothers?), settings (a dark cave?), and events, Jill and her dad Griffin Park different
incidents, or situations (a longstanding feud?). Samuel and Joe* the cafeteria personalities*
Put a star next to one or more that interest you. the MVP award
Billy and his Avon Beach
4)0 You can also get started by asking team science class* conscience and
“what if” questions. See page 564 for some my sister and me peer pressure
examples.
2. Create a story map.

A successful story has characters, setting, and
Characters: Setting: science
a plot—a sequence of events that leads to a
Samuel and Joe class
climax. To make sure that your idea is truly
a story rather than just a description, make a
Conflict: different personalities; also Samuel’s
story map, an outline, or a flow chart.
insecurity
See page 26: Plot at a Glance
Event 1: Ms. Krunkner calls on Joe and Samuel to
demonstrate their project.
Event 2: Joe messes up twice.
Event 3: Samuel succeeds.
Event 4: Joe invites Samuel to play Frisbee, and
Samuel succeeds again.
Solution or Ending: Samuel has new confidence.
3. Add interest to your characters. Samuel Joe

Jot down some well-chosen details that
• shy,—good student, quiet • confident and strong
describe your characters, such as what they
say, how they look, and how they act. • hates being in front of • soccer star
the class • nice guy, no attitude
• smart, likes science

drafting
1. Grab your reader’s attention.

A surprising statement
Write an opening that says, “Read me!”
Try starting with a surprising statement, “Get me out of here!” Samuel thought.
a bit of dialogue, or a physical description Physical description
of characters’ specific actions. You can Samuel’s cheeks and the tips of his ears burned with
also compare or contrast your characters, embarrassment.
describe a conflict, or give important
A conflict
information about the setting.
Working with Joe on the science project hadn’t been
Samuel’s idea.
2. Choose your point of view.

Third-person point of view
Some stories are told from the third-
person point of view by someone outside Samuel nodded a timid yes.
the story. The third-person point of view First-person point of view
uses pronouns such as he, she, and they. I nodded a timid yes.
Other stories are told in the first-person
point of view. The narrator is a character
in these stories and uses the pronoun I.
3. Bring your characters to life.

“Samuel, you do it this time,” Joe said.
Realistic dialogue and precise descriptive
details can give your reader clues about “What?” Samuel said, panicking.
the characters’ backgrounds—in other “You throw it!” Joe whispered, refusing to take the
words, their ages, thoughts, interests, plane out of Samuel’s hands.
attitudes, and personalities.
4. Make the conflict clear. Samuel wondered for the twentieth time why she had
If you haven’t got a conflict, you haven’t ever put them on the same team.
got a story. Be sure the problem or
conflict is clear and that the plot centers
on how it is resolved.
The class started laughing. Samuel brought the plane back
4)0 Before you revise, look at the key to Joe, who looked embarrassed.
traits on page 558 and the criteria and
peer-reader questions on page 564.

Writing Workshop
revising and editing

1. Check the sequence.

After
• Remember to show or tell your reader how
one event leads to the next. Samuel nodded a timid yes. Ms. Krunkner gave
Samuel the tape measure . He could measure how
• Underline places where you should add
far the plane flew. so
transitional or other words and phrases
to help your reader follow the sequence
between paragraphs, passages, and ideas.
2. Make dialogue realistic and relevant.

“Joe, [will you be the one who will launch the
• Ask a peer reader to [bracket] dialogue that
paper airplane that you have made?”] Ms. Krunkner
sounds too formal or contains slang terms
asked.
that your audience may not know.
[“Yes, if that is all right with Samuel,”] Joe said.
• Revise the dialogue until it is convincing and
is related to plot or character development. “Joe, are you launching it?” Ms. Krunkner asked.
This dialogue shows that Joe cares about “Yeah. Is that okay, Samuel?” Joe asked.
Samuel’s opinion.
See page 564: Ask a Peer Reader
3. Focus on the details.

Samuel’s heart was racing as he stepped up to
• Put a box around your strongest details,
the line.
whether those are sensory or descriptive.
• Add or revise details to tell your reader more
about the setting, characters, and events.
It was a good throw, so Samuel felt relief.
4)0 As you revise, don’t forget to check When Samuel heard his classmates cheering, he let
for a consistent point of view. out the breath that he realized he’d been holding.
4. Solve the conflict.

He looked at the Frisbee and realized that making
• Reread your last few paragraphs. Did you
it fly would be all about getting it to spin and stay
resolve the central conflict? Does your
level. He held it flat and flicked his wrist to throw
ending reveal the significance of the story?
the Frisbee back. It soared over the grass and
• Create an ending that solves the problem straight into waiting hands. He didn’t even have to
and satisfies the reader. For example, you think about it; it just felt right. It was a good day
might show how a character has changed. for new flight patterns.

Preparing
to Publish Short Story
Consider the Criteria “What If” Questions

Use this checklist to make sure your
What if a character got lost in the woods, in a
story is on track.
city, or in a huge amusement park?
Ideas
What if a game or a field trip didn’t go as planned
includes an intriguing plot and because of a conflict between two characters?
two or more characters
What if someone discovered a secret that could
introduces and resolves a central change a life?
conflict
What if two people had to race against time to
provides realistic dialogue and reach safety?
well-chosen descriptive details
What if a character woke up one morning as a
Organization different person, an animal, or a space alien?
has an attention-getting
introduction and a convincing
conclusion
follows a logical sequence
Check Your Grammar
• Most stories use the past tense to tell
Voice
what happened.
displays a unique style
Word Choice Samuel shuffled to the front of the room.
Joe was the school’s soccer star.
uses sensory language
Sentence Fluency
• Most dialogue uses some form of the
varies sentence lengths
present tense.
Conventions
uses correct grammar, spelling, “Joe, are you launching it?”
and punctuation “That’s what I’m trying to do,” said Joe.
Ask a Peer Reader

• What is the conflict in my story?
How is it resolved?
• Is the dialogue believable? If not, publishing options
how could I improve it? For publishing options, visit the
• Is the sequence unclear at any Writing Center at ClassZone.com.
point? If so, where? assessment prepar ation
For writing and grammar assessment practice,
go to the Assessment Center at ClassZone.com.

publishing with technology
Producing a Video
You can make a video of the story you wrote or of any story or scene
from this unit.
Planning the Video

1. Write a script. Turning a story into a script almost always
involves adding dialogue. Often, it also means adding a narrator
who supplies background information. Remember that a script
also includes stage directions as well as ideas for sound effects
(sometimes abbreviated as SFX) and music.
2. Create a storyboard.
Plan your video by
making simple sketches
of each scene.
3. Find actors and props.
Ask classmates to act in
and narrate your video.
Gather any props you
Ms. Krunkner: Joe and Narrator: Samuel’s heart
will need. Samuel, you’re up! is racing.
SFX: sound of a beating SFX: sound of heart grows
Producing the Video heart louder
1. Shoot the footage.
Include different kinds
of shots, such as close-ups, medium shots, and long shots. Try
using different camera angles. Your goal is to tell a story that it
is both clear and interesting.
2. Wrap it up. Use editing software to put the scenes in the right
order and to add a title screen and credits. Remember, it’s more
important to tell a good story that your audience can follow
easily than to stay close to the original. Don’t hesitate to cut or
to add.
3. Show your masterpiece. Screen your video for your classmates
and invited guests. If you wish, hold a comments and questions
session afterward. Ask your audience for feedback on what they
liked and didn’t like about your video.

Assessment Reading Comprehension
Practice
DIRECTIONS Read this selection and answer the questions that follow.
assess
A Blind Man Catches a Bird
Alexander McCall Smith
The practice test items on
the next few pages match
skills listed on the Unit A young man married a woman whose brother was blind. The young man
Goals page (page 441) and was eager to get to know his new brother-in-law and so he asked him if he
addressed throughout would like to go hunting with him.
this unit. Taking this
“I cannot see,” the blind man said. “But you can help me see when we are
practice test will help you
assess your knowledge of
out hunting together. We can go.”
these skills and determine The young man led the blind man off into the bush. At first they followed a
your readiness for the path that he knew and it was easy for the blind man to tag on behind the other.
Unit Test. After a while, though, they went off into thicker bush, where the trees grew
review closely together and there were many places for the animals to hide. The blind
After you take the practice 10 man now held on to the arm of his sighted brother-in-law and told him many
test, your teacher can help things about the sounds that they heard around them. Because he had no sight,
you identify any skills you he had a great ability to interpret the noises made by animals in the bush.
need to review.
“There are warthogs around,” he would say, “I can hear their noises over
• Theme
there.”
• Symbol
• Draw Conclusions
Or: “That bird is preparing to fly. Listen to the sound of its wings
• Thesaurus unfolding.”
• Suffixes To the brother-in-law, these sounds were meaningless, and he was most
• Capitalization: impressed at the blind man’s ability to understand the bush although it must
Countries, Languages, have been for him one great darkness.
and Ethnicities
20 They walked on for several hours, until they reached a place where they
• Active Voice
could set their traps. The blind man followed the other’s advice, and put his
trap in a place where birds might come for water. The other man put his trap
a short distance away, taking care to disguise it so that no bird would know that
it was there. He did not bother to disguise the blind man’s trap, as it was hot
and he was eager to get home to his new wife. The blind man thought that he
had disguised his trap, but he did not see that he had failed to do so and any
bird could tell that there was a trap there.
They returned to their hunting place the next day. The blind man was
excited at the prospect of having caught something, and the young man had
30 to tell him to keep quiet, or he would scare all the animals away. Even before
they reached the traps, the blind man was able to tell that they had caught
assessment something.
online “I can hear birds,” he said. “There are birds in the traps.”
For more assessment
practice and test-taking When he reached his trap, the young man saw that he had caught a small
tips, go to the Assessment

bird. He took it out of the trap and put it in a pouch that he had brought with
him. Then the two of them walked towards the blind man’s trap.
“There is a bird in it,” he said to the blind man. “You have caught a bird too.”
As he spoke, he felt himself filling with jealousy. The blind man’s bird was
marvelously colored, as if it had flown through a rainbow and been stained by
40 the colors. The feathers from a bird such as that would make a fine present for
his new wife, but the blind man had a wife too, and she would also want the
feathers.
The young man bent down and took the blind man’s bird from the trap.
Then, quickly substituting his own bird, he passed it to the blind man and put
the colored bird into his own pouch.
“Here is your bird,” he said to the blind man. “You may put it in your
pouch.”
The blind man reached out for the bird and took it. He felt it for a moment,
his fingers passing over the wings and the breast. Then, without saying
50 anything, he put the bird into his pouch and they began the trip home.
On their way home, the two men stopped to rest under a broad tree. As they
sat there, they talked about many things. The young man was impressed with
the wisdom of the blind man, who knew a great deal, although he could see
nothing at all.
“Why do people fight with one another?” he asked the blind man. It was
a question which had always troubled him and he wondered if the blind man
could give him an answer.
The blind man said nothing for a few moments, but it was clear to the
young man that he was thinking. Then the blind man raised his head, and it
60 seemed to the young man as if the unseeing eyes were staring right into his
soul. Quietly he gave his answer.
“Men fight because they do to each other what you have just done to me.”
The words shocked the young man and made him ashamed. He tried to
think of a response, but none came. Rising to his feet, he fetched his pouch,
took out the brightly colored bird and gave it back to the blind man.
The blind man took the bird, felt over it with his fingers, and smiled.
“Do you have any other questions for me?” he asked.
“Yes,” said the young man. “How do men become friends after they have
fought?”
70 The blind man smiled again.
“They do what you have just done,” he said. “That’s how they become
friends again.”
go on
assessment pr actice 567

Comprehension
DIRECTIONS Answer these questions about “A Blind 5. The disguised trap might symbolize the
Man Catches a Bird.” young man’s
1. Which statement expresses the overall theme A carelessness
of the story? B foolishness
A People cheat others because it makes them C laziness
feel smart. D deceitfulness
B People should rely more on their hearing 6. From the two questions that he asks the blind
than on their sight. man in lines 55 and 68–69, you can conclude
C True friendship depends on respect and that the young man is
fairness.
A trying to understand human nature
D Hunting is a good way to learn about
B having problems with his new wife
animal behavior.
C testing the blind man’s intelligence
2. Which quotation conveys one of the story’s D looking for something to argue about
themes?
7. Which theme is suggested by the blind man’s
A “At first they followed a path that he knew answer to the question about why people
and it was easy for the blind man to tag on fight?
behind the other.” (lines 6–7)
A Dishonesty ruins people’s relationships.
B “The blind man followed the other’s advice,
and put his trap in a place where birds B Friends must be willing to forgive.
might come for water.” (line 21–22) C People should think before they speak.
C “When he reached his trap, the young man D Compromise will solve most problems.
saw that he had caught a small bird.” (lines 8. Which quality might the blind man
34–35) symbolize?
D “The young man was impressed with the
A wisdom
wisdom of the blind man, who knew a
great deal, although he could see nothing B strength
at all.” (lines 52–54) C courage
D jealousy
3. The hunting trip could be a symbol of the
9. You can conclude that the young man is eager
A wisdom of a person who is blind
to please his new wife when he
B search for what is important in life
C human struggle to control nature A does not help the blind man disguise his
bird trap
D difficulty of living without sight
B is impressed that the blind man can
4. The sounds in the bush are meaningless to the understand the animals’ sounds
young man because C steals the colorful bird so that she can have
A his ability to see limits his ability to listen its feathers
B he cannot speak the language of the animals D asks his brother-in-law why people fight
C a thick growth of trees muffles every sound
D the blind man is talking in a loud voice
568
Assessment Practice
10. Why is the blind man silent when he realizes Written Response
that the young man has cheated him by SHORT RESPONSE Write two or three sentences to
switching the birds? answer each question.
A He plans to catch another bird to replace
the small one. 14. Even though he doesn’t know how to set a
trap, the blind man catches a beautiful bird.
B He is waiting for the right moment to talk
What conclusion can you draw from that
calmly with his brother-in-law.
incident?
C He knows that the young man will be
punished later. 15. What might the blindness in the story
D He plans to tell the young man’s wife what symbolize? In what ways are the two characters
happened. blind?
11. Reread lines 55–64. You can conclude that the EXTENDED RESPONSE Write a paragraph to answer
young man is shocked at the response to his this question.
question because he
A thinks the blind man doesn’t know that the 16. Explain the connection between one symbol
young man cheated him and one theme in the story.
B expects the blind man to politely ignore his
question
C knows the blind man doesn’t understand
his question
D believes that he has a right to take the
beautiful bird
12. What does the colorful bird symbolize to the

men in the story?
A bad luck
B a valued prize
C a happy memory
D broken promises
13. You can conclude that the young man gives

the colorful bird to the blind man in order to
A restore their friendship
B show his generosity
C please his new wife
D avoid an argument
go on
569
Vocabulary
DIRECTIONS Use context clues and the thesaurus DIRECTIONS Use context clues and your knowledge
entries to answer the following questions. of suffixes to answer the following questions.
4. The word able means “having the power or
tag: verb. call, identify, brand, label, follow,
skill to do something.” What is the most likely
trail, chase meaning of the word ability as it is used in
line 12?
1. Which word could be substituted for the word
tag as it is used in line 7? A feeling
B desire
A chase
C talent
B identify
D intelligence
C follow
D call 5. The word meaning refers to “something that
one wishes to convey, especially by language.”
distance: noun. space, coldness, separation, What is the most likely meaning of the word
gap, length, remoteness meaningless as it is used in line 17?
A easily overlooked
2. Which word could be substituted for the word B beautifully melodic
distance as it is used in line 23? C not worth listening to
A length D impossible to understand
B separation
C remoteness 6. The word marvel means “one that inspires
D coldness admiration.” What is the most likely meaning
of the word marvelously as it is used in line 39?
prospect: noun. customer, chance, hope, A in a lighthearted manner
B with a reddish tint
possibility, scene, view
C in a way that causes wonder
3. Which word could be substituted for the word D with unattractive colors
prospect as it is used in line 29?
A customer
B possibility
C scene
D view
570
Assessment Practice
Writing & Grammar

DIRECTIONS Read this passage and answer the questions that follow.
(1) South Africa’s current population descends from african, asian, and european
settlers. (2) More than 1,500 years ago, the Transvaal region of South Africa was
settled by members of the Bantu language group. (3) In 1652, the Dutch became
the first Europeans to settle in South Africa. (4) Though dutch was the dominant
language throughout the 1700s, english and a new language, known as afrikaans,
later became the official languages of south africa. (5) Today, 11 official languages are
recognized by the government. (6) The Zulu, the Xhosa, and the Sotho are just some
of the African ethnic groups who speak these languages. (7) Respect for the many
other languages spoken in the country is encouraged in the constitution.
1. Which words should be capitalized in 4. Choose the correct way to rewrite sentence 5
sentence 1? in the active voice.
A african, european A Today, 11 official languages are being
B asian recognized by the government.
C european, settlers B Eleven official languages are now
D african, asian, european recognized by the government.
C Today, the government recognizes 11
2. Choose the correct way to rewrite sentence 2 official languages.
in the active voice. D A total of 11 official languages are
A The Transvaal region of South Africa was recognized today by the government.
settled by members of the Bantu language
group more than 1,500 years ago. 5. Choose the correct way to rewrite sentence 7
B The Transvaal region of South Africa was in the active voice.
settled more than 1,500 years ago by A Respect is encouraged in the constitution
members of the Bantu language group. for the many other languages spoken in the
C More than 1,500 years ago, members of the country.
Bantu language group settled the Transvaal B The constitution encourages respect for the
region of South Africa. many other languages spoken in the
D The Transvaal region of South Africa was country.
first settled by members of the Bantu C In the constitution, respect is encouraged
language group more than 1,500 years ago. for the many other languages spoken in the
country.
3. Which words should be capitalized in D Use of the many other languages spoken in
sentence 4? the country is respected in the constitution.
A dutch, english
B dutch, english, afrikaans, south africa
C afrikaans, south africa
D english STOP
571
4
unit
More Ideas for Independent Reading

Great Reads Which questions from Unit 4 made an impression on you?
Continue exploring them with these books.
Is curiosity a gift or a curse?

East Mable Riley: A Reliable The Thief Lord
by Edith Pattou Record of Humdrum, by Cornelia Funke
Rose was born curious. Peril, and Romance Prosper and Bo have run away
When a white bear shows by Marthe Jocelyn to Venice to escape their aunt
up and asks her to go with The year is 1901, and and uncle. They are taken in
him so her family can Mable hopes she’ll have an by the Thief Lord, a masked
prosper, teenaged Rose adventure when she moves boy who leads a band of
agrees. She doesn’t realize away with her sister. At children. When the Thief
that living with a bear is only first, life remains boring. But Lord accepts a mysterious
the beginning of a longer everything changes when assignment, the adventures
journey. Mable meets the neighbor. of the band get complicated.
How well do we treat our elders?

The Cay A Step from Heaven The Not-So-Star-
by Theodore Taylor by An Na Spangled Life of
Phillip and his mother escape Young Ju is only four when Sunita Sen
the German invasion of her family moves to the U.S. by Mitali Perkins
Curaçao on a freighter, but from Korea. At first, everyone When Sunita’s grandparents
the boat is torpedoed. Phillip is happy, but then her parents visit from India, her life
wakes up on a life raft with a start fighting again. Young changes. For one thing, she
cat and a West Indian named Ju has been raised to respect can’t have boys over anymore.
Timothy. Will Phillip be able her elders, but she knows that She has to find a way to accept
to survive with only an old sometimes her father isn’t her family and still fit in.
man for support? right. What should she do?
What impact will you have on the world?

The Book Thief The Merlin Conspiracy Be the Difference: A
by Markus Zusak by Diana Wynne Jones Beginner’s Guide to
Liesel is a little girl the first Roddy and Grundo are just Changing the World
time she meets Death in Nazi teenagers in the Royal Court. by Danny Seo
Germany. The second time, No one but an outsider will At 12, Danny Seo inspired
she’s a book thief, stealing believe them when they thousands of students to
books and reading them to warn of a conspiracy against join him in an environmental
anyone who needs to listen. the king. Can three young movement. Ten years later,
Later, she writes her own magicians win a battle he wrote this book. Read his
story. This is the book Death to keep the magic in the advice about how teenagers
wants you to hear. multiverse? can improve the world.
572 unit 4 : theme and symbol

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A World of

4 Share What You Know

What are life’s hidden

Included in this unit: R3.2, R3.3, R3.5,

86A>;DGC>6 Preview Unit Goals

literary • Identify and interpret symbols in poetry

reading • Make inferences and draw conclusions

writing and • Write a short story

speaking, • Identify and analyze the elements of a documentary

vocabulary • Use reference aids to find synonyms

academic • symbol • universal theme • recurring theme

Part 1: What’s the Big Idea?

442 unit 4: theme and symbol

model: theme and symbol

“How far did you go in school?” Close Read

reader’s workshop 443

plot and conflict setting

important statements symbols

444 unit 4: theme and symbol

Part 3: Analyze the Literature

1. the Island: Puerto Rico.

reader’s workshop 445

446 unit 4: theme and symbol

reader’s workshop 447

Gil’s Furniture Bought & Sold

What makes something

more about the author

gil’s furniture bought & sold 449

450 unit 4: theme and symbol

Extension and Challenge

452 unit 4: theme and symbol

writing prompts self-check

A. Short Response: Write a Dialogue A creative dialogue will . . .

B. Extended Response: Analyze a Character A detailed analysis will . . .

grammar and writing

gil’s furniture bought & sold 453

LIST IT Does curiosity lead to more benefits than it does problems?

pandor a’s box 455

P rometheus had thought about mankind with such sympathy that he

1. Olympus (E-lGmPpEs): home of the mythical Greek gods.

Pandora, Helen Stratton. From A Book of Myths

4. Aphrodite (BfQrE-dFPtC): Greek goddess of love and beauty.

458 unit 4: theme and symbol

7. noisome (noiPsEm): offensive.

pandor a’s box 459

Extension and Challenge

460 unit 4: theme and symbol

Zeus could not restrain his desire for revenge.

vocabulary strategy: using reference aids

restrain verb check, detain, stifle, suppress

restrain (rG-strAnP) v. -strained, -strain•ing, -strains to hold back or keep in check;

pandora’s box 461

The Wise Old Woman

How well do we treat our

Beggar and a Boy (1903), Pablo Picasso. Oil on

the old grandfather and his little grandson 465

the wise old woman 467

468 unit 4: theme and symbol

470 unit 4: theme and symbol

the wise old woman 471

472 unit 4: theme and symbol

Comparing Universal Theme

“The Old Grandfather “The Wise Old