was it a dream lesson plan

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Short Story Module 1 Short Story Module: Was It a Dream?by Guy de Maupassant B.H. Azusa Pacific University 2011

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Page 1: Was It a Dream Lesson Plan

Short Story Module 1

Short Story Module:“Was It a Dream?” by Guy de Maupassant

B.H.Azusa Pacific University

2011

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Short Story Module 2

Short Story Module

Theme and Rationale:“Was it a dream?” (WID) by Guy de Maupassant contains an overarching theme, grief

ends with acceptance. As Aebersold and Field (1997) point out in From Reader to Reading Teacher, teachers must consider their students' needs, interests, and abilities prior to selecting a text for their students. I believe that students need to be exposed to literature that addresses a wide range of deeply emotional topics to be able to truly express their feelings. In order to effectively communicate in a second language, students need to become familiar with language that addresses both the positive and negative emotions. Often, in the language classroom, material tends to focus on lighter issues. However, literature provides a rich medium to present language that is far more meaningful to students. As Gadjusek (1988) points out, “Because literature does not simplify the subtleties or complexities of life, it can engage the entire personality of mature students whose linguistic ability may not yet equal their broader experience or personal maturity” (p. 254) By addressing the issue of grief, students will be exposed to language that is used to communicate a deep and universal emotion, an emotion with which every human will struggle.

Pre-Reading Activities:Aebersold and Field (1997) identify three key reasons for the incorporation of pre-reading

activities: to establish a purpose for the reading, to activate and build background knowledge, and to build expectations. Gajdusek (1988) emphasizes the need for background knowledge by stating, “In all of the prereading work, the focus is on providing essential information or on making explicit various assumptions and cultural attitudes that could result in misreading of the text...” (Gajdusek,1988, pp. 237-238).

I designed Activity A (Worksheet A), in which students match vocabulary with provided definitions, in order to guide students towards building background knowledge related to the vocabulary of the text. As Gajdusek (1998) points out, “we must really distinguish three kinds of vocabulary items: (a) words whose meaning can (and should) be derived from context, (b) words (probably easy for native speakers) that contain vital clues to the cultural and emotional context of the story, and (c) words that proficient readers merely categorize” (p. 235). Of these three kinds of vocabulary items, I've chosen to focus on words from category (b) – words that provide vital clues, establish the context, and cannot be easily defined by contextual clues. When applicable, I've also chosen to define word stems to provide students with the necessary knowledge to focus on the roots' prefixes and suffixes. As Aebersold and Field (1997) state, “Native speakers of English have a vast but usually unconscious knowledge of word parts. L2/FL students need to have this knowledge as well” (p. 144).

I designed Activity B and C (Worksheet A), in which students identify the five stages of grief and then write a short story recounting a personal experience with grief, in order to introduce the topic. As Aebersold and Field (1997) points out there are three main benefits from knowing the topic ahead of time: (1) it will help students recall information related to the topic (context schemata), (2) it will increase their interest (and therefore, their motivation), and (3) it can be used to introduce vocabulary relevant to the topic (pp. 67-68). By providing the pre-reading activities as homework, not only will it allow students to activate prior background knowledge, it will provide them an opportunity to build background knowledge. Activity C, will also provide students with an opportunity to personalize the language and thereby, it will increase

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Short Story Module 3

their involvement with the text. Following the at-home work, students will come to class prepared to discuss the topic and engage their classmates in a communicative setting.

ActivitiesA. At home

Students will be given Worksheet A at the end of the class that precedes this unit.The teacher will notify the students that there will be a quiz based on Worksheet A.The teacher will notify the students that their short essays will remain private.1. Matching

-Students will match vocabulary (which was taken from the reading) withan appropriate definition

2. Listing-Students will need to search online to list the five stages of grief

3. Writing-Students will write a short descriptive text (75-150 words) describing

how they felt after they heard that a family member, pet, or celebritythey admired passed away.

B. In Class1. Quiz

-Students will be given a quiz. They will need to match the vocabulary with the definitions and list the five stages of grief.

Factual In-Class WorkGajdusek (1998) states, “After carefully selected (and limited) prereading work, it is time

to give students an opportunity to read and work with the text at home” (p. 238). In order to aid students in their comprehension of the text and prepare students to answer factual questions, I've decided to break the text up into short sections. Worksheet B1, contains the first section as a sample. In Worksheet B1, students are presented with four vocabulary strategies they can use when they encounter unfamiliar words. Students should first determine if an unknown word is vital; if it is not, they should skip over the word (Aebersold & Field, 1997, p. 142). If the word is vital or frequently used, students should attempt to use context to determine its meaning (Aebersold & Field, 1997, p. 142). Students should also attempt to analyze parts of the words (Aebersold & Field, 1997, p. 144). If a word's meaning still cannot be determined, a dictionary should be consulted (Aebersold & Field, 1997, p. 145). Worksheet B1, also includes a guiding question, “What will happen next?”, to encourage students to make predictions and thereby, become active-readers. After the students have worked through the complete story, they should be better prepared to answer the factual questions.

As Gajdusek (1998) states, ”the factual work with a piece will establish who, what (happens), where, and when” (p. 238). I designed Worksheet C, which will be given as homework, to address these questions. As Gajdusek (1998) points out, “It really helps students assume responsibility for in-class work if they have been given some fairly factual questions to answer (on paper) during a second, at-home reading and before they come to class” (p. 238). By completing Worksheets B and C prior to coming to class, students will be prepare to utilize the class time in communicative activities. As Gajdusek (1998) states, “...we can let these questions represent problems to be solved and take advantage of the need to establish the "facts" of the story to stimulate interactive, small-group work based on the text (p. 239).

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Short Story Module 4

Activities A. At home

Students will be given Worksheets B and C to complete at home Students will repeat Activity 1 and 2 for each section of the story1. Unknown Words (Worksheet B)

-Students will read a section of the text and circle unknown words.-Student will identify which of the four strategies provided is appropriate for each word -Students will define unknown words in the margin and identify contextual

clues that are useful for defining the words.2. Predicting (Worksheet B)

-Students will use a guiding question, “What will happen next?”, to make predictions before they read the next section of the text.

3. Factual Questions-Students will refer to the text to answer the factual questions on

Worksheet C

B. In Class 1. Unknown words (Worksheet B)

-In groups, students will discuss the contextual clues they used to identifyunknown words

-As a class, the teacher will elicit the unknown vocabulary and thecontextual clues

2. Predicting (Worksheet B)-In groups, students will discuss the contextual clues they used to make

predictions-As a class, the teacher will elicit the contextual clues that the students used

to make predictions3. Factual Questions

-In groups, students will discuss their answers to the factual questions andcompare time lines. Groups will be re-arranged and students willcompare their answers again.

-As a class, a general time line will be elicited and presented on thewhiteboard

AnalysisAs Gajdusek (1998) states, ”Having established the facts, students can now begin to ask

why and to develop their own attitudes toward the characters, values, and situations of the story, in short, to move beyond information to involvement and experience” (p. 245) and “this might now be the time to approach the text as literature: to investigate (a) structure or significant patterns in the work, (b) theme(s), and (c) style-ways in which the writer uses and organizes language to communicate with the reader” (p. 245). To address these issues, I designed Worksheets D and E to be completed as homework. For Activity A from Worksheet D, students must divide the text into sections and identify a purpose for each section. This activity helps

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Short Story Module 5

students identify the structure, or staging, or the text and the significance of each stage. For Activity B from Worksheet D, students need to identify the stories climax. As Gajdusek (1998) points out, “the ideas of climax and conflict are closely related and help define one another” (p. 246) and “...classroom interaction is liveliest if we ask each student to choose, before coming to class, the line from the text in which he or she believes the climax occurs” (p. 246). For Activity C from Worksheet D, students need to identify and cite stages of grief present in the text. This activity helps students identify the theme of the text. For Activity D from Worksheet D, students must answer several questions of inference. As Aebersold & Field (1997) point out, “the ability to understand or posit information that is not overtly stated in the text is a higher-level reading ability” (p.125) In Worksheet E, students are guided towards noticing certain grammatical features and “style-ways in which the writer uses and organizes language to communicate with the reader” (Gajdusek, 1998, p. 245). From these activities, students can begin to appreciate why the writer chose certain grammatical features.

ActivitiesA. At home

Students are given Worksheets D and E to complete for homework 1. Staging (Worksheet D)

-Students re-read the story then divide it into sections. -In the margins of the text, Ss write down the purpose of each section.

2. Climax (Worksheet D)-Students identify the line of the text which contains the climax.

3. Topic and Theme (Worksheet D)-Students identify the stages of grief expressed in the text and cite lines

from the text as support 4. Inferring (Worksheet D)

-Students answer several questions which require them to infer information not contained in the text

5. Grammar: Repetition (Worksheet E)-Students re-read the story and underline any words, phrases, or sentences

the writer repeats. -Students write down their opinion on what affect repetition has on the

writing.6. Grammar: Adjectives (Worksheet E)

-Students re-read the story and highlight the adjectives they find. -Students make a list of the adjectives. Beside each adjective they write

down the word it modifies.-For each adjective, Ss write down two other adjectives that could be

used to substitute for the adjective. -Students re-write the story using different adjectives.-Students write down their opinion on what affect the writer's choice of

adjectives had on the writing.

B. In Class 1. Staging

-In groups, Ss compare their stages and discuss the structure of the text.

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Short Story Module 6

-As a class, the Teacher elicits and discusses the overall staging of the text.2. Climax

-In groups, students discuss their opinions on where the story climaxes.-As a class, the teacher elicits the moment of climax and elicits the conflict

(the emotion tension) that lead to the climax3. Topic and Theme

-In groups, students discuss the stages of grief they identified and thereby,identify the topic and theme of the text.

-As a class, the teacher elicits the stages of grief, the topic, and the theme4. Inferring (Worksheet D)

-In groups, students discuss their opinions on the questions of inference-As a class, students share their opinions

5. Grammar: Repetition (Worksheet E)-In groups, students discuss their opinions on the affect of repetition-As a class, students share their opinions

6. Grammar: Adjectives (Worksheet E)-In groups, students discuss their opinions on the affect of adjectives-As a class, students share their opinions

Extending ActivitiesAs Gajdusek (1998) states, “both kinds of extending activities (writing and in-class group

work) carry interaction with a literary text beyond the text, asking for creative, relevant responses from the readers” (p. 251). Aebersold and Field (1997) echo this belief when they “recommend the use of other activities that stimulate the students' minds by involving them in doing something with the content and the language of the text” (p. 132). To meet these objectives, I designed Worksheet F, which provides an opportunity for students to work with a partner, create an original dialogue based on the text, and role play the dialogue for the class. Worksheet F also contains an activity, which is intended for homework, in which students create an original story based on the text but written from a perspective of another character. As Ferris and Hedgcock (2004) point out, “empirical findings pointing to connections between reading skills and writing performance have led researchers to infer that efficient reading skills lay a foundation for the growth of both L1 and L2 writing proficiency” (p. 32). Finally, while both activities help students build their comprehension of the text, they also provide an opportunity for students to use the language they have acquired from the text to engage in creative, meaning-focused activities.

ActivitiesA. In Class (Worksheet F)

1. Scripting-Students will work with a partner and write a dialogue (10-20 lines) that

the man and woman might have had while she was sick in bed.-The teacher will walk around the class and provide assistance when

needed2. Role-playing

-Students will role-play their dialogue for the class.B. Homework (Worksheet F)

1. Writing

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Short Story Module 7

-For homework, Ss will write a story (50-100 lines) in which the ladygrieves based on the scenario that the man had gone out that nightlooking for his wife and was the one who got sick and passed away. Ss will use a similar structure and similar settings as the text.

-The teacher will collect the essays in the following class.

Module Conclusion:“The texts most readily available for the languages that I teach are usually populated by

stock photos or cartoon depictions of anodyne individuals with what are taken to be average interests and qualities” (Smith, 2009, p. 7) and “by and large, the people depicted do not suffer, do not die, do not face difficult moral choices, do not mourn or lament, do not experience or protest injustice, do not pray or worship, do not believe anything particularly significant, do not sacrifice, do not hope or doubt” (Smith, 2009, p. 7) In order to treat my students as spiritual beings, I must treat my students holistically and address both their positive and negative emotions. I must introduce my students to language that not only allows them to speak of their joy but also their pain. Literature, therefore, is an ideal source of material for the language classroom since literature is a source of deeply emotional language and meaning. However, for second language students, literature, as a source of authentic text, requires that a far stronger framework be provided from which to work.

As Aebersold and Field (1997) clearly point out, “the real purpose of reading is to comprehend the text” (p. 149). In order to help ESL readers achieve this goal, “we must help [them] establish frameworks (schemata) of the more factual information assumed by the writer or conveyed by the piece, which they can then use to experience the work at progressively deeper levels” (Gajdusek, 1998, pp. 231-232). The four-level sequence (prereading activities, factual in-class work, analysis, and extending activities) outlined by Gajdusek (1998) provides a well thought out approach to establishing these frameworks. In addition to establishing these frameworks, the approach presented by Gajdusik (1998) provides a balance between at-home work and in-class work that prepares students to maximize their use of classroom time to engage in highly communicative activities.

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Short Story Module 8

Worksheet A Pre-reading (Homework)

A. Matching -first try to match the words without using a dictionary then use a dictionary to check

1 atom a strange2 audible b a very small piece3 conscious c a small crack4 crevice d make-up5 deceive e to erase6 efface f to able to be heard7 grief g to search8 grope h to see through 9 penetrate i to seed10 queer j miserable11 reproach k to blame12 sow l to cause to believe what is not true 13 toilette m awake14 torment n to cause physical or mental pain15 wretched o deep mental pain

B. List the five stages of grief.

C. On the back of the worksheet, write a short descriptive text (75-150 words) describinghow you felt after you heard that a family member, pet, or celebrity you admiredpassed away.

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Short Story Module 9

Worksheet B1In-Class-Factual Work (Homework)

A. Read the text below and circle any words you don't know.

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"I had loved her madly!

"Why does one love? Why does one love? How queer it is to see only one being in the

world, to have only one thought in one's mind, only one desire in the heart, and only one

name on the lips--a name which comes up continually, rising, like the water in a spring,

from the depths of the soul to the lips, a name which one repeats over and over again,

which one whispers ceaselessly, everywhere, like a prayer.

"I am going to tell you our story, for love only has one, which is always the same. I met

her and loved her; that is all. And for a whole year I have lived on her tenderness, on her

caresses, in her arms, in her dresses, on her words, so completely wrapped up, bound, and

absorbed in everything which came from her, that I no longer cared whether it was day or

night, or whether I was dead or alive, on this old earth of ours.

"And then she....

B. Building strategies to handle unfamiliar words Strategy 1: If the word is not essential to understanding the sentence, skip it.Strategy 2: If the word is important or repeated often, try to guess the meaning by the

context.Strategy 3: If the word has a familiar root, try to use contextual clues to determine the

meaning of the prefix or suffix.Strategy 4: If it is still unknown, consult a dictionary.

Pick a meaning that can be used to replace the unknown word.

1. Above each word you circled, write the number for the strategy you will use.2. For words that you guessed the meaning, draw a line to the contextual clue and

write the meaning in the margin.3. For words that you used the root to define, make a note of the suffix or prefix and

its meaning in the margin4. For words that you used the dictionary to define, write the meaning in the margin

and underline the meaning. Draw a line to any contextual clues if you can now.

C. Developing active-reading skills (Predicting)1. What will happen next?

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Short Story Module 10

Worksheet CIn-Class-Factual Work (Homework)

A. Re-read the text and answer the questions below.

1 Who is telling the story?a. A character b. Someone outside the story who knows everythingc. Someone outside the story who knows everything about only one character

2 Who is the main character?

3 In which city does the story take place?

4 In which settings does the story take place?

5 When is the author telling the story? (Hint: Line 31)

6 How much time passes in the story? (one day, one year, twenty years)

7 What happens in the story? (focus on verbs)On the back of this worksheet, create a general time line.

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Short Story Module 11

Worksheet DAnalysis (Homework)

A. Re-read the story then divide the story into sections. In the margins of the text,

write down the purpose of each section. (Why did the writer write that section?)

B. Which line of the text contains the climax?

C. On the back of the worksheet, identify the stages of grief expressed in the text

and cite lines from the text as support

D. Answer the questions below with your own opinions. Cite lines to support your

opinions.

1. Why did he leave Paris?

2. Why did he return to Paris?

3. Why did he go to the cemetery?

4. Why did he spend the night in the cemetery?

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Short Story Module 12

Worksheet EAnalysis (Homework)

A. Grammar Activity 1: Repetition

1. Re-read the story and underline any words, phrases, or sentences the

writer repeats. For example, in Line 2, the writer repeats the question,

“Why does one love?”.

2. What affect does repetition have on the writing? Why does the writer

choose to repeat certain words, phrases, and sentences?

B. Grammar Activity 1: Adjectives

1. Re-read the story and highlight the adjectives you find.

2. Make a list of the adjectives. Beside each adjective write down the word it

modifies.

3. For each adjective, write down two other adjectives that could be used to

substitute for the adjective. Note, the adjectives don't need to be

synonyms. For example, for 'sad man' you could write 'happy'.

4. Re-write the story using different adjectives.

5. What affect did the writer's choice of adjectives have on the writing?

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Short Story Module 13

Worksheet FExtending Activity (In Class)

A. Read lines 17-19. With a partner, write out a dialogue (10-20 lines) that the man

and woman might have had while she was sick in bed.

B. Role-play the dialogue for the class.

C. For homework, imagine that the man had gone out that night looking for his wife and wasthe one who got sick and passed away. Write a story (50-100 lines) in which the ladygrieves. Use a similar structure and similar settings as the text.

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Short Story Module 14

Appendix 1WAS IT A DREAM?Guy de Maupassant

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"I had loved her madly!

"Why does one love? Why does one love? How queer it is to see only one being in the world, to have only one thought in one's mind, only one desire in the heart, and only one name on the lips--a name which comes up continually, rising, like the water in a spring, from the depths of the soul to the lips, a name which one repeats over and over again, which one whispers ceaselessly, everywhere, like a prayer.

"I am going to tell you our story, for love only has one, which is always the same. I met her and loved her; that is all. And for a whole year I have lived on her tenderness, on her caresses, in her arms, in her dresses, on her words, so completely wrapped up, bound, and absorbed in everything which came from her, that I no longer cared whether it was day or night, or whether I was dead or alive, on this old earth of ours.

"And then she died. How? I do not know; I no longer know anything. But one evening she came home wet, for it was raining heavily, and the next day she coughed, and she coughed for about a week, and took to her bed. What happened I do not remember now, but doctors came, wrote, and went away. Medicines were brought, and some women made her drink them. Her hands were hot, her forehead was burning, and her eyes bright and sad. When I spoke to her, she answered me, but I do not remember what we said. I have forgotten everything, everything, everything! She died, and I very well remember her slight, feeble sigh. The nurse said: 'Ah!' and I understood, I understood!

"I knew nothing more, nothing. I saw a priest, who said: 'Your mistress?' and it seemed to me as if he were insulting her. As she was dead, nobody had the right to say that any longer, and I turned him out. Another came who was very kind and tender, and I shed tears when he spoke to me about her.

"They consulted me about the funeral, but I do not remember anything that they said, though I recollected the coffin, and the sound of the hammer when they nailed her down in it. Oh! God, God!

"She was buried! Buried! She! In that hole! Some people came--female friends. I made my escape and ran away. I ran, and then walked through the streets, went home, and the next day started on a journey.* * * * * * *

"Yesterday I returned to Paris, and when I saw my room again--our room, our bed, our furniture, everything that remains of the life of a human being after death--I was seized by such a violent attack of fresh grief, that I felt like opening the window and throwing myself out into the street. I could not remain any longer among these things, between these walls

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Short Story Module 15

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which had inclosed and sheltered her, which retained a thousand atoms of her, of her skin and of her breath, in their imperceptible crevices. I took up my hat to make my escape, and just as I reached the door, I passed the large glass in the hall, which she had put there so that she might look at herself every day from head to foot as she went out, to see if her toilette looked well, and was correct and pretty, from her little boots to her bonnet.

"I stopped short in front of that looking-glass in which she had so often been reflected--so often, so often, that it must have retained her reflection. I was standing there. trembling, with my eyes fixed on the glass--on that flat, profound, empty glass--which had contained her entirely, and had possessed her as much as I, as my passionate looks had. I felt as if I loved that glass. I touched it; it was cold. Oh! the recollection! sorrowful mirror, burning mirror, horrible mirror, to make men suffer such torments! Happy is the man whose heart forgets everything that it has contained, everything that has passed before it, everything that has looked at itself in it, or has been reflected in its affection, in its love! How I suffer!

"I went out without knowing it, without wishing it, and toward the cemetery. I found her simple grave, a white marble cross, with these few words:" 'She loved, was loved, and died.'

"She is there, below, decayed! How horrible! I sobbed with my forehead on the ground, and I stopped there for a long time, a long time. Then I saw that it was getting dark, and a strange, mad wish, the wish of a despairing lover, seized me. I wished to pass the night, the last night, in weeping on her grave. But I should be seen and driven out. How was I to manage? I was cunning, and got up and began to roam about in that city of the dead. I walked and walked. How small this city is, in comparison with the other, the city in which we live. And yet, how much more numerous the dead are than the living. We want high houses, wide streets, and much room for the four generations who see the daylight at the same time, drink water from the spring, and wine from the vines, and eat bread from the plains.

"And for all the generations of the dead, for all that ladder of humanity that has descended down to us, there is scarcely anything, scarcely anything! The earth takes them back, and oblivion effaces them. Adieu!1

"At the end of the cemetery, I suddenly perceived that I was in its oldest part, where those who had been dead a long time are mingling with the soil, where the crosses themselves are decayed, where possibly newcomers will be put to-morrow. It is full of untended roses, of strong and dark cypress-trees, a sad and beautiful garden, nourished on human flesh.

"I was alone, perfectly alone. So I crouched in a green tree and hid myself there completely amid the thick and somber branches. I waited, clinging to the stem, like a shipwrecked man does to a plank.

"When it was quite dark, I left my refuge and began to walk softly, slowly, inaudibly,

1 French word - Goodbye

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Short Story Module 16

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through that ground full of dead people. I wandered about for a long time, but could not find her tomb again. I went on with extended arms, knocking against the tombs with my hands, my feet, my knees, my chest, even with my head, without being able to find her. I groped about like a blind man finding his way, I felt the stones, the crosses, the iron railings, the metal wreaths, and the wreaths of faded flowers! I read the names with my fingers, by passing them over the letters. What a night! What a night! I could not find her again!

"There was no moon. What a night! I was frightened, horribly frightened in these narrow paths, between two rows of graves. Graves! graves! graves! nothing but graves! On my right, on my left, in front of me, around me, everywhere there were graves! I sat down on one of them, for I could not walk any longer, my knees were so weak. I could hear my heart beat! And I heard something else as well. What? A confused, nameless noise. Was the noise in my head, in the impenetrable night, or beneath the mysterious earth, the earth sown with human corpses? I looked all around me, but I cannot say how long I remained there; I was paralyzed with terror, cold with fright, ready to shout out, ready to die.

"Suddenly, it seemed to me that the slab of marble on which I was sitting, was moving. Certainly it was moving, as if it were being raised. With a bound, I sprang on to the neighboring tomb, and I saw, yes, I distinctly saw the stone which I had just quitted rise upright. Then the dead person appeared, a naked skeleton, pushing the stone back with its bent back. I saw it quite clearly, although the night was so dark. On the cross I could read:" 'Here lies Jacques Olivant, who died at the age of fifty-one. He loved his family, was kind and honorable, and died in the grace of the Lord.'

"The dead man also read what was inscribed on his tombstone; then he picked up a stone off the path, a little, pointed stone and began to scrape the letters carefully. He slowly effaced them, and with the hollows of his eyes he looked at the places where they had been engraved. Then with the tip of the bone that had been his forefinger, he wrote in luminous letters, like those lines which boys trace on walls with the tip of a lucifer match:" 'Here reposes Jacques Olivant, who died at the age of fifty-one. He hastened his father's death by his unkindness, as he wished to inherit his fortune, he tortured his wife, tormented his children, deceived his neighbors, robbed everyone he could, and died wretched.'

"When he had finished writing, the dead man stood motionless, looking at his work. On turning round I saw that all the graves were open, that all the dead bodies had emerged from them, and that all had effaced the lies inscribed on the gravestones by their relations, substituting the truth instead. And I saw that all had been the tormentors of their neighbors--malicious, dishonest, hypocrites, liars, rogues, calumniators, envious; that they had stolen, deceived, performed every disgraceful, every abominable action, these good fathers, these faithful wives, these devoted sons, these chaste daughters, these honest tradesmen, these men and women who were called irreproachable. They were all writing at the same time, on the threshold of their eternal abode, the truth, the terrible and the holy truth of which everybody was ignorant, or pretended to be ignorant, while they were alive.

"I thought that SHE also must have written something on her tombstone, and now running

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Short Story Module 17

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without any fear among the half-open coffins, among the corpses and skeletons, I went toward her, sure that I should find her immediately. I recognized her at once, without seeing her face, which was covered by the winding-sheet, and on the marble cross, where shortly before I had read:" 'She loved, was loved, and died.'I now saw:" 'Having gone out in the rain one day, in order to deceive her lover, she caught cold and died.'* * * * * * *

"It appears that they found me at daybreak, lying on the grave unconscious."

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Short Story Module 18

References

Aebersold, J.A, & Field, M.L. (1997). From Reader to Reading Teacher: Issues and Strategiesfor Second Language Classrooms. New York, NY: Cambridge Univ Press.

Ferris, D. & Hedgcock, J.S. (2004). Teaching ESL composition: Purpose, process, and practice (2nd ed.). Mahwah, NJ: Lawrence Erlbaum.

Gajdusek, L. (1988). Toward Wider Use of Literature in ESL: Why and How. TESOL Quarterly, 22 (2), 227-257.

Smith, I.D. (1999). On Viewing Learners as Spiritual Beings: Implications for Language Educators. CELEA News, 1 (1), 5-11.