Plot Synopsis Rubric CATEGORY 4 32 1Circle PlotOrganization The story is a very The story is circular The story is a little Ideas and scenes well-organized . One idea or scene hard to follow. seem to be ran-Creativity circular story. may seem out of The transitions domly arranged. One idea or scene place, but the story are sometimes not The story is not follows another in does return to the clear; however, the a circular story. It a logical sequence beginning point. story does begin does not return to with clear transi- Clear transitions are and end in the its beginning point. tions, returning used. same place. to the beginning point. The story’s plot fo- The story’s plot con- The story’s plot con- There is little evi- cuses on a creative tains a few creative tains a few creative dence of creativity series of events that events that contrib- events, but they in the story. The au- contributes to the ute to the reader’s distract from the thor does not seem reader’s enjoyment. enjoyment. The story. The author to have used much The author has re- author has used his has tried to use his imagination. ally used his or her or her imagination. or her imagination. imagination.Sentence The sentence The sentence Some sentences use Sentences do notStructure structure uses structure uses matching or similar use matching or matching or similar matching or similar words, but the similar words. TheSpelling, words, that es- words, that estab- pattern is not main- sentence structurePunctuation, tablish a clear, lish a clear pattern tained throughout distracts from theand consistent pattern that is maintained the entire story. story’s circular plot.Grammar that is maintained throughout the throughout the entire story. entire story. There are no spell- There is one spell- There are 2 to 3 The final draft has ing, punctuation, ing, punctuation, spelling, punctua- more than 3 spell- or grammar errors or grammar error tion, or grammar ing, punctuation, in the final draft. in the final draft. errors in the final or grammar errors. draft. One-Act Play Rubric unacceptable does not yet meet minimally meets meets expecta- exceeds expectations 0 pt. expectations expectations tionsNon-ver- 1 pt. 2 pts 4 pts.bal Ex- 3 pts.pression No move- Actor’s head, Actor’s move- Actor performs Actor’s performance ment of eye, and hand ments are min- with confidence; reflects well re-8 pts body movements do imal and under head, eye, hearsed, expressive not match the rehearsed. Some and hand movements, enthu- script or engage evidence of ei- movements siastic rendering the audience. ther eye contact engage audience of character. Head, with others or and enhance eye, and hand gestures. characterization movements engage audience throughout performance and show exceptional characterization 421
Voice Ex- Monotone Voice pace, Voice pace, Actor’s voice Actor’s voice thor-pression & voice; audi- expression, and expression, and shows under- oughly masters theVolume ence could volume gives volume com- standing of characterization. not under- “flat” delivery municate one character. Pace, Pace, expression, and8 pts stand most with little regard emotion. Voice expression, and volume vary dramat- of actor’s to emotion. is either too volume vary ically and skillfully dialogue. Voice is barely soft or too loud, to accurately demonstrate charac- audible. but is audible demonstrate ter’s emotions. Voice throughout per- character’s is clearly audible formance. emotions. Voice throughout perfor- is clearly audi- mance. ble throughout performance.Dialogue Read Required Lines were Lines were well Perfect memoriza-Fluency directly frequent line memorized, but memorized, but tion and delivery of8 pts from script prompts or read required 3 to 5 required 1to 2 lines throughout much of the line prompts. line prompts.Costume perfor- lines from the Actor completely8 pts mance. script during the Actor dressed Actor dressed dressed in costume performance. like self, but has like self, but and makeup to No cos- added 1 piece has added at look like character. tume. Costume does for costume; least 2 pieces Costume matches the not fit the costume piece for costume; script well. Costume personality of fits the charac- costume pieces makes character the character or ter’s personality fit the charac- more believable. match the script. and matches the ter’s personality script. and matches the script.Props No props Play uses at least Play uses at least Play uses at least Plays uses 6 or more4 pts used in the 1 prop, but is 2 props that help 3 props that help different props that play. not a high qual- audience under- audience under- enhance audience ity, hand-made stand the plot stand the plot of understanding of item. of the play, but the play. At least plot. At least half of may not be high one of the props the props are high quality, hand- is a high quality, quality, hand-made made items. hand-made item. items.Backdrop No back- Play uses one 4 x Play uses one 4 x Play uses one 4x Play uses one 4 x 8Flat drop flat 8 backdrop; does 8 backdrop; flat 8 backdrop flat backdrop flat that4 pts used in not match the that suggests that helps audi- makes the play set- play. script. setting. Scenery ence understand ting instantly recog- is painted some- setting of play. nizable. Flat has what neatly on Flat has neatly neatly and creatively the flat. painted scenery. painted scenery. Source: http://www.rcampus.com/rubricshowc.cfm?code=T538WW&sp=yes& 422
9 A Journey throughAnglo-American Literature English Learner’s Material This instructional material was collaboratively developed and re- viewed by educators from public and private schools, colleges, and/or universities. We encourage teachers and other education stakehold- ers to email their feedback, comments, and recommendations to the Department of Education at [email protected]. We value your feedback and recommendations. Department of Education Republic of the Philippines
A Journey through Anglo-American Literature – Grade 9English - Learner’s MaterialFirst Edition, 2014ISBN: 978-971-9601-77-7 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Governmentof the Philippines. However, prior approval of the government agency or office wherein the work is createdshall be necessary for exploitation of such work for profit. Such agency or office may, among other things,impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trade- marks,etc.) included in this book are owned by their respective copyright holders. DepEd is represented by theFilipinas Copyright Licensing Society (FILCOLS), Inc. in seeking permission to use these materials fromtheir respective copyright owners. The publisher and authors do not represent nor claim ownership overthem.Published by the Department of EducationSecretary: Br. Armin A. Luistro FSCUndersecretary: Dina S. Ocampo, PhD Development Team of the Learner’s Material Authors: Liza R. Almonte, Lerma L. Flandez, Nedia Lagustan, Henone de Paz- Langutan, Dream Rose O. Malayo, Liberty A. Mangaluz, Elenita R. Miranda, Lito A. Palomar, Adelia Chua-Soliaban, and Grace Annette B. Soriano Consultants: Marla C. Papango and Edison A. Fermin, PhD Reviewers: Ruth A. Alido, Elizabeth V. Meneses, Rebecca Sagot, and Maricar T. Caberos Language Editor: Ma. Antoinette C. Montealegre, PhD Book Designer: Annie Lumbao, Visual Communication Depertment, UP College of Fine Arts Management Team: Dir. Jocelyn DR. Andaya, Jose D. Tuguinayo Jr., PhD, Melinda P. Rivera, PhD, Ricardo G. Ador Dionisio, and Peter Tentoco IIIPrinted in the Philippines by Vibal Group, Inc.Department of Education-Instructional Materials Council Secretariat (DepEd-IMCS)Office Address: 5th Floor Mabini Building, DepEd Complex Meralco Avenue, Pasig City,Telefax: Philippines 1600E-mail Address: (02) 634-1054 o 634-1072 [email protected]
TABLE OF CONTENTSMODULE 4 – Unchanging Values in a Changing World�������423 Lesson 1: Holding on to a Dream in a Changing World��������������������������424 YOUR JOURNEY ����������������������������������������������������������������������������������������424 YOUR OBJECTIVES �����������������������������������������������������������������������������������424 YOUR INITIAL TASKS �������������������������������������������������������������������������������425 Task 1: The River of Dreams������������������������������������������������������������������425 Task 2: Peek at the Note�������������������������������������������������������������������������425 YOUR TEXT A Raisin in the Sun (Lorraine Hansberry) Task 3: Perm Term��������������������������������������������������������������������������������� 427 Task 4: Try to Connect... ������������������������������������������������������������������������430 Task 5: Grasp It! ������������������������������������������������������������������������������������� 435 Task 6: Predict a Dream�������������������������������������������������������������������������436 Task 7: Text Hub ������������������������������������������������������������������������������������438 Task 8: The Voice �����������������������������������������������������������������������������������439 Task 9: On Location �������������������������������������������������������������������������������440 Task 10: The Voice in Action! ����������������������������������������������������������������440 YOUR DISCOVERY TASKS Task 11 The Dream Route ����������������������������������������������������������������������440 Task 12 Play President ��������������������������������������������������������������������������� 441 YOUR FINAL TASKS Task 13: Review, Analyze, Reflect����������������������������������������������������������442 Task 14: Tippable Tips! ��������������������������������������������������������������������������443 Task 15: Deliver the Goods! �������������������������������������������������������������������443 MY TREASURE������������������������������������������������������������������������������������������� 447 Lesson 2: Ensuring Family Security �������������������������������������������������������� 448 YOUR JOURNEY ����������������������������������������������������������������������������������������448
YOUR OBJECTIVES �����������������������������������������������������������������������������������448 YOUR INITIAL TASKS �������������������������������������������������������������������������������449 Task 1: What’s Next? ������������������������������������������������������������������������������449 Task 2: Take a Stand ������������������������������������������������������������������������������450 Task 3: Take Two������������������������������������������������������������������������������������450 YOUR TEXT The Death of a Salesman (Henry Miller) Task 4: World of Words ������������������������������������������������������������������������� 451 Task 5: Lit to Read���������������������������������������������������������������������������������� 453 Task 6: Name the Character ������������������������������������������������������������������490 Task 7: Guess the Message��������������������������������������������������������������������� 491 Task 8: Talk Me In! �������������������������������������������������������������������������������� 491 YOUR DISCOVERY TASKS Task 9: Speak and Act ����������������������������������������������������������������������������492 Task 10: Set the Style �����������������������������������������������������������������������������494 Task 11: Get that Issue! ��������������������������������������������������������������������������495 Task 12: Model Your Modals �����������������������������������������������������������������496 Task 13: Hello Obligation! ��������������������������������������������������������������������� 497 YOUR FINAL TASKS Task 14: Review that Play ����������������������������������������������������������������������498 Task 15: Review Take Two ���������������������������������������������������������������������499 MY TREASURE������������������������������������������������������������������������������������������ 500Lesson 3: Learning from Others ��������������������������������������������������������������� 501 YOUR JOURNEY ���������������������������������������������������������������������������������������� 501 YOUR OBJECTIVES ����������������������������������������������������������������������������������� 501 YOUR INITIAL TASKS �������������������������������������������������������������������������������502 Task 1: What’s in a Pic?��������������������������������������������������������������������������502 Task 2: Watch and Learn!����������������������������������������������������������������������503 Task 3: Listen to Make a Decision!��������������������������������������������������������503
Task 4: Game and Play! �������������������������������������������������������������������������504 YOUR TEXT Death of a Salesman, Act I (Arthur Miller) Task 5: Elements Galore ������������������������������������������������������������������������505 Task 6: Make a Statement����������������������������������������������������������������������506 Task 7: Play vs. Short Story�������������������������������������������������������������������� 507 Task 8: Decipher the Symbols ���������������������������������������������������������������508 YOUR DISCOVERY TASKS Task 9: Go “Less with Words” ���������������������������������������������������������������509 Task 10: Mind the Issues ������������������������������������������������������������������������ 511 Task 11: Cause + Effect��������������������������������������������������������������������������� 514 Task 12: Share Your Prohibitions �����������������������������������������������������������515 Task 13: Use Your Prohibitions ������������������������������������������������������������� 516 Task 14: Share Your Prohibitions �����������������������������������������������������������517 Task 15: Mind Your Words... ������������������������������������������������������������������517 YOUR FINAL TASKS Task 16: Review Rewind ������������������������������������������������������������������������ 518 Task 17: Time to Review�������������������������������������������������������������������������520 MY TREASURE�������������������������������������������������������������������������������������������520Lesson 4: Discerning Future Opportunities ������������������������������������������������� 521 YOUR JOURNEY ���������������������������������������������������������������������������������������� 521 YOUR OBJECTIVES. ���������������������������������������������������������������������������������� 521 YOUR INITIAL TASKS ������������������������������������������������������������������������������� 522 Task 1: Nancy Drew or Tintin? �������������������������������������������������������������� 522 Task 2: What’s in a Play? ����������������������������������������������������������������������� 523 Task 3: Speak with Feelings�������������������������������������������������������������������524 YOUR TEXT Death of a Salesman, Act I (Arthur Miller) Task 4: Plot the Events��������������������������������������������������������������������������� 525
Task 5: Know Your Purpose…���������������������������������������������������������������� 527 YOUR DISCOVERY TASKS Task 6: Justify Ideas�������������������������������������������������������������������������������528 Task 7: Validate Info ������������������������������������������������������������������������������530 Task 8: Direct the Indirect Way ������������������������������������������������������������ 531 Task 9: Practice the Direct and Indirect Ways ������������������������������������� 532 Task 10: Time for Theater���������������������������������������������������������������������� 533 YOUR FINAL TASK Task 10 Play and Review!����������������������������������������������������������������������� 533 MY TREASURE������������������������������������������������������������������������������������������� 535Lesson 5: Rectifying One’s Mistakes YOUR JOURNEY ���������������������������������������������������������������������������������������� 536 YOUR OBJECTIVES ����������������������������������������������������������������������������������� 536 YOUR INITIAL TASKS ������������������������������������������������������������������������������� 536 Task 1: Standing Up for Good���������������������������������������������������������������� 537 Task 2: Relating the Truth ��������������������������������������������������������������������� 537 Task 3: Digging Details ��������������������������������������������������������������������������538 Task 4: Critiquing One’s Style ���������������������������������������������������������������540 YOUR TEXT Death of a Saleman, Act II (Arthur Miller) Task 5: Twisting the Meaning����������������������������������������������������������������542 Task 6: Preparing to Read����������������������������������������������������������������������542 Task 7: Exploring the Text ��������������������������������������������������������������������� 543 YOUR DISCOVERY TASKS Task 8: Firming One’s Act ��������������������������������������������������������������������� 591 Task 9: Determining Tone, Mood, Author’s Technique����������������������� 591 Task 10: Restyling the Write-Up �����������������������������������������������������������592 Task 11: Diversifying the Lines ��������������������������������������������������������������594 Task 12: Comprehending the Text��������������������������������������������������������� 597
Task 13: Determining the Character’s Desire ��������������������������������������� 597 Task 14: Judging One’s Desire���������������������������������������������������������������598 Task 15: Being Acquainted with the World of the Play ������������������������598 YOUR FINAL TASK Task 16: Play Bill Making�����������������������������������������������������������������������606 MY TREASURE�������������������������������������������������������������������������������������������606Lesson 6 Taking a Stand�����������������������������������������������������������������������������������607 YOUR JOURNEY ����������������������������������������������������������������������������������������607 YOUR OBJECTIVES �����������������������������������������������������������������������������������607 YOUR INITIAL TASKS ������������������������������������������������������������������������������ 608 Task 1: Assessing the Trait’s Value ������������������������������������������������������� 608 Task 2: Charading a Word ���������������������������������������������������������������������609 YOUR TEXT Death of a Salesman, Requiem (Arthur Miller) Task 3: Exploring the World of Expressions ����������������������������������������609 Task 4: Sketching an Expression�����������������������������������������������������������609 Task 5: Silent Reading of the Text��������������������������������������������������������� 610 Task 6: Checking Your Comprehension������������������������������������������������ 612 Task 7: Justifying One’s Acts ����������������������������������������������������������������� 613 YOUR DISCOVERY TASKS Task 8: Immersing into the Author’s Craft ������������������������������������������� 614 Task 9: Message Twisting ���������������������������������������������������������������������� 615 Task 10: Seeing the Other Side of a Character�������������������������������������� 616 Task 11: Digesting the Text �������������������������������������������������������������������� 621 Task 12: Comparing and Contrasting One’s Value System ������������������ 621 Task 13: Familiarizing the Theater’s Territory �������������������������������������623 Task 14: A Renewed Character ��������������������������������������������������������������624 Task 15: Be Acquainted with the Stars ��������������������������������������������������624
Task 16: Free-Style Feed backing ���������������������������������������������������������625 YOUR FINAL TASK Task 17 Blurbing the Tone, Mood, and Message of the Text����������������626 MY TREASURE�������������������������������������������������������������������������������������������626Lesson 7 Unchanging Values In a Changing World������������������������������������629 YOUR JOURNEY ����������������������������������������������������������������������������������������629 YOUR OBJECTIVES �����������������������������������������������������������������������������������629 YOUR INITIAL TASKS �������������������������������������������������������������������������������630 Task 1: Standing Up for a Reason����������������������������������������������������������630 Task 2: Who’s In, Who’s (In groups with ten members)���������������������� 631 YOUR TEXT Death of a Salesman, Requiem (Arthur Miller) Task 3: Trial or Convey? (In groups with ten members) ��������������������� 631 Task 4: Realizing the General Idea��������������������������������������������������������632 Task 5: Walking the Dream into Reality �����������������������������������������������643 Task 6: What Influences a Text �������������������������������������������������������������644 Task 7: Conquering the World of Stage�������������������������������������������������645 YOUR DISCOVERY TASKS Task 8: Discovering What’s Beyond������������������������������������������������������649 Task 9: Facing the Real Emotions ���������������������������������������������������������650 Task 10: Telling Me, Showing You ��������������������������������������������������������650 Task 11: Mirroring My self ���������������������������������������������������������������������650 Task 12: Committing Myself ������������������������������������������������������������������650 YOUR FINAL TASK Task 13: Reviewing a Play - Into a Real Production ����������������������������� 651 MY TREASURE������������������������������������������������������������������������������������������� 652 Reference List ���������������������������������������������������������������������������������������� 653 Glossary �������������������������������������������������������������������������������������������������� 659
INTRODUCTION This learner’s material is specially designed to provide you roads to cooperative, col-laborative, and independent learning of the target themes, concepts, and competenciesthat will develop your 21st century real life-based skills. It is anchored on the generalprinciples, goals, and objectives of the K-12 Basic Education Program for junior high schoolthat centers on making you to a functionally literate individual. This learner’s material provides a variety of texts, particularly Anglo-American literarypieces that are both relevant and meaningful to your life. It offers opportunities for youto engage in varied, interesting, challenging, and meaningful tasks to further developand improve your listening, viewing, reading, speaking, writing, vocabulary, literary, andgrammar skills. The integration of literature and language skills will help deepen under-standing of how you can enrich and enhance your life through valuing the self, otherpeople’s lives, and the world. There are four modules in this learning material. Each module builds around a par-ticular text for you to explore meaningfully through engaging yourself in a variety ofintegrated, challenging, and interesting tasks. Module 1. Enhancing the Self Module 2. Valuing Others and Their Circumstances Module 3. Connecting to the World Module 4. Unchanging Values in a Changing World Each module consists of several lessons wherein each lesson is comprised of thefollowing parts: 1. Your Journey – provides an overview of what you should understand in the lesson. This includes clear directions and the purpose of the lesson. 2. Your Objectives – states the expectations in line with what you should know, understand, and be able to do, produce, or perform to show there is transfer of learning. 3. Your Initial Tasks – diagnoses and activates your prior knowledge and prepares you for higher level tasks. 4. Your Text – presents the main reading or literary text and the activities/ tasks that will lead you to acquire knowledge, make sense,of and construct meaning out of the information and experiences contained therein. xxvii
5. Your Discovery Tasks – includes activities that will expand, enrich, en- hance, and broaden your understanding of the target concepts and skills. 6. Your Final Task – presents the real life-based product or performance task as final output for the lesson that serves as evidence of understanding or transfer of learning of the target concepts and skills. This is an enabling task for the main real-life based product or performance task covering the entire module. 7. My Treasure – enables you to express your insights, learning, and reali- zations on the lesson. This part contains prompts and other graphic organizers that will help you sum up and synthesize what you have learned. This learner’s material includes formal pre – and post assessments by module inboth written response and multiple-choice formats. We hope that through this material, you will be provided with meaningful learn-ing experiences and relevant competencies necessary for you to successfully meet thedemands of the 21st century. xxviii
LESSON 1HOLDING ON TO A DREAMIN A CHANGING WORLD YOUR JOURNEY Life gets even harder for people who do not dream of making it a little better. Keep reaching for your dreams; keep reaching for your goals which you have created with your heart and soul. And every time you fail, hold on to it tightly; never let it go. It may get harder every day but every step you put forward is a great leap towards triumph. After all, chances are, the life you try to redefine is just right there at the corner. This unit focuses on Drama as a unique form of literature and as a means for you to understand unchanging values in a changing world. YOUR OBJECTIVES This lesson is designed to help you achieve the following objectives: • determine the relevance and the truthfulness of the ideas presented in the picture • relate text content to particular social issues, concerns, or dispositions in real life • analyze literature as a means of understanding unchanging values in a changing world • analyze dialogue as one of the elements in building the theme of a play • locate dialogues in the text according to their function • be familiar with the technical terms related to drama and theater • prepare one’s self to compose a play review • use the active and passive voices of the verb correctly • deliver lines effectively in a full length play 424
YOUR INITIAL TASKSTASK 1 The River of Dreams• Listen attentively to the lyrics of the song, “The River of Dreams”. Be ready to answer the following questions. 1. What issues about life are confronting the speaker in the song? 2. Among these issues, what do you think he values the most? Why do you say so? 3. If you were him, how would you resolve the issue?• Discuss your answers with a partner, then share them with the class.TASK 2 Peek at the NoteAs the song goes, “Ebony and Ivory, live together in perfect harmony Side by side on my piano, keyboard, Oh Lord Why don’t we?”Can you determine the underlying meaning of the lyrics of the song? 425
Analyze the pictures below.http://www.crystalgraphics.com/powerpictures/images.photos.asp?ss=prejudice 426
1. What idea is presented by the pictures?2. How would you relate the pictures to issues on social context? Accomplish the chart below with forms of social injustice as depicted by thepictures. Be able to give resolutions for each situation.Forms of Discrimination/Prejudice ResolutionsYOUR TEXTTASK 3 Perm TermTo gain better understanding and appreciation of drama, it helps to be familiarwith the terminologies related to it. Accomplish the puzzle on page 431 on aseparate sheet of paper. Choose your answers from the word pool. 427
Word poolprompt book valence hazergreen room shotgun mic set dressingwoofer false proscenium backlightboom stand douser casterscrossfader jackknife platform wing spacecall board house right stock sceneryfront of house floorplan audience blinders personal props subwoofer maskingAcross3. The lever on a lighting control console that simultaneously dims all the channels from one cut to the next5. The book compiled by the stage manager, containing all the pertinent information about the show7. A platform that pivots on one corner11. A small drapery that runs across the top of the grand drape and hides the hardware that suspends it12. The space on the stage that is not visible to the audience13. A device that creates a thin mist of fog throughout the stage15. The backstage bulletin board where announcement, schedules, and other information are posted16. A common area where performers wait until it is time to go on stage17. The right side of the auditorium from the audience’s point of view20. A microphone designed to pick up sound only directly in front of it23. Flats and platforms that are stored and used for many different productions24. Decorations that have no function on a set, but are merely placed there to look goodDown1. Anything in the house, rather than onstage2. A speaker element that reproduces the low-end frequencies4. The diagram showing the placement of the scenery as viewed from above6. A portal that gives the set its own “picture frame”8. A bank of small PAR cans all mounted in the same fixture. Used to create a bright wash of light on the audience9. Light coming from upstage of an actor10. Items that are carried onstage by the actor during the performance14. A microphone with a horizontal attachment that can reach over a keyboard or other musical instrument18. A speaker designed to play very low, almost inaudible frequencies19. The control on a follow spot that fades out the light by slowly closing a set of doors21. The draperies or flats that hide backstage from the audience22. The wheels on a platform 428
TECHNICAL THEATER VOCABULARY CROSSWORD PUZZLE1 23 4 6 429
TASK 4 Try to Connect… Reflect on this poem written by Langston Hughes. How do you associate it to the story, “The Raisin in the Sun”? Dreams Deferred What happens to a dream deferred? Does it dry up Like a raisin in the sun? Or fester like a sore— And then run? Does it stink like rotten meat? Or crust and sugar over— Like a syrupy sweet? Maybe it just sags Like a heavy load, Or does it explode? LANGSTON HUGHES 430
A Raisin in the Sun Lorraine Hansberry Characters (In Order of Appearance) Ruth Younger Travis Younger Walter Lee Younger (Brother) Beneatha Younger Lena Younger (Mama) Joseph Asagai George Murchison Karl Lindner Bobo Moving Men The action of the play is set in Chicago’s Southside, sometime between WorldWar II and the present.Act IScene One: Friday MorningScene Two: The following morning(RUTH comes in forlornly and pulls off her coat with dejection. Mama andBeneatha both turn to look at her.)RUTH (dispiritedly): Well, I guess from all the happy faces—everybody knows.BENEATHA: You pregnant?MAMA: Lord have mercy, I sure hope it’s a little old girl. Travis ought to havea sister. 431
(BENEATHA and RUTH give her a hopeless look for this grandmotherly en-thusiasm).BENEATHA: How far along are you? I ain’t never stop trusting you. Like I ain’t never stopRUTH: Two months loving you.BENEATHA: Did you mean to? I mean didyou plan it or was it an accident?MAMA: What do you know about planningor not planning?BENEATHA: Oh, Mama.RUTH (wearily): She’s twenty years old, Lena.BENEATHA: Did you plan it, Ruth?RUTH: Mind your own business.BENEATHA: It is my business—where is he going to live, on the roof? (There issilence following the remark as the three women react to the sense of it.) Gee—Ididn’t mean that, Ruth, honest. Gee, I don’t feel like that at all. I—I think it iswonderful.RUTH (dully): Wonderful.BENEATHA: Yes—really.MAMA (looking at RUTH, worried): Doctor say everything is going to be all right?RUTH (far away): Yes—she says everything is going to be fine…MAMA (immediately suspicious): “She”—What doctor you went to?(RUTH folds over, near hysteria)MAMA (worriedly hovering over RUTH): Ruth honey—what’s the matter withyou—you sick?(RUTH has her fist clenched on her thighs and is fighting hard to suppress ascream that seems to be rising in her) 432
How is Hansberry’s play a comment on the Langston Hughespoem that she uses as her epigraph?BENEATHA: What’s the matter with her, Mama?MAMA (working her fingers in RUTH’s shoulders to relax her): She be all right.Women gets right depressed sometimes when they get her way. (Speaking softly,expertly, rapidly). Now you just relax. That’s right…just lean back, don’t think‘bout nothing at all…nothing at all—RUTH: I’m all right…(The glassy-eyed look melts and then she collapses into a fit of heavy sobbing.The bell rings.)(The front door opens slowly, interrupting him, and TRAVIS peeks his headin, less than hopefully)TRAVIS (to his mother): Mama, I—RUTH: “Mama I” nothing! You’re going to get it, boy! Get on in that bedroom,and get yourself ready!TRAVIS: But I—MAMA: Why don’t you all never let the child explain hisselfRUTH: Keep out of it now, Lena.(Mama clamps her lips together, and RUTH advances toward her son men-acingly.)RUTH: A thousand times I have told you not to go off like that—MAMA (holding out her arms to her grand- Once upon a time freedomson): Well—at least let me tell him something. used to be life—now its money.I want him to be the first one to hear… Comehere, Travis. (The boy obeys, gladly.) Travis—(She takes him by the shoulder and looks intohis face)—you know that money we got in the mail this morning?TRAVIS: Yes ‘m--- 433
MAMA: Well—What you think your grandma gone and done with that money?TRAVIS: I don’t know, Grandmama.MAMA (putting her fingers on his nose for emphasis): She went out and boughtyou a house! (The explosion comes from WALTER at the end of the revelationand he jumps up and turns away from all of them in a fury. MAMA continues,to TRAVIS) You glad about the house? It’s going to be yours when you get to bea man.TRAVIS: Yeah—I always wanted to live in a house.MAMA (She takes an envelope out of her handbag and puts it in front of himand he watches her without speaking or moving.) I paid the man thirty-fivehundred dollars down on the house. That leaves sixty-five hundred dollars.Monday morning I want you to take this money and take three thousand dollarsand put it in a savings account for Beneatha’s medical schooling. The rest youput in a checking account—with your nameon it. And from now on, any penny that come “One for Whom Bread—out of it or that go in it is for you to look after. Food—is Not Enough”.For you to decide. (She drops her hand a littlehelplessly.) It ain’t much, but it’s all I got inthe world and I’m putting it in your hands. I’m telling you to be the head of thisfamily from now on like you supposed to be.WALTER (stares at the money): You trust me like that, Mama?MAMA: I ain’t never stop trusting you. Like I ain’t never stop loving you.(She goes out, and WALTER sits looking at the money on the table. Finally, ina decisive gesture, he gets up, and, in mingled joy and desperation, picks upthe money.)Summary: The rising action of the play reveals the pregnancy of Ruth. Mama (Lena)has paid the initial amount for a house in Clybourne Park. Then, she hands the434
remaining money to Walter to put it in a savings account for Beneatha’s medicalschooling. The rest of the money shall be put in a checking account in Walter’sname. However, Walter intends to invest the money in a liquor business whichMama does not approve of.TASK 5 Grasp it!1. What is Mama’s greatest dream for her family? Illustrate it in the box. State her reasons behind it.Mama’s Greatest Dream Reasons2. How does the dream of every member of the Younger family differ and agree with one another? Accomplish the bubble map then discuss your answer. 435
3. What does Walter want to do with the insurance check? Discuss his motive. Why do you think Mama does not approve of it?4. Does any of the characters in the play remind you of someone? How does that someone plan his course of action to realize his dream? Mama (house) Dream Walter Beneatha(business) (doctor)5. Would you have dreamt of the same thing for your family? Why?TASK 6 Predict a Dream From the story, Mama dreams of moving into a house with lawn—whereTravis could play — a part of her great “American Dream” which she nurtureswith her husband. Walter dreams of putting up a business and Beneatha dreamsof finishing a medical course. In reality, most people likewise hold on to a dream. Take a good look at theillustrations on the next page. In the given predicament, can you tell what theydream about? Write your answers in your notebook. 436
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TASK 7 Text Hub I ain’t never stop trust- ing you. Like I ain’tYou trust me like that, never stop loving you.Mama?Walter Lee Lena (Mama)One of the elements of drama is the dialogue. It is the conversation thattakes place among characters in a drama. Dialogue can reveal events,actions, and settings as well as the character’s thoughts and feelings.Dialogue has three major functions: to advance the plot, to establishsetting, to reveal the character. 438
1. Spot and copy two lines from the story which indicate where the characters are.2. Spot and copy two lines from the story which indicate a character’s feelings.3. Spot and copy two lines in the story which indicate what a character is doing.TASK 8 The VoiceVerbs have two voices. The active voice and the passive voice. Study the givenexamples in the chart and cite how they differ in form and function.Active Voice Passive Voice* The voice of the verb is active, when * The voice of the verb is passive,the subject performs the action. when the subject is acted upon by the object of the verb.Here are examples of Active (A) versus Passive (P) voice in the six main tenses: Tenses Active Voice Passive VoicePresent Tense The article discusses the ef- The effects of unemploy- fects of unemployment. ment are discussed in the article.Present Perfect Tense The class has decided that everyone should get an “A.” It has been decided by the class that everyone should get an “A.”Past Tense The company made a huge A huge profit was madePast Perfect Tense profit. by the company.Future Tense We had reached an agree- The agreement had been ment when they presented reached (by us) when the the plan. plan was presented. We will mail our proposal Our proposal will be next week. mailed next week. 439
TASK 9 On Location Read the summary of A Raisin in the Sun again. Locate at least five sentencesin the active voice, then transpose it to the passive voice or vice-versa. Do it ona half sheet of paper.TASK 10 The Voice in Action! How do you transpose an active construction to a passive construction? Writesentences in the active voice, then change them to the passive voice. Note theremarkable changes that take place in the sentences. Do this in your notebook.Active Voice Passive Voice Changes in the Sentence YOUR DISCOVERY TASKSTASK 11 The Dream Route Design a board game that represents a real-life journey—about a dream or goalyou’ve pursued. You may use the icons to represent the challenges you encounteralong the way in the context of society. Make your icons more prominent to thepoint where you overcome those challenges. Mark it with a trait or value that 440
you believe you possess and that enables you to leap over it. You may illustratethe game board with pictures appropriate to the journey you have chosen.TASK 12 Play President Let us suppose that you are the President of the country. How would youhave addressed or resolved the following social issues and concerns affecting thevalues of your countrymen? Discuss your answer on a separate sheet of paper. Use the active voice whenever possible. Frequent use of the active voice makesyour writing stronger, livelier, and less wordy. Prejudice Unemployment Underemployment Child trafficking and Prostitution Graft and Corruption/ Malversation of Public Funds/ Pork Barrel Fund Scam 441
YOUR FINAL TASKSTASK 13 Review, Analyze, Reflect You will be tasked to compose a play review at the end of the sixth week les-son. But prior to that you must be equipped with the know-how of composinga play review. To review a play is to study, analyze, and render a rational judgment. Yourtone is very important in making your review reliable and valid.Consider the preliminaries of the play, A Raisin in the Sun. Title of the Play: Name of the Playwright: Background of the Playwright: (Include pertinent information about the play and the author.) (Include works similar with the play and other works written by the author.) Background of the Play (if any) : Discuss how a play differs from other literary forms: 442
TASK 14 Tippable Tips This final task helps you achieve what is expected of you at the end of theunit. See to it that you will be producing the English pronunciation effectively.Your performance will be assessed using the rubrics on the next page.Be guided by the tips to help you dramatize a play.1. Put yourself in your character’s shoes. Is your character angry, proud, or con fident? Decide why your character would act in a certain way.2. Use your speaking voice. Change the volume, rate, pitch, and tone of your voice to express your character’s feelings.3. Use facial expressions. For example, closing your eyes while speaking could show deep thought or impatience.4. Use gestures. A fist, a pointed finger, and an open hand all give different signals.5. Enunciate. Be sure all of your audience can hear and understand you, even when your character speaks softly.6. Practice reading your lines. You may want to practice with a partner or in front of a mirror to improve your facial expressions and gestures.TASK 15 Deliver the Goods• Choose a part of a story or a play. Dramatize it by exchanging dialogues.• Follow the tips as you practice your dialogues.• Practice! Practice!• Be ready to perform for the class.Then, ponder on the situations below.• What was your character’s mood?• In what ways did you change your voice to express the meaning of different words?• Was the audience engaged? Were they able to understand and hear your words? 443
Dramatic Performance Assessment Master Apprentice Stage Hand My Review:100 pts 85 pts 75 pts Student Student Student is My Review: possesses possesses in need of exemplary skill sufficient skill additional skills and mastery of and mastery of and mastery of all techniques all techniques the techniques needed for a needed for a needed for a successfully successfully successfully delivered delivered delivered dramatic dramatic dramatic performance. performance. performance.Preparation Master Apprentice Stage Hand*Student’s lines *Student de- *Student hasare delivered livers lines and trouble deliver-flawlessly. hits marks well ing lines.*Student fluidly and with few *Student lacksdelivers her/his errors. *Student fluidity inlines while hit- spent an appro- movement andting their marks priate amount delivery of lines;confidently. of time prepar- did not spend*Student ob- ing for project. enough time inviously spent preparation. a significantamount of timeon project andcame to classready and pre-pared. 444
Voice Master Apprentice Stage Hand My Review:Fluency *Student con- *Student enun- *Student tries My Review: sistently uses ciates clearly. to enunciate his voice ex- *Student var- and add vari- pressively and ies voice pitch ations, but articulately. and tone, and overall effect is *Student proj- reflects some flimsy - due to ects his voice level of expres- too little ex- clearly. siveness. pression. *Student utiliz- es his voice to Apprentice Stage Hand include varia- tions of pitch, rate, volume, and tone con- sistent to their character. Master Through all of Through most Through most the story the of the story of the story the readers are the readers are readers have thorough and thorough and made frequent, correct when correct when more than ten, reading the di- reading the di- mistakes when alogue, making alogue, making reading the less than five between five dialogue. mistakes. and nine mis- takes. 445
Movement Master Apprentice Stage Hand My Review: *Student em- *Student em- *Student tries ploys phenom- ploys appro- to employ ap- enal use of priate use of propriate use of physicality to physicality to physicality, but enhance char- enhance char- overall effect is acter with body acter with body flimsy. movements and movement and *Student’s facial expres- facial expres- movements sions. sion. rarely reflect *Student uses *Student uses purpose. a variety of an appropri-Focus blocking to add ate amount of Stage Hand My Review: interest to the blocking to add piece. interest to the *Student’s piece. movements *Student’s always reflect movements purpose. usually reflect purpose. Master Apprentice *Student stays *Student slight- *Student never completely immersed inhis/ ly weaves in and truly immerses her character throughout the out of character enough into entire perfor- mance. throughout his character *Student never breaks focus, performance. to produce any even during missed lines or *Student subtly kind of believ- cues. breaks focus ability. when thinking *Student lacks of next line or focus and seems cue or out of unprepared. obvious ner- vousness. 446
Teamwork Master Apprentice Stage Hand My Review:*Student’s *Student’s *Student’sawareness and awareness and awareness andempathy to- empathy to- empathy to-wards other cast wards other cast wards othermembers are members are cast members isvery apparent. acceptable. weak.*Student’s *Student’s *Student seemsattainment of attainment of to have littleteamwork and teamwork and concept ofof goal to work fruition of goal how to work ineffectively with to work effec- team. the group is tively with thesuperlative. group is accept- able. MY TREASURE “Dare to live the life you have dreamed for yourself. Go forward and make your dreams come true.” ― Ralph Waldo Emerson• Reflect on the message of the quotation.• How do the characters in the story pursue their dream?• How does a dream motivate them to go forward?• Do you have the same courage to pursue your dream?• Reflect on your strengths. Complete the clause below.I believe I can realize my dream because ___________________________________________________________________________________________________________________________________. 447
LESSON 2ENSURING FAMILY SECURITY YOUR JOURNEY “A family in harmony will prosper in everything” - Chinese Proverb The lesson prepared for you this week will highlight universal human values that remain the same throughout the years. This will guide you in your journey through life and will help you realize that no matter how different you might become in the future, your value system should remain intact. Furthermore, this week’s lesson will help you understand that life is made more meaningful through literary pieces, reading selections, viewing materials that are filled with worthwhile values. YOUR OBJECTIVES For you to continue in your meaningful journey, you are expected to: • analyze the stand of the speaker based on explicitly stated ideas • formulate predictions on materials viewed • identify meanings of words based on contextual clues • be familiar with the technical vocabulary for drama and theater • analyze literature as a means of understanding unchanging values in a chang- ing world • explain the literary devices used • relate text content to particular social issues, concerns, or dispositions in real life • employ effective and appropriate non-verbal communication strategies • express obligation in statements in oral and written forms • compose an introduction for a play review 448
YOUR INITIAL TASKSTASK 1 What’s Next? Some movies have universal appeal. They have drawn audiences around theworld. The World Wide Web also offers a number of value laden videos whichwe can appreciate and learn from. Watch the video about a father and his daughter. http://www.youtube.com/watch?v=KGn07xlOrAA Your teacher will pause the video for you to be able to guess what’s going tohappen next.Write your predictions in the appropriate column in the table. Do this in yournotebook. Prediction Reason(s)123Guide Questions:1. After watching the whole video clip, what do you think will happen to the father and daughter?2. Do you agree with how the daughter treated her father? Why?3. If you were to give an ending to the video, how would you do it? Present it through role play. 449
TASK 2 Take a Stand Listen to your classmates as they present their own version of the video’sending through role play. Analyze their statements on the issue and be able toagree or disagree on their stand.Groups Agree/Disagree Statement MadeWhat helped you in analyzing the stand of each group?Why is it important to analyze the stand of a speaker or a group of people?TASK 3 Take Two Advertisements are all around us. We see and read them on television, bill-boards, magazines and hear them over the radio. We can also download themfrom the internet. They serve many purposes like campaigning for a candidate. Here is an example of that campaign ad. As you watch, listen to how thespeaker gives a stand on an issue. Then, complete the organizers as shown. It’s Morning Again in America! Stand of the Speaker: _______________________________________ Facts: 450
Biases: Your stand: _____________________________________________ ___________________________________________________ ___________________________________________________ ________________ YOUR TEXTTASK 4 World of Words Before venturing into the world of our featured literary piece, work withyour partner and write as many words as you can that are associated with theword in the circle. salesman 451
B. In the middle of each Word Chart are words found in the selection. With your partner, give the definition of the word in focus. Then, give examples of words with similar meanings (SYNONYMS) and words that have opposite meanings (ANTONYMS). Finally, use the word in a sentence. Write your sentence in your notebook.SYNONYMS Definition ANTONYMS mercurialSYNONYMS Definition ANTONYMSSYNONYMS ANTONYMS laconic Definition philanderingSYNONYMS Definition ANTONYMS remiss 452
C. Here are other words from the play. Match the words in column A with their meanings in column B. Work on it with a partner. A B a. held spellbound; captivated1. idealist2. enthralled b. beginning to exist3. incipient c. likely at risk of experiencing some-4. liable thing unpleasant d. disturbance, annoyance5. incarnate e. one who sees the best in things; a6. trepidation dreamer; unrealistic f. tender, romantic, or nostalgic feeling7. dispel g. enthusiastically, with great interest8. agitation h. made less intense, toned down,9. avidly softer i. becomes introduced gradually10. subdued j. personified, given a human formD. As you read the play: 1. pick out lines where each word is used; 2. write them down in your notebook; and 3. use each word in your own sentence.TASK 5 Lit to Read Arthur Miller who was born in New York City started writing plays after hegraduated from the University of Michigan in 1938. Among his famous worksis Death of a Salesman which gave him a Pulitzer Prize in 1949 and was madeinto a film in 1952. Death of a Salesman is divided into two Acts and a Requiem. Read the full version of Act I of Death of a Salesman. 453
Death of a Salesman, ACT ONE By Arthur Miller A melody is heard, played upon a flute. It is small and fine, telling of grassand trees and the horizon. The curtain rises. Before us is the Salesman’s house.We are aware of towering, angular shapes behind it, surrounding it on allsides. Only the blue light of the sky falls upon the house and forestage; the sur-rounding area shows an angry glow of orange. As more light appears, we seea solid vault of apartment houses around the small, fragile-seeming home. Anair of the dream dings to the place, a dream rising out of reality. The kitchenat center seems actual enough, for there is a kitchen table with three chairs,and a refrigerator. But no other fixtures are seen. At the back of the kitchenthere is a draped entrance, which leads to the living room. To the right of thekitchen, on a level raised two feet, is a bedroom furnished only with a brassbedstead and a straight chair. On a shelf over the bed a silver athletic trophy stands. A window opens ontothe apartment house at the side. Behind the kitchen, on a level raised six anda half feet, is the boys’ bedroom, at present barely visible. Two beds are dimlyseen, and at the back of the room a dormer window. (This bedroom is abovethe unseen living room.) At the left a stairway curves up to it from the kitchen.The entire setting is wholly or, in some places, partially transparent. The roof-line of the house is one-dimensional; under and over it we see the apartmentbuildings. Before the house lies an apron, curving beyond the forestage intothe orchestra. This forward area serves as the backyard as well as the localeof all Willy’s imaginings and of his city scenes. Whenever the action is in thepresent, the actors observe the imaginary wall-lines, entering the house onlythrough its door at the left. But in the scenes of the past these boundaries arebroken, and characters enter or leave a room by stepping “through” a wallonto the forestage. From the right, Willy Loman, the Salesman, enters, carrying two largesample cases. The flute plays on. He hears but is not aware of it. He is past sixtyyears of age, dressed quietly. Even as he crosses the stage to the doorway of thehouse, his exhaustion is apparent. He unlocks the door, comes into the kitchen,and thankfully lets his burden down, feeling the soreness of his palms. A word-sigh escapes his lips — it might be “Oh, boy, oh, boy.” He closes the door, thencarries his cases out into the living room, through the draped kitchen doorway. Linda, his wife, has stirred in her bed at the right. She gets out and putson a robe, listening. Most often jovial, she has developed an iron repressionof her exceptions to Willy’s behavior — she more than loves him, she admires 454
him, as though his mercurial nature, his temper, his massive dreams and littlecruelties, served her only as sharp reminders of the turbulent longings withinhim, longings which she shares but lacks the temperament to utter and followto their end.LINDA (hearing Willy outside the bedroom, calls with some trepidation): Willy!WILLY: It’s all right. I came back.LINDA: Why? What happened? (Slight pause.) Did something happen, Willy?WILLY: No, nothing happened.LINDA: You didn’t smash the car, did you?WILLY (with casual irritation): I said nothing happened. Didn’t you hear me?LINDA: Don’t you feel well?WILLY: I’m tired to the death. (The flute has faded away. He sits on the bed beside her, a little numb.) I couldn’t make it. I just couldn’t make it, Linda.LINDA (very carefully, delicately): Where were you all day? You look terrible.WILLY: I got as far as a little above Yonkers. I stopped for a cup of coffee. Maybe it was the coffee.LINDA: What?WILLY (after a pause): I suddenly couldn’t drive any more. The car kept going off onto the shoulder, y’know?LINDA (helpfully): Oh. Maybe it was the steering again. I don’t think Angelo knows the Stude- baker.WILLY: No, it’s me, it’s me. Suddenly I realize I’m goin’ sixty miles an hour and I don’t remem- ber the last five minutes. I’m— I can’t seem to — keep my mind to it.LINDA: Maybe it’s your glasses. You never went for your new glasses.WILLY: No, I see everything. I came back ten miles an hour. It took me nearly four hours from Yonkers.LINDA (resigned): Well, you’ll just have to take a rest, Willy, you can’t continue this way.WILLY: I just got back from Florida.LINDA: But you didn’t rest your mind. Your mind is overactive, and the mind is what counts, dear.WILLY: I’ll start out in the morning. Maybe I’ll feel better in the morning. (She is taking off his shoes.) These goddam arch supports are killing me.LINDA: Take an aspirin. Should I get you an aspirin? It’ll soothe you.WILLY (with wonder): I was driving along, you understand? And I was fine. I was even ob- serving the scenery. You can imagine, me looking at scenery, on the road every week of my 455
life. But it’s so beautiful up there, Linda, the trees are so thick, and the sun is warm. I opened the windshield and just let the warm air bathe over me. And then all of a sudden I’m goin’ off the road! I’m tellin’ya, I absolutely forgot I was driving. If I’d’ve gone the other way over the white line I might’ve killed somebody. So I went on again — and five minutes later I’m dreamin’ again, and I nearly... (He presses two fingers against his eyes.) I have such thoughts, I have such strange thoughts.LINDA: Willy, dear. Talk to them again. There’s no reason why you can’t work in New York.WILLY: They don’t need me in New York. I’m the New England man. I’m vital in New England.LINDA: But you’re sixty years old. They can’t expect you to keep travelling every week.WILLY: I’ll have to send a wire to Portland. I’m supposed to see Brown and Morrison tomorrow morning at ten o’clock to show the line. I could sell them! (He starts putting on his jacket.)LINDA (taking the jacket from him): Why don’t you go down to the place tomorrow and tell Howard you’ve simply got to work in New York? You’re too accommodating, dear.WILLY: If old man Wagner was alive I’d been in charge of New York now! That man was a prince, he was a masterful man. But that boy of his, that Howard, he don’t appreciate. When I went north the first time, the Wagner Company didn’t know where New England was!LINDA: Why don’t you tell those things to Howard, dear?WILLY (encouraged): I will, I definitely will. Is there any cheese?LINDA: I’ll make you a sandwich.WILLY: No, go to sleep. I’ll take some milk. I’ll be up right away. The boys in?LINDA: They’re sleeping. Happy took Biff on a date tonight.WILLY (interested): That so?LINDA: It was so nice to see them shaving together, one behind the other, in the bathroom. And going out together. You notice? The whole house smells of shaving lotion.WILLY: Figure it out. Work a lifetime to pay off a house. You finally own it, and there’s nobody to live in it.LINDA: Well, dear, life is a casting off. It’s always that way.WILLY: No, no, some people- some people accomplish something. Did Biff say anything after I went this morning?LINDA: You shouldn’t have criticized him, Willy, especially after he just got off the train. You mustn’t lose your temper with him.WILLY: When the hell did I lose my temper? I simply asked him if he was making any money. Is that a criticism?LINDA: But, dear, how could he make any money?WILLY (worried and angered): There’s such an undercurrent in him. He became a moody 456
man. Did he apologize when I left this morning?LINDA: He was crestfallen, Willy. You know how he admires you. I think if he finds himself, then you’ll both be happier and not fight any more.WILLY: How can he find himself on a farm? Is that a life? A farmhand? In the beginning, when he was young, I thought, well, a young man, it’s good for him to tramp around, take a lot of different jobs. But it’s more than ten years now and he has yet to make thirty-five dollars a week!LINDA: He’s finding himself, Willy.WILLY: Not finding yourself at the age of thirty-four is a disgrace!LINDA: Shh!WILLY: The trouble is he’s lazy.LINDA: Willy, please!WILLY: Biff is a lazy bum!LINDA: They’re sleeping. Get something to eat. Go on down.WILLY: Why did he come home? I would like to know what brought him home.LINDA: I don’t know. I think he’s still lost, Willy. I think he’s very lost.WILLY: Biff Loman is lost. In the greatest country in the world a young man with such — personal attractiveness, gets lost. And such a hard worker. There’s one thing about Biff — he’s not lazy.LINDA: Never.WILLY (with pity and resolve): I’ll see him in the morning; I’ll have a nice talk with him. I’ll get him a job selling. He could be big in no time. My God! Remember how they used to follow him around in high school? When he smiled at one of them their faces lit up. When he walked down the street... (He loses himself in reminiscences.)LINDA (trying to bring him out of it): Willy, dear, I got a new kind of American-type cheese today. It’s whipped.WILLY: Why do you get American when I like Swiss?LINDA: I just thought you’d like a change...WILLY: I don’t want a change! I want Swiss cheese. Why am I always being contradicted?LINDA (with a covering laugh): I thought it would be a surprise.WILLY: Why don’t you open a window in here, for God’s sake?LINDA (with infinite patience): They’re all open, dear.WILLY: The way they boxed us in here. Bricks and windows, windows and bricks.LINDA: We should’ve bought the land next door.WILLY: The street is lined with cars. There’s not a breath of fresh air in the neighborhood. The grass don’t grow anymore, you can’t raise a carrot in the backyard. They should’ve had a law 457
against apartment houses. Remember those two beautiful elm trees out there? When I and Biff hung the swing between them?LINDA: Yeah, like being a million miles from the city.WILLY: They should’ve arrested the builder for cutting those down. They massacred the neighborhood. (Lost.) More and more I think of those days, Linda. This time of year it was lilac and wisteria. And then the peonies would come out, and the daffodils. What fragrance in this room!LINDA: Well, after all, people had to move somewhere.WILLY: No, there’s more people now.LINDA: I don’t think there’s more people. I think.WILLY: There’s more people! That’s what’s ruining this country! Population is getting out of control. The competition is maddening! Smell the stink from that apartment house! And another one on the other side... How can they whip cheese? (On Willy’s last line, Biff and Happy raise themselves up in their beds, listening.)LINDA: Go down, try it. And be quiet.WILLY (turning to Linda, guiltily): You’re not worried about me, are you, sweetheart?BIFF: What’s the matter?HAPPY: Listen!LINDA: You’ve got too much on the ball to worry about.WILLY: You’re my foundation and my support, Linda.LINDA: Just try to relax, dear. You make mountains out of molehills.WILLY: I won’t fight with him anymore. If he wants to go back to Texas, let him go.LINDA: He’ll find his way.WILLY: Sure. Certain men just don’t get started till later in life. Like Thomas Edison; I think. Or B. F. Goodrich. One of them was deaf. (He starts for the bedroom doorway.) I’ll put my money on Biff.LINDA: And Willy — if it’s warm Sunday we’ll drive in the country. And we’ll open the wind- shield, and take lunch.WILLY: No, the windshields don’t open on the new cars.LINDA: But you opened it today.WILLY: Me? I didn’t. (He stops.) Now isn’t that peculiar! Isn’t that a remarkable... (He breaks off in amazement and fright as the flute is heard distantly.)LINDA: What, darling?WILLY: That is the most remarkable thing. 458
LINDA: What, dear?WILLY: I was thinking of the Chevvy. (Slight pause.) Nineteen twenty-eight ... when I had that red Chevvy... (Breaks off.) That funny? I coulda sworn I was driving that Chevvy today.LINDA: Well, that’s nothing. Something must’ve reminded you.WILLY: Remarkable. Ts. Remember those days? The way Biff used to simonize that car? The dealer refused to believe there was eighty thousand miles on it. (He shakes his head.) Heh! (To Linda.) Close your eyes, I’ll be right up. (He walks out of the bedroom.)HAPPY (to Biff): Jesus, maybe he smashed up the car again!LINDA (calling after Willy): Be careful on the stairs, dear! The cheese is on the middle shelf. (She turns, goes over to the bed, takes his jacket, and goes out of the bedroom. Light has risen on the boys’ room. Unseen, Willy is heard talking to himself, “eighty thousand miles,” and a little laugh. Biff gets out of bed, comes downstage a bit, and stands attentively. Biff is two years older than his brother Happy, well built, but in these days bears a worn air and seems less self-assured. He has succeeded less, and his dreams are stronger and less acceptable than Happy’s. Happy is tall, powerfully made. Sexuality is like a visible color on him, or a scent that many women have discovered. He, like his brother, is lost, but in a different way, for he has never allowed himself to turn his face toward defeat and is thus more confused and hard-skinned, although seemingly more content.)HAPPY (getting out of bed): He’s going to get his license taken away if he keeps that up. I’m getting nervous about him, y’know, Biff?BIFF: His eyes are going.HAPPY: I’ve driven with him. He sees all right. He just doesn’t keep his mind on it. I drove into the city with him last week. He stops at a green light and then it turns red and he goes. (He laughs.)BIFF: Maybe he’s color-blind.HAPPY: Pop? Why he’s got the finest eye for color in the business. You know that.BIFF (sitting down on his bed): I’m going to sleep.HAPPY: You’re not still sour on Dad, are you, Biff?BIFF: He’s all right, I guess.WILLY (underneath them, in the living room): Yes, sir, eighty thousand miles — eighty-two thousand!BIFF: You smoking?HAPPY (holding out a pack of cigarettes): Want one?BIFF (taking a cigarette): I can never sleep when I smell it.WILLY: What a simonizing job, heh? 459
HAPPY (with deep sentiment): Funny, Biff, y’know? Us sleeping in here again? The old beds. (He pats his bed affectionately.) All the talk that went across those two beds, huh? Our whole lives.BIFF: Yeah. Lotta dreams and plans.HAPPY (with a deep and masculine laugh): About five hundred women would like to know what was said in this room. (They share a soft laugh.)BIFF: Remember that big Betsy something — what the hell was her name — over on Bushwick Avenue?HAPPY (combing his hair): With the collie dog!BIFF: That’s the one. I got you in there, remember?HAPPY: Yeah, that was my first time — I think. Boy, there was a pig. (They laugh, almost crudely.) You taught me everything I know about women. Don’t forget that.BIFF: I bet you forgot how bashful you used to be. Especially with girls.HAPPY: Oh, I still am, Biff.BIFF: Oh, go on.HAPPY: I just control it, that’s all. I think I got less bashful and you got more so. What hap- pened, Biff? Where’s the old humor, the old confidence? (He shakes Biffs knee. Biff gets up and moves restlessly about the room.) What’s the matter?BIFF: Why does Dad mock me all the time?HAPPY: He’s not mocking you, he...BIFF: Everything I say there’s a twist of mockery on his face. I can’t get near him.HAPPY: He just wants you to make good, that’s all. I wanted to talk to you about Dad for a long time, Biff. Something’s — happening to him. He — talks to himself.BIFF: I noticed that this morning. But he always mumbled.HAPPY: But not so noticeable. It got so embarrassing I sent him to Florida. And you know something? Most of the time he’s talking to you.BIFF: What’s he say about me?HAPPY: I can’t make it out.BIFF: What’s he say about me?HAPPY: I think the fact that you’re not settled, that you’re still kind of up in the air...BIFF: There’s one or two other things depressing him, Happy.HAPPY: What do you mean?BIFF: Never mind. Just don’t lay it all to me.HAPPY: But I think if you just got started — I mean — is there any future for you out there?BIFF: I tell ya, Hap, I don’t know what the future is. I don’t know — what I’m supposed to want. 460
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