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wlp-FM-Title and Half titl#EEF3 5/6/2008 3:35 PM Page i
wlp-FM-Title and Half titl#EEF3 5/7/2008 11:55 AM Page ii
wlp-FM-Title and Half titl#EEF3 5/7/2008 11:58 AM Page iii

Arthur N. Applebee
Andrea B. Bermúdez
Sheridan Blau
Rebekah Caplan
Peter Elbow
Susan Hynds
Judith A. Langer
James Marshall
 Copyright © 2008 Holt McDougal, a division of Houghton Mifflin Harcourt Publishing Company.
All rights reserved.
Warning: All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system
without the prior written permission of Holt McDougal unless such copying is expressly permitted by federal
copyright law. With the exception of not-for-profit transcription in Braille, Holt McDougal is not authorized to grant
permission for further uses of copyrighted selections reprinted in this text without the permission of their owners.
Permission must be obtained from the individual copyright owners.
Requests for permission to make copies of any part of the work should be mailed to the following address: Permissions
Department, Holt McDougal, 10801 N. MoPac Expressway, Building 3, Austin, Texas 78759.

acknowledgments
reading model
Parabola and Paul Jordan-Smith: “Green Willow,” retold by Paul Jordan-Smith, from Parabola: The Magazine
of Myth and Tradition 8.1 (January 1983). Copyright © 1983 by Paul Jordan-Smith. Reprinted by permission of
Parabola and the author.

unit one
Penguin Books: Excerpts from The Epic of Gilgamesh, translated by N. K. Sandars (Penguin Classics, 1960; third
edition, 1972). Copyright © 1960, 1964, 1972 by N. K. Sandars. Reproduced by permission of Penguin Books Ltd.
“Creation Hymn” and “Burial Hymn,” from The Rig Veda, translated by Wendy Doniger O’Flaherty (Penguin
Classics, 1981). Copyright © 1981 by Wendy Doniger O’Flaherty. Reproduced by permission of Penguin Books Ltd.
Henry Holt and Company: Excerpt from the Book of the Dead, from Wings of the Falcon, translated by Joseph
Kaster. Copyright © 1968 by Joseph Kaster. Reprinted by permission of Henry Holt and Company, LLC.
University of Texas Press: “I’m going downstream on Kingswater Canal” and “Whenever I leave you, I go out of
breath,” from Love Songs of the New Kingdom, translated from the ancient Egyptian by John L. Foster. Copyright ©
1969, 1970, 1971, 1972, 1973, 1974 by John L. Foster. Reprinted by permission of the University of Texas Press.
Simon & Schuster: Excerpts from the Book of Genesis and the Book of Psalms, from The Bible, Designed to
Be Read as Living Literature, edited by Ernest Sutherland Bates. Copyright © 1936 by Simon and Schuster, Inc.
Copyright renewed © 1964 by Simon and Schuster, Inc. Reprinted with the permission of Simon & Schuster.
Continued on page R180

art credits
Maps © GeoNova LLC.

cover, frontispiece
Illustration © 2002 Glenn Harrington.
Continued on page R187

H O LT M C D O U G A L is a trademark of Houghton Mifflin Harcourt Publishing Company.

Printed in the United States of America

If you have received these materials as examination copies free of charge, Holt McDougal retains
title to the materials and they may not be resold. Resale of examination copies is strictly prohibited.

Possession of this publication in print format does not entitle users to convert this publication,
or any portion of it, into electronic format.

ISBN 13: 978 - 0 - 547 - 11648-8 ISBN 10: 0 - 547 - 11648-9

1 2 3 4 5 6 7 8 9 — DWO— 12 11 10 09 08

iv

WL-Copyright.indd iv 5/2/08 9:45:07 AM

wlp-FM-ack&names iv-vii 10/9/01 9:04 AM Page v

Senior Consultants
The senior consultants guided the conceptual development for The Language of
Literature series. They participated actively in shaping prototype materials for major
components, and they reviewed completed prototypes and/or completed units to
ensure consistency with current research and the philosophy of the series.
Arthur N. Applebee Professor of Education, State University of New York at
Albany; Director, Center for the Learning and Teaching of Literature; Senior Fellow,
Center for Writing and Literacy
Andrea B. Bermúdez Professor of Studies in Language and Culture; Director,
Research Center for Language and Culture; Chair, Foundations and Professional
Studies, University of Houston–Clear Lake
Sheridan Blau Senior Lecturer in English and Education and former Director of
Composition, University of California at Santa Barbara; Director, South Coast
Writing Project; Director, Literature Institute for Teachers; Former President,
National Council of Teachers of English
Rebekah Caplan Senior Associate for Language Arts for middle school and high
school literacy, National Center on Education and the Economy, Washington, D.C.;
served on the California State English Assessment Development Team for Language
Arts; former co-director of the Bay Area Writing Project, University of California at
Berkeley
Peter Elbow Emeritus Professor of English, University of Massachusetts at
Amherst; Fellow, Bard Center for Writing and Thinking
Susan Hynds Professor and Director of English Education, Syracuse University,
Syracuse, New York
Judith A. Langer Professor of Education, State University of New York at
Albany; Co-director, Center for the Learning and Teaching of Literature; Senior
Fellow, Center for Writing and Literacy
James Marshall Professor of English and English Education; Chair, Division of
Curriculum and Instruction, University of Iowa, Iowa City

Contributing Consultants
Linda Diamond Executive Vice President, Consortium on Reading Excellence
(CORE); co-author of Building a Powerful Reading Program
Lucila A. Garza ESL Consultant, Austin, Texas
Jeffrey N. Golub Assistant Professor of English Education, University of
South Florida, Tampa
William L. McBride, Ph.D. Reading and Curriculum Specialist; former middle
and high school English instructor
Sharon Sicinski-Skeans, Ph.D. Assistant Professor of Reading, University of
Houston–Clear Lake; primary consultant on The InterActive Reader

v
wlp10_12CA_FM_iv-vii 8/17/2005 11:22 AM Page vi

Multicultural Advisory Board

The multicultural advisors reviewed literature selections for appropriate content and
made suggestions for teaching lessons in a multicultural classroom.
Julie A. Anderson English Department Chairperson, Dayton High School, Dayton,
Oregon
Vikki Pepper Ascuena Meridian High School, Meridian, Idaho
Dr. Joyce M. Bell Chairperson, English Department, Townview Magnet Center,
Dallas, Texas
Linda F. Bellmore Livermore High School, Livermore, California
Dr. Eugenia W. Collier Author; lecturer; Chairperson, Department of English and
Language Arts; Teacher of Creative Writing and American Literature, Morgan State
University, Maryland
Dr. Bill Compagnone English Department Chairperson, Lawrence High School,
Lawrence, Massachusetts
Kathleen S. Fowler President, Palm Beach County Council of Teachers of English,
Boca Raton Middle School, Boca Raton, Florida
Jan Graham Cobb Middle School, Tallahassee, Florida
Barbara J. Kuhns Camino Real Middle School, Las Cruces, New Mexico
Patricia J. Richards Prior Lake, Minnesota
Continued on page R202

Teacher Review Panels

The following educators provided ongoing review during the development of the
tables of contents, lesson design, and key components of the program.

CALIFORNIA
Steve Bass 8th Grade Team Leader, Meadowbrook Middle School, Ponway Unified
School District

Cynthia Brickey 8th Grade Academic Block Teacher, Kastner Intermediate School,
Clovis Unified School District
Karen Buxton English Department Chairperson, Winston Churchill Middle School,
San Juan School District
Bonnie Garrett Davis Middle School, Compton School District
Sally Jackson Madrona Middle School, Torrance Unified School District
Sharon Kerson Los Angeles Center for Enriched Studies, Los Angeles Unified School
District
Continued on page R202

vi
wlp-FM-ack&names iv-vii 10/9/01 9:04 AM Page vii

Manuscript Reviewers
The following educators reviewed prototype lessons and tables of contents during
the development of The Language of Literature program.
David Adcox Trinity High School, Euless, Texas
Carol Alves English Department Chairperson, Apopka High School, Apopka,
Florida

Jacqueline Anderson James A. Foshay Learning Center, Los Angeles, California

Kathleen M. Anderson-Knight United Township High School, East Moline, Illinois

Anita Arnold Thomas Jefferson High School, San Antonio, Texas

Cassandra L. Asberry Dean of Instruction, Carter High School, Dallas, Texas

Jolene Auderer Pine Tree High School, Longview, Texas

Don Baker English Department Chairperson, Peoria High School, Peoria, Illinois

Continued on page R169

World Literature Teacher Panel

The following educators provided guidance during the initial development
of this book.
Renee Bartholomew Crystal Lake Central High School, Crystal Lake, Illinois
Johanna Brocker Wells Community Academy, Chicago, Illinois
Ken Filas Round Lake High School, Round Lake, Illinois
Elizabeth Kenny Adlai E. Stevenson High School, Lincolnshire, Illinois
Allan Ruter Glenbrook South High School, Glenview, Illinois
Margaret Sinclair Glenbard High School, Carol Stream, Illinois
Judith Soltis, Ph.D. Homewood-Flossmoor High School, Flossmoor, Illinois
Patty Van Lehn St. Charles High School, St. Charles, Illinois
Charles Venegoni, Ph.D. John Hersey High School, Arlington Heights, Illinois
Suzanne Zweig Sullivan High School, Chicago, Illinois

The following people provided assistance with Lakota and West African
pronunciations.
Jim Green Lakota Instructor, Language Department, South Dakota State University
Robert Launay Professor or Anthropology, Northwestern University
Elikem Tomety Consultant from Ghana

vii
wlp-FM-Overview pp.viii-ix 10/15/01 7:08 AM Page viii

World Literature
Overview
UNIT UNIT
ONE Literature of the Ancient World FOUR Literature of the Middle East
3000 B.C.–A.D. 500 and Africa A.D. 300–1900
Part 1 Mesopotamian, Egyptian & Hebrew Part 1 Persian and Arabic Literature
Literature Part 2 West African Oral Literature
Part 2 Literature of India SKILL FOCUS
LITERARY FOCUS SKILL FOCUS Writing Workshop: Personality Profile
The Epic Writing Workshop: Autobiographical Grammar: Using Adverbs and Adverb
Incident Phrases
Grammar: Using Elements in a Series Vocabulary: Using Context Clues
Vocabulary: Words with Multiple
Meanings UNIT
FIVE Europe in Transition 400–1789
UNIT
TWO The Classical Age of Greece Part 1 Literature of the Middle Ages
Part 2 Literature of the Renaissance
and Rome 800 B.C.– A.D. 200 & Enlightenment
LITERARY FOCUS SKILL FOCUS
Part 1 Literature of Ancient Greece The Sonnet Writing Workshop: Subject Analysis
Part 2 Literature of Ancient Rome Communication Workshop: Persuasive
LITERARY FOCUS SKILL FOCUS Speech
The Epics Communication Workshop: Writing Grammar: Changing Word Order for
of Greece and Staging a Scene Sentence Variety, Using Noun Clauses
and Rome Grammar: Using Participles Vocabulary: Understanding Analogies,
Vocabulary: Analyzing Word Parts— Analyzing Word Parts—Affixes
Greek and Latin Roots
UNIT
UNIT
SIX 19th-Century European
THREE Traditions in Chinese and Literature 1789–1899
Japanese Literature 1500 B.C.–A.D.1800
Part 1 The Age of Romanticism
Part 1 Literature of Ancient China Part 2 The Emergence of Realism
Part 2 Literature of Japan LITERARY FOCUS SKILL FOCUS
LITERARY FOCUS SKILL FOCUS Romanticism Writing Workshop: Cause-and-Effect
Moral Teaching Writing Workshop: Lyric Poetry, Realism Essay
Through Problem-Solution Essay Grammar: Using Adverb Clauses
Literature Grammar: Using Parallelism for Effect, Vocabulary: Recognizing Denotations
Creating Compound and Complex and Connotations
Sentences
Vocabulary: Homophones, Homonyms, UNIT
and Homographs; Using Reference Tools SEVEN Modern and Contemporary
Literature 1900–Present
Part 1 Expressions of Modernism
Part 2 Responses to War and Conflict
Part 3 Contemporary Nobel Prize Winners
LITERARY FOCUS SKILL FOCUS
Modernism Writing Workshops: Literary
Magical Interpretation, Research Report
Realism Grammar: Using Adjective Phrases
and Clauses, Varying Sentence Length
Vocabulary: Recognizing Word Families,
Choosing Word Attack Strategies

viii
wlp-FM-Overview pp.viii-ix 2/25/05 9:13 AM Page ix

Table of Contents
Student Resource Bank THE L ANG UAG E OF
Reading Handbook
Writing Handbook
Communication Handbook
Grammar Handbook
Academic Reading Handbook
Glossary of Literary Terms
Glossary of Words to Know in English and Spanish

Reading
Literature Connections
Each of the books in the
Literature Connections series L II TT EE RR A
ATTU
UR
REE CO
ONNN
NEEC
CTTI IO
Strategies
ONNS
S

combines a novel or play with Tools for Active Reading 6

related readings—poems,
STRATEGIES FOR READING
stories, plays, personal essays,
articles—that add new
Reading Literature 8
perspectives on the theme
READING MODEL
or subject matter of the Related Readin
and
gs Green Willow
longer work.
MC
CD O
OU
Japanese folk tale retold by Paul Jordan-Smith
UG
GA AL
L L II TT TT EE LL L
L

Listed below are some of

the titles that can be used Reading Handbook
along with this World READING FOR DIFFERENT PURPOSES R2
Literature anthology: READING FOR INFORMATION R4
Text Organizers R4
The Tempest by William Shakespeare Reading a Magazine Article R6
Hamlet by William Shakespeare Reading a Web Page R7
PATTERNS OF ORGANIZATION R8
Macbeth by William Shakespeare Main Idea and Supporting Details R9
Julius Caesar by William Shakespeare Chronological Order R10
Canterbury Tales by Geoffrey Chaucer Comparison and Contrast R11
Cause and Effect R12
Tess of the d’Urbervilles by Thomas Hardy Problem and Solution R13
1984 by George Orwell FUNCTIONAL READING R14
Transit Map R14
Kaffir Boy by Mark Mathabane
Workplace Document R15
Nervous Conditions by Tsitsi Dangarembga ENRICHING YOUR VOCABULARY R16
A Place Where the Sea Remembers
by Sandra Benítez Academic Reading Handbook R91
Analyzing Text Features R91
Things Fall Apart by Chinua Achebe Understanding Visuals R95
The Underdogs by Mariano Azuela Recognizing Text Structures R99
Reading in the Content Areas R109
When Rain Clouds Gather by Bessie Head Reading Beyond the Classroom R115

ix
wlp-FM-TOC x-xxiv 10/9/01 9:15 AM Page x

UNIT ONE

Literature of the
Ancient World
2500 b.c.–a.d. 300 14

Spiritual Beginnings 16
Part 1 Mesopotamian, Egyptian, & Hebrew Literature
Mesopotamia: History, Arts, and Culture 18
INTERNET
CONNECTION
Egypt: History, Arts, and Culture 20
The Ancient Hebrews: History, Arts, and Culture 22
Searching for the Past 24
Time Line 26
Connect to Today: The Legacy of the Ancient Middle East 28

Learning the Language of Literature:

Foundations of Early Literature 30
Mesopotamian from The Epic of Gilgamesh EPIC POETRY 32
Literature • GUIDE FOR READING
• CONNECT TO TODAY: THE QUEST TO FIND GILGAMESH 49
Egyptian Literature from the Book of the Dead SCRIPTURE 50
Adoration of the Disk
New Kingdom Poetry POETRY 56
I’m going downstream on Kingswater Canal
Whenever I leave you, I go out of breath
• THE TRANSLATOR AT WORK: DECODING HIEROGLYPHICS 61

Comparing Literature Across Cultures 62

Creation Literature
Hebrew Literature from The Hebrew Bible SCRIPTURE 63
from Genesis
Creation and the Fall
Noah and the Flood
Mayan Literature Popol Vuh MYTH 76
• GUIDE FOR READING
Standardized Test Practice Writing About Literature 87
x
wlp-FM-TOC x-xxiv 10/9/01 9:16 AM Page xi

Hebrew Literature from The Hebrew Bible SCRIPTURE 88

Psalms 23, 104
The Book of Ruth

from The New Testament SCRIPTURE 98

The Parable of the Prodigal Son

PART WRAP-UP 100

Reflect and Assess
Extend Your Reading

Sacred and Practical Teachings

Part 2 Literature of Ancient India 102

Historical Highlights 104

INTERNET
CONNECTION
People and Society 106
Arts and Culture 108
Time Line 110
Connect to Today: The Legacy of Ancient India 112

from the Rig Veda SCRIPTURE 114

Creation Hymn
Burial Hymn
Learning the Language of Literature: The Epic 120

from the Mahabharata EPIC 122

Arjuna, the Mighty Archer
Milestones in World Literature:
The Bhagavad-Gita 128

Valmiki from the Ramayana EPIC 130

Rama and Ravana in Battle

Related Reading
Jonah Blank from Arrow of the Blue-Skinned God NONFICTION 141
• CONNECT TO TODAY: MODERN VIEWS OF
RAMA AND SITA 145

from the Panchatantra TALES 146

Slow, the Weaver
The Brahman’s Dream

WRITING WORKSHOP
Personal and Reflective Writing Autobiographical Incident 150
Standardized Test Practice Revising and Editing 155
Building Vocabulary Words with Multiple Meanings 156
Sentence Crafting Using Elements in a Series 157

PART WRAP-UP 158

Reflect and Assess
Extend Your Reading
xi
wlp-FM-TOC x-xxiv 5/8/2008 3:58 PM Page xii

UNIT TWO

Greece
The Classical Age of
and
Rome
800 b.c.–a.d. 200 160

The Heroic Tradition

Part 1 Literature of Ancient Greece 162

Historical Highlights 164

INTERNET
CONNECTION
People and Society 166
Culture 168
Arts and Humanities 170
Time Line 172
Connect to Today: The Legacy of Ancient Greece 174

Learning the Language of Literature:

The Epics of Greece and Rome 176

Homer from the Iliad EPIC POETRY 178

• GUIDE FOR READING
from Book 1: The Rage of Achilles
from Book 6: Hector Returns to Troy
from Book 22: The Death of Hector
from Book 24: Achilles and Priam
• THE TRANSLATOR AT WORK: HOMER AND THE ORAL TRADITION 225
Sappho To an army wife, in Sardis POETRY 226
He Is More Than a Hero
To Aphrodite of the Flowers, at Knossos
Thucydides from History of the Peloponnesian War NONFICTION 232
Pericles’ Funeral Oration
• CONNECT TO TODAY: NELSON MANDELA
CELEBRATES A NATIONAL HERO 245
Plato from the Apology NONFICTION 246
Milestones in World Literature: Greek Drama 256
Sophocles Oedipus the King DRAMA 258
• GUIDE FOR READING

xii
wlp-FM-TOC x-xxiv 10/9/01 9:17 AM Page xiii

Related Reading
Muriel Rukeyser Myth POETRY 329

COMMUNICATION WORKSHOP
Speaking and Listening Writing and Staging a Scene 332
Standardized Test Practice Revising and Editing 339
Building Vocabulary Analyzing Word Parts—Greek and Latin Roots 340
Sentence Crafting Using Participles 341

PART WRAP-UP 342

Reflect and Assess
Extend Your Reading

The Tradition Continues

Part 2 Literature of Ancient Rome 344

Historical Highlights 346

INTERNET
CONNECTION
People and Society 348
Arts and Culture 350
Time Line 352
Connect to Today: The Legacy of Ancient Rome 354

Virgil from the Aeneid EPIC POETRY 356

from Book 2: The Fall of Troy
• GUIDE FOR READING

Comparing Literature Across Cultures 382

Perspectives on Helen of Troy
Sara Teasdale Helen of Troy UNITED STATES POETRY 383

Edgar Allan Poe To Helen UNITED STATES POETRY 388

Standardized Test Practice Writing About Literature 391

Horace Seize the Day POETRY 392

Better to live, Licinius
Ovid from Metamorphoses POETRY 398
The Story of Daedalus and Icarus
Related Reading
William Carlos Landscape with the Fall of Icarus POETRY 403
Williams • CONNECT TO TODAY: THE URGE TO FLY 405
Tacitus from The Annals NONFICTION 406
The Burning of Rome
PART WRAP-UP 410
Reflect and Assess
Extend Your Reading
Standardized Test Practice Reading and Writing for Assessment 412

xiii
wlp-FM-TOC x-xxiv 10/9/01 9:18 AM Page xiv

UNIT THREE

Chinese
Traditions in

and
Japanese Literature
1500 b.c.–a.d. 1800 418

From Observation to Insight

Part 1 Literature of Ancient China 420
Historical Highlights 422
INTERNET
CONNECTION
People and Society 424
Arts and Culture 426
Time Line 428
Connect to Today: The Legacy of Ancient China 430

Learning the Language of Literature:

Moral Teaching Through Literature 432
Confucius from the Analects NONFICTION 434
Lao-tzu from the Tao Te Ching NONFICTION 440
Related Reading
Chuang Tzu Taoist Tale: The Fish Rejoice FICTION 444
Anonymous from the Book of Odes POETRY 446
Mulberry on the Lowland
We Pick Ferns, We Pick Ferns
Li Po The River-Merchant’s Wife: A Letter POETRY 452
Still Night Thoughts
Gazing at the Lu Mountain Waterfall
• THE TRANSLATOR AT WORK: TRANSLATING
CHINESE POETRY 461
Tu Fu Dreaming of Li Po POETRY 462
Jade Flower Palace
Related Reading
Percy Bysshe Shelley Ozymandias POETRY 467
Tu Fu Song of P’eng-ya POETRY 468
• CONNECT TO TODAY: REFUGEES—PEOPLE
WITHOUT A COUNTRY 471
Li Ch’ing-chao Two Springs POETRY 472
On Plum Blossoms

WRITING WORKSHOP
Narrative and Literary Writing Lyric Poetry 476
Standardized Test Practice Revising and Editing 481
Building Vocabulary Homophones, Homonyms, and Homographs 482
Sentence Crafting Using Parallelism for Effect 483
xiv
wlp-FM-TOC x-xxiv 10/9/01 9:18 AM Page xv

PART WRAP-UP 484

Reflect and Assess
Extend Your Reading

Capturing the Moment

Part 2 Literature of Japan 486

Historical Highlights 488

INTERNET
CONNECTION
People and Society 490
Arts and Culture 492
Time Line 494
Connect to Today: The Legacy of Japan 496

Sei Sho-nagon from The Pillow Book NONFICTION 498

Milestones in World Literature: The Tale of Genji 508
Muso- Soseki Zen Teachings NONFICTION 510
Anonymous Zen Parables
• CONNECT TO TODAY: ZEN—ALIVE AND WELL 517
Noh Drama
Zeami Motokiyo The Deserted Crone DRAMA 518
• GUIDE FOR READING
Tanka Poetry
Ono Komachi I’ve gone to him POETRY 534
Lady Ise Spring rains weaving
Ki Tsurayuki In this world
Saigyo- As I look at the moon

Comparing Literature Across Cultures 540

Haiku Across the Centuries
Japanese Haiku
Matsuo Basho- Haiku POETRY 541
Yosa Buson
Kobayashi Issa
Related Reading: Primary Source
Kobayashi Issa from The Spring of My Life NONFICTION 544

Haiku in the 20th Century

José Juan Tablada Haiku MEXICO POETRY 547
Richard Wright Haiku UNITED STATES

Standardized Test Practice Writing About Literature 551

WRITING WORKSHOP
Informative Exposition Problem-Solution Essay 552
Standardized Test Practice Revising and Editing 557
Building Vocabulary Using Reference Tools 558
Sentence Crafting Creating Compound and Complex Sentences 559

PART WRAP-UP 560

Reflect and Assess
Extend Your Reading
xv
wlp-FM-TOC x-xxiv 5/2/2008 11:38 AM Page xvi

UNIT FOUR

Middle
Literature of the
East
Africa
and

a.d. 300–1900 562

Mysticism, Morals, Magic

Part 1 Persian and Arabic Literature 564

Historical Highlights 566

INTERNET
CONNECTION
People and Society 568
Arts and Culture 570
Time Line 572
Connect to Today: The Legacy of Persia and Arabia 574

from The Koran SCRIPTURE 576

The Exordium
Faith in God
Night
Daylight

Anonymous from The Thousand and One Nights TALE 582

The Second Voyage of Sindbad the Sailor
• CONNECT TO TODAY: SINDBAD YESTERDAY,
TODAY, AND TOMORROW 591
Milestones in World Literature:
The Shahnameh—Epic of Persia 592

Omar Khayyám from the Rubáiyát POETRY 594

• THE TRANSLATOR AT WORK: FITZGERALD’S RUBÁIYÁT 599

Rumi Birdsong from Inside the Egg POETRY 600

The Grasses

Sadi from the Gulistan TALES 606

PART WRAP-UP 610

Reflect and Assess
Extend Your Reading
xvi
wlp-FM-TOC x-xxiv 10/9/01 9:20 AM Page xvii

Giving Guidance, Praising Greatness

Part 2 West African Oral Literature 612

Historical Highlights 614

INTERNET
CONNECTION
People and Society 616
Arts and Culture 618
Time Line 620
Connect to Today: The Legacy of West Africa 622

Fulani How the World Was Created from MYTH 624

a Drop of Milk

Soninke The First Bard Among the Soninke LEGEND 628

Mandinka from Sundiata EPIC 632

Childhood
The Lion’s Awakening

Yoruba Praise Songs for Orishas SONGS 642

Obatala
Shango
Oshun
• CONNECT TO TODAY: ORISHAS IN THE AMERICAS 649

Comparing Literature Across Cultures 650

Trickster Tales
Ashanti Tales of Anansi the Spider TALES 651
All Stories are Anansi’s
Anansi Plays Dead

Lakota Tales of Iktomi the Spider NORTH AMERICA TALES 658

Iktomi and the Wild Ducks
Iktomi Takes Back a Gift

Standardized Test Practice Writing About Literature 663

Various West African Proverbs NONFICTION 664

WRITING WORKSHOP
Observation and Description Personality Profile 668
Standardized Test Practice Revising and Editing 673
Building Vocabulary Using Context Clues 674
Sentence Crafting Using Adverbs and Adverb Phrases 675

PART WRAP-UP 676

Reflect and Assess
Extend Your Reading

Standardized Test Practice Reading and Writing for Assessment 678

xvii
wlp-FM-TOC x-xxiv 10/9/01 9:20 AM Page xviii

UNIT FIVE

Europe
in
Transition
400–1789 684

Heroic Quests
Part 1 Literature of the Middle Ages 686

Historical Highlights 688

INTERNET
CONNECTION
People and Society 690
Arts and Culture 691
Time Line 692
Connect to Today: The Legacy of the Middle Ages 694

Anonymous from The Song of Roland FRANCE EPIC 696

Chrétien de Troyes from Perceval: The Story of the Grail FRANCE ROMANCE 708
• GUIDE FOR READING
• CONNECT TO TODAY: THE GRAIL LEGEND IN FILM AND STORY 723
Marie de France The Lay of the Were-Wolf FRANCE TALE 724

DANTE ALIGHIERI AUTHOR STUDY ITALY

Life and Times 732

INTERNET CONNECTION

from The Inferno POETRY 736

Cantos 1, 3, 5, 34
• GUIDE FOR READING
from La Vita Nuova MEMOIR 757
The Author’s Style 760

D OM
NETACTIVITIES: WRITING WORKSHOP
C

Author Exploration Informative Exposition Subject Analysis 762

Standardized Test Practice Revising and Editing 767
Building Vocabulary Understanding Analogies 768
Sentence Crafting Changing Word Order for Sentence Variety 769

PART WRAP-UP 770

Reflect and Assess
Extend Your Reading
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Human Possibility
Part 2 Literature of the Renaissance & Enlightenment
Historical Highlights 774
INTERNET
CONNECTION
People and Society 776
Arts and Culture 778
Time Line 780
Connect to Today: The Legacy of the Renaissance and Enlightenment 782

Giovanni Boccaccio from The Decameron ITALY FICTION 784

Federigo’s Falcon
Related Reading: Primary Source
Andreas Capellanus from The Art of Courtly Love FRANCE NONFICTION 791
Sir Thomas More from Utopia ENGLAND FICTION 794
• CONNECT TO TODAY: SEARCHING FOR UTOPIA 803
Learning the Language of Literature: The Sonnet 804
The Sonnet Poets
Francesco Petrarch Sonnet 3 ITALY POETRY 806
Pierre de Ronsard To Hélène FRANCE POETRY 808
• THE TRANSLATOR AT WORK: DEALING WITH THE SONNET 811
William Shakespeare Sonnet 29 ENGLAND POETRY 812
Sonnet 30
Sonnet 64
Milestones in World Literature: The Plays of Shakespeare 818

Comparing Literature Across Cultures 820

Sonnets by Women
Louise Labé Sonnet 23 FRANCE POETRY 821
Sor Juana Inés Stay, shadow of contentment MEXICO POETRY 824
de la Cruz
Standardized Test Practice Writing About Literature 827

Miguel de Cervantes from Don Quixote SPAIN FICTION 828

Related Reading
Jorge Luis Borges A Soldier of Urbina ARGENTINA POETRY 843
Milestones in World Literature: The Plays of Molière 846
Voltaire from Candide FRANCE FICTION 848
COMMUNICATION WORKSHOP
Speaking and Listening Persuasive Speech 858
Building Vocabulary Analyzing Word Parts: Affixes 864
Sentence Crafting Using Noun Clauses 865

PART WRAP-UP 866

Reflect and Assess
Extend Your Reading

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UNIT SIX

19th-Century
European Literature
1798–1899 868

Expressions of the Heart

Part 1 The Age of Romanticism 870

Historical Highlights 872

INTERNET
CONNECTION
Arts and Culture 874
Time Line 876

Learning the Language of Literature: Romanticism 878

Johann Wolfgang from Faust GERMANY VERSE DRAMA 880

von Goethe • GUIDE FOR READING
Related Reading: Primary Source
from Letter to His Friends NONFICTION 895

Comparing Literature Across Cultures 898

Romantic Poetry
William Wordsworth The World Is Too Much With Us ENGLAND POETRY 899
My Heart Leaps Up

Related Reading: Primary Source

Dorothy Wordsworth from the Grasmere Journals ENGLAND NONFICTION 902

Romantic Poetry
from Other Cultures
José Martí from Simple Verses CUBA POETRY 905
Uvavnuk Shaman Song INUK/ESKIMO POETRY 907
Standardized Test Practice Writing About Literature 909

Heinrich Heine The Lorelei GERMANY POETRY 910

Victor Hugo from The Expiation FRANCE POETRY 914
Russia 1812
• CONNECT TO TODAY: VICTOR HUGO ON STAGE AND SCREEN 921
Charles Baudelaire Invitation to the Voyage FRANCE POETRY 922
The Albatross
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Arthur Rimbaud The Sleeper in the Valley FRANCE POETRY 928

Paul Verlaine Autumn Song FRANCE POETRY 930

PART WRAP-UP 932

Reflect and Assess
Extend Your Reading

Life’s Lessons
Part 2 The Emergence of Realism 934

Historical Highlights 936

INTERNET
CONNECTION
Arts and Culture 938
Time Line 940

Learning the Language of Literature: Realism 942

Guy de Maupassant A Piece of String FRANCE FICTION 944

LEO TOLSTOY AUTHOR STUDY RUSSIA

Life and Times 954

INTERNET CONNECTION

How Much Land Does a Man Need? FICTION 958

Letter to N. A. Nekrasov NONFICTION 974
What Men Live By FICTION 976
from Sonya Tolstoy’s Diary NONFICTION 993
The Author’s Style 996
OM
D
NETACTIVITIES: Comparing Literature Across Cultures 998
C

Author Exploration Realism in Fiction

Anton Chekhov A Problem RUSSIA FICTION 999
Rabindranath Tagore The Artist INDIA FICTION 1008
Standardized Test Practice Writing About Literature 1015

Milestones in World Literature: The Novels

of Fyodor Dostoyevsky 1016

Henrik Ibsen A Doll House NORWAY DRAMA 1018

• GUIDE FOR READING
• THE TRANSLATOR AT WORK: TRANSLATING DRAMA 1063
• CONNECT TO TODAY: WOMEN IN SOCIETY 1083

WRITING WORKSHOP
Informative Exposition Cause-and-Effect Essay 1084
Standardized Test Practice Revising & Editing 1089
Building Vocabulary Recognizing Denotations and Connotations 1090
Sentence Crafting Using Adverb Clauses 1091

PART WRAP-UP 1092

Reflect and Assess
Extend Your Reading
xxi
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UNIT SEVEN

Modern and Contemporary

Literature
Literature
1900–Present 1094

The Changing World 1096

Time Line 1098
Literary Map of the World 1100

Worlds of Change
Part 1 Expressions of Modernism 1102

Cultural Highlights of Modernism 1104

INTERNET
CONNECTION
Learning the Language of Literature: Modernism 1106

Franz Kafka The Metamorphosis CZECH REPUBLIC FICTION 1108

• GUIDE FOR READING

Rainer Maria Rilke The Panther CZECH REPUBLIC POETRY 1150

Federico García Lorca The Guitar SPAIN POETRY 1152

• THE TRANSLATOR AT WORK: TRANSLATING
MODERN POETRY 1155

Virginia Woolf Professions for Women ENGLAND NONFICTION 1156

James Joyce Eveline IRELAND FICTION 1166

Yasunari Kawabata The Jay JAPAN FICTION 1174

Léopold Sédar Senghor Prayer to Masks SENEGAL POETRY 1182

• CONNECT TO TODAY: APPRECIATING CULTURAL ROOTS 1187

Juan Ramón Jiménez I Am Not I SPAIN POETRY 1188

WRITING WORKSHOP
Responding to Literature Literary Interpretation 1190
Standardized Test Practice Revising & Editing 1195
Building Vocabulary Recognizing Word Families 1196
Sentence Crafting Using Adjective Phrases and Clauses 1197

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PART WRAP-UP 1198

Reflect and Assess
Extend Your Reading

When Worlds Collide

Part 2 Responses to War and Conflict 1200

Historical Highlights: Through World War II 1202

INTERNET
CONNECTION
Historical Highlights: After World War II 1204

Luigi Pirandello War ITALY FICTION 1206

Milestones in World Literature: All Quiet on
the Western Front 1214

Anna Akhmatova I Am Not One of Those Who Left the Land RUSSIA POETRY 1216
• CONNECT TO TODAY: LIVING DANGEROUSLY—WRITERS
IN THE 20TH CENTURY 1219

Bertolt Brecht The Spy GERMANY DRAMA 1220

Elie Wiesel from The World Was Silent ROMANIA NONFICTION 1232

Related Reading
Nelly Sachs When in early summer . . . GERMANY POETRY 1241
• CONNECT TO TODAY: THE HOLOCAUST
AND HUMAN RIGHTS 1243

Albert Camus The Guest ALGERIA FICTION 1244

• GUIDE FOR READING

Comparing Literature Across Cultures 1260

The Prison Experience
Aleksandr Solzhenitsyn Freedom to Breathe RUSSIA PROSE POETRY 1261

Mahmud Darwish The Prison Cell PALESTINE POETRY 1265

Standardized Test Practice Writing About Literature 1269

CHINUA ACHEBE AUTHOR STUDY NIGERIA

Life and Times 1270

INTERNET CONNECTION

Dead Men’s Path FICTION 1274

from An Interview with Chinua Achebe NONFICTION 1280
by Bill Moyers
Keeper of the Vigil, a poem for Chinua Achebe POETRY 1284
by Yusef Komunyakaa
Civil Peace FICTION 1286
D OM
NETACTIVITIES: The Author’s Style
C

1292
Author Exploration
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Isabel Allende from Paula CHILE NONFICTION 1294

Yehuda Amichai The Diameter of the Bomb ISRAEL POETRY 1304

WRITING WORKSHOP
Report Research Report 1306
Standardized Test Practice Revising and Editing 1315
Building Vocabulary Choosing Word Attack Strategies 1316
Sentence Crafting Varying Sentence Length 1317

PART WRAP-UP 1318

Reflect and Assess
Extend Your Reading

Critics and Dreamers

Part 3 Contemporary Nobel Prize Winners 1320

The Nobel Prize and World Literature 1322

INTERNET
CONNECTION

Nadine Gordimer Amnesty SOUTH AFRICA FICTION 1324

• CONNECT TO TODAY: FARM WORKERS IN THE NEW SOUTH AFRICA 1335

Wole Soyinka After the Deluge NIGERIA POETRY 1336

Wislawa Szymborska The End and the Beginning POLAND POETRY 1336
Learning the Language of Literature:
Magical Realism 1344

Gabriel García Márquez The Handsomest Drowned Man COLOMBIA FICTION 1346
in the World
Milestones in World Literature: One Hundred
Years of Solitude 1356

Pablo Neruda Ode to the Lizard CHILE POETRY 1358

Ode to the Watermelon
• THE TRANSLATOR AT WORK: ON TRANSLATING NERUDA 1365

Naguib Mahfouz Half a Day EGYPT FICTION 1366

Related Reading
Judith Wright Counting in Sevens AUSTRALIA POETRY 1371

Octavio Paz January First MEXICO POETRY 1374

PART WRAP-UP 1378

Reflect and Assess
Extend Your Reading

xxiv
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Student Resource Bank

Reading Handbook . . . . . . . . . . . . . . . . . . . . R2 Phrases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R69

Reading for Different Purposes . . . . . . . . . . . . . . . . . . .R2 Verbals and Verbal Phrases . . . . . . . . . . . . . . . . . . . . .R69

Reading for Information . . . . . . . . . . . . . . . . . . . . . . . .R4 Clauses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R71

Functional Reading . . . . . . . . . . . . . . . . . . . . . . . . . . .R14 The Structure of Sentences . . . . . . . . . . . . . . . . . . . . .R72

Enriching Your Vocabulary . . . . . . . . . . . . . . . . . . . . . .R16 Writing Complete Sentences . . . . . . . . . . . . . . . . . . . .R73

Subject-Verb Agreement . . . . . . . . . . . . . . . . . . . . . . .R74
Writing Handbook . . . . . . . . . . . . . . . . . . . . R18 Quick Reference: Punctuation . . . . . . . . . . . . . . . . . . .R77
The Writing Process . . . . . . . . . . . . . . . . . . . . . . . . . .R18 Quick Reference: Capitalization . . . . . . . . . . . . . . . . . .R79
Building Blocks of Good Writing . . . . . . . . . . . . . . . . .R22 Little Rules That Make a Big Difference . . . . . . . . . . .R80
Descriptive Writing . . . . . . . . . . . . . . . . . . . . . . . . . . .R27 Grammar Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . .R85
Narrative Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . .R29
Explanatory Writing . . . . . . . . . . . . . . . . . . . . . . . . . .R31 Academic Reading Handbook . . . . . .R91
Persuasive Writing . . . . . . . . . . . . . . . . . . . . . . . . . . .R35 Analyzing Text Features . . . . . . . . . . . . . . . . . . . . . . . .R91
Research Report Writing . . . . . . . . . . . . . . . . . . . . . . .R37 Understanding Visuals . . . . . . . . . . . . . . . . . . . . . . . . .R95
Business Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R43 Recognizing Text Structures . . . . . . . . . . . . . . . . . . . .R99
Reading in the Content Areas . . . . . . . . . . . . . . . . . .R109
Communication Handbook . . . . . . . . . .R45 Reading Beyond the Classroom . . . . . . . . . . . . . . . . .R115
Inquiry and Research . . . . . . . . . . . . . . . . . . . . . . . . . .R45
Study Skills and Strategies . . . . . . . . . . . . . . . . . . . . .R47
Glossary of Literary Terms . . . . . . . . R125
Critical Thinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R49
Speaking and Listening . . . . . . . . . . . . . . . . . . . . . . . .R50 Glossary of Words to Know
Viewing and Representing . . . . . . . . . . . . . . . . . . . . . .R52 in English and Spanish . . . . . . . . . . . . R144
Grammar Handbook . . . . . . . . . . . . . . . . . .R55
Index of Fine Art . . . . . . . . . . . . . . . . . . . . . R156
Quick Reference: Parts of Speech . . . . . . . . . . . . . . . .R55
Nouns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R56 Index of Skills . . . . . . . . . . . . . . . . . . . . . . . . R163
Pronouns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R57
Verbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R59 Index of Titles and Authors . . . . . . . R176
Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .R62
Prepositions, Conjunctions, and Interjections . . . . . . .R64 Acknowledgments . . . . . . . . . . . . . . . . . . . .R180
Quick Reference: The Sentence and Its Parts . . . . . . .R66
The Sentence and Its Parts . . . . . . . . . . . . . . . . . . . . .R67 Art Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R187

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Selections by Genre
Epic Fiction
from the Aeneid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 Amnesty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1324
Virgil Nadine Gordimer
from The Epic of Gilgamesh . . . . . . . . . . . . . . . . . . . . . . . 32 The Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1008
from the Iliad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Rabindranath Tagore
Homer from Candide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848
from the Mahabharata . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Voltaire
from the Ramayana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Civil Peace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1286
Valmiki Chinua Achebe
from The Song of Roland . . . . . . . . . . . . . . . . . . . . . . . . . 696 Dead Men’s Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1274
Chinua Achebe
from Sundiata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
from Don Quixote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828
Miguel de Cervantes
Myths, Tales, and Legends Eveline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1166
James Joyce
The First Bard Among the Soninke . . . . . . . . . . . . . . . . 628 Federigo’s Falcon from The Decameron. . . . . . . . . . . . . 784
How the World Was Created from a Drop of Milk . . . . 624 Giovanni Boccaccio
The Lay of the Were-Wolf . . . . . . . . . . . . . . . . . . . . . . . . 724 The Fish Rejoice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Marie de France Chuang Tzu
from the Panchatantra . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 The Guest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1244
Popol Vuh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Albert Camus
Tales of Anansi the Spider . . . . . . . . . . . . . . . . . . . . . . . 651 from the Gulistan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Sadi
Tales of Iktomi the Spider . . . . . . . . . . . . . . . . . . . . . . . . 658
Half a Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1366
from The Thousand and One Nights . . . . . . . . . . . . . . . . 582
Naguib Mahfouz
The Handsomest Drowned Man in the World. . . . . . . 1346
Romance Gabriel García Márquez
How Much Land Does a Man Need? . . . . . . . . . . . . . . . 958
from Perceval: The Story of the Grail . . . . . . . . . . . . . . . 708 Leo Tolstoy
Chrétien de Troyes The Jay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1174
Yasunari Kawabata
Scripture The Metamorphosis . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108
Franz Kafka
Adoration of the Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 A Piece of String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944
Guy de Maupassant
from the Book of the Dead . . . . . . . . . . . . . . . . . . . . . . . . . 50
A Problem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 999
The Book of Ruth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Anton Chekhov
Hebrew Bible
from Utopia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
from Genesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Sir Thomas More
Hebrew Bible
War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1206
from The Koran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
Luigi Pirandello
The Parable of the Prodigal Son . . . . . . . . . . . . . . . . . . . 98
What Men Live By . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 976
The New Testament
Leo Tolstoy
Psalms 23, 104 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Hebrew Bible
from the Rig Veda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

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Nonfiction As I look at the moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Saigyo-

from the Analects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Autumn Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 928

Paul Verlaine
Confucius
from the Apology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Better to live, Licinius . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Horace
Plato
from Arrow of the Blue-Skinned God. . . . . . . . . . . . . . . 141 Birdsong from Inside the Egg . . . . . . . . . . . . . . . . . . . . . 600
Rumi
Jonah Blank
from The Art of Courtly Love . . . . . . . . . . . . . . . . . . . . . . 791 from the Book of Odes . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Andreas Capellanus Counting in Sevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1371
The Burning of Rome from The Annals . . . . . . . . . . . . . 406 Judith Wright
Tacitus The Diameter of the Bomb . . . . . . . . . . . . . . . . . . . . . . 1304
from the Grasmere Journals . . . . . . . . . . . . . . . . . . . . . . 902 Yehuda Amichai
Dorothy Wordsworth Dreaming of Li Po . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
from An Interview with Chinua Achebe. . . . . . . . . . . . 1280 Tu Fu
Bill Moyers The End and the Beginning . . . . . . . . . . . . . . . . . . . . . . 1336
Letter to His Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 974 Wislawa Szymborska
Leo Tolstoy Freedom to Breathe . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1261
from Letter to His Friends . . . . . . . . . . . . . . . . . . . . . . . . 895 Aleksandr Solzhenitsyn
Johann Wolfgang von Goethe Gazing at the Lu Mountain Waterfall. . . . . . . . . . . . . . . 452
from Paula . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1294 Li Po
Isabel Allende The Grasses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Pericles’ Funeral Oration from History of Rumi
the Peloponnesian War . . . . . . . . . . . . . . . . . . . . . . . 232 The Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1150
Thucydides Federico García Lorca
from The Pillow Book . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 Haiku . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541, 547
Sei Sho-nagon Matsuo Basho-, Yosa Buson, Kobayashi Issa,
Professions for Women . . . . . . . . . . . . . . . . . . . . . . . . . 1156 José Juan Tablada, and Richard Wright
Virginia Woolf He Is More Than a Hero . . . . . . . . . . . . . . . . . . . . . . . . . 226
from Sonya Tolstoy’s Diary . . . . . . . . . . . . . . . . . . . . . . . 993 Sappho
Sonya Tolstoy Helen of Troy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
from The Spring of My Life . . . . . . . . . . . . . . . . . . . . . . . 545 Sara Teasdale
Kobayashi Issa I Am Not I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1188
from the Tao Te Ching . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Juan Ramón Jiménez
Lao-tzu I Am Not One of Those Who Left the Land . . . . . . . . . 1216
from La Vita Nuova . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Anna Akhmatova
Dante Alighieri I’m going downstream on Kingswater Canal . . . . . . . . . 50
West African Proverbs . . . . . . . . . . . . . . . . . . . . . . . . . . 664 from The Inferno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
from The World Was Silent . . . . . . . . . . . . . . . . . . . . . . 1232 Dante Alighieri
Elie Wiesel In this world . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Zen Parables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Ki Tsurayuki
Zen Teachings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Invitation to the Voyage . . . . . . . . . . . . . . . . . . . . . . . . . 922
Musō Soseki Charles Baudelaire
I’ve gone to him . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Ono Komachi
Poetry Jade Flower Palace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Tu Fu
After the Deluge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1336
January First. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1374
Wole Soyinka
Octavio Paz
The Albatross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 922
Keeper of the Vigil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1284
Charles Baudelaire
Yusef Komunyakaa

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Landscape with the Fall of Icarus . . . . . . . . . . . . . . . . . 403 Sonnet 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806

William Carlos Williams Francesco Petrarch
The Lorelei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 910 Sonnet 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821
Heinrich Heine Louise Labé
My Heart Leaps Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899 Sonnets 29, 30, 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812
William Wordsworth William Shakespeare
Myth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Spring rains weaving . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Muriel Rukeyser Lady Ise
Ode to the Lizard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1358 Stay, shadow of contentment . . . . . . . . . . . . . . . . . . . . . 824
Pablo Neruda Sor Juana Inés de la Cruz
Ode to the Watermelon . . . . . . . . . . . . . . . . . . . . . . . . . 1358 Still Night Thoughts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Pablo Neruda Li Po
On Plum Blossoms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 The Story of Daedalus and Icarus from
Li Ch’ing-chao Metamorphoses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Ozymandias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467 Ovid
Percy Bysshe Shelley To an army wife, in Sardis . . . . . . . . . . . . . . . . . . . . . . . 226
The Panther . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1150 Sappho
Rainer Maria Rilke To Aphrodite of the Flowers, at Knossos. . . . . . . . . . . . 226
Praise Songs for Orishas . . . . . . . . . . . . . . . . . . . . . . . . 642 Sappho
To Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .388
Prayer to Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1182
Edgar Allan Poe
Léopold Sédar Senghor
To Hélène . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
The Prison Cell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1265
Pierre de Ronsard
Mahmud Darwish
Two Springs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
The River-Merchant’s Wife: A Letter . . . . . . . . . . . . . . . 452
Li Ch’ing-chao
Li Po
Whenever I leave you, I go out of breath . . . . . . . . . . . . 50
from the Rubáiyát . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Omar Khayyám When in Early Summer . . . . . . . . . . . . . . . . . . . . . . . . . 1241
Russia 1812 from The Expiation . . . . . . . . . . . . . . . . . . . 914 Nelly Sachs
Victor Hugo The World Is Too Much With Us . . . . . . . . . . . . . . . . . . 899
Seize the Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 William Wordsworth
Horace
Shaman Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
Uvavnuk
Drama
from Simple Verses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905 The Deserted Crone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
José Martí Zeami Motokiyo
The Sleeper in the Valley . . . . . . . . . . . . . . . . . . . . . . . . 928 A Doll House. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1018
Arthur Rimbaud Henrik Ibsen
A Soldier of Urbina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843 from Faust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
Jorge Luis Borges Johann Wolfgang von Goethe
Song of P’eng-ya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468 Oedipus the King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Tu Fu Sophocles
The Spy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1220
Bertolt Brecht

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S pecial Features of This Book

Author Study Milestones in World Literature
Dante Alighieri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .732 The Bhagavad-Gita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Leo Tolstoy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .954 Greek Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256
Chinua Achebe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1272 The Tale of Genji . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .508
The Shahnameh—Epic of Persia . . . . . . . . . . . . . . . . . . . . .592
The Plays of Shakespeare . . . . . . . . . . . . . . . . . . . . . . . . . .818
Comparing Literature Across The Plays of Molière . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .846
Cultures The Novels of Fyodor Dostoyevsky . . . . . . . . . . . . . . . . . . .1016
Creation Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 All Quiet on the Western Front . . . . . . . . . . . . . . . . . . . . .1214
Perspectives on Helen of Troy . . . . . . . . . . . . . . . . . . . . . . .382 One Hundred Years of Solitude . . . . . . . . . . . . . . . . . . . . .1356
Haiku Across the Centuries . . . . . . . . . . . . . . . . . . . . . . . . .540
Trickster Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Sonnets by Women . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .820
Connect to Today
Romantic Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .898 The Quest to Find Gilgamesh . . . . . . . . . . . . . . . . . . . . . . . . .49

Aspects of Realism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .998 Modern Views of Rama and Sita . . . . . . . . . . . . . . . . . . . . .141

The Prison Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . .1260 Nelson Mandela Celebrates a National Hero . . . . . . . . . . .245
The Urge to Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .405
Refugees—People Without a Country . . . . . . . . . . . . . . . . .471
Learning the Language Zen—Alive and Well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .517
of Literature Sindbad Yesterday, Today, and Tomorrow . . . . . . . . . . . . . .591
Foundations of Early Literature . . . . . . . . . . . . . . . . . . . . . . .30 Orishas in the Americas . . . . . . . . . . . . . . . . . . . . . . . . . . .649
The Epic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 The Grail Legend in Film and Story . . . . . . . . . . . . . . . . . . .723
The Epics of Greece and Rome . . . . . . . . . . . . . . . . . . . . . .176 Searching for Utopia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .803
Moral Teaching through Literature . . . . . . . . . . . . . . . . . . . 432 Victor Hugo on Stage and Screen . . . . . . . . . . . . . . . . . . . .921
The Sonnet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .804 Women in Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1083
Romanticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878 Appreciating Cultural Roots . . . . . . . . . . . . . . . . . . . . . . . .1187
Realism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 998 Living Dangerously—Writers in the 20th Century . . . . . . .1219
Modernism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1106 The Holocaust and Human Rights . . . . . . . . . . . . . . . . . . .1243
Magical Realism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1344 Farm Workers in the New South Africa . . . . . . . . . . . . . . .1335

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The Translator at Work Using Reference Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . .558

Using Context Clues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .674
Decoding Hieroglyphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Understanding Analogies . . . . . . . . . . . . . . . . . . . . . . . . . .768
Homer and the Oral Tradition . . . . . . . . . . . . . . . . . . . . . . .225
Analyzing Word Parts—Affixes . . . . . . . . . . . . . . . . . . . . . .864
Translating Chinese Poetry . . . . . . . . . . . . . . . . . . . . . . . . .461
Recognizing Denotations and Connotations . . . . . . . . . . . .1090
FitzGerald’s Rubáiyát . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Recognizing Word Families . . . . . . . . . . . . . . . . . . . . . . . .1196
Dealing with the Sonnet . . . . . . . . . . . . . . . . . . . . . . . . . . .811
Choosing Word Attack Strategies . . . . . . . . . . . . . . . . . . .1316
Translating Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1063
Translating Modern Poetry . . . . . . . . . . . . . . . . . . . . . . . . .1155
On Translating Neruda . . . . . . . . . . . . . . . . . . . . . . . . . . . .1365 Sentence Crafting
Using Elements in a Series . . . . . . . . . . . . . . . . . . . . . . . . .157

Writing Workshop Using Participles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341

Using Parallelism for Effect . . . . . . . . . . . . . . . . . . . . . . . . .483
Autobiographical Incident . . . . . . . . . . . . . . . . . . . . . . . . . .150
Creating Compound and Complex Sentences . . . . . . . . . . . .559
Lyric Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .476
Using Adverbs and Adverb Phrases . . . . . . . . . . . . . . . . . . .675
Problem-Solution Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . .552
Changing Word Order for Sentence Variety . . . . . . . . . . . . .769
Personality Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .668
Using Noun Clauses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .865
Subject Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .762
Using Adverb Clauses . . . . . . . . . . . . . . . . . . . . . . . . . . . .1091
Cause-and-Effect Essay . . . . . . . . . . . . . . . . . . . . . . . . . . .1084
Using Adjective Phrases and Clauses . . . . . . . . . . . . . . . .1197
Literary Interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . .1190
Varying Sentence Length . . . . . . . . . . . . . . . . . . . . . . . . . .1317
Research Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1306

Communication Workshop Assessment Pages

Reading and Writing for Assessment
Writing and Staging a Scene . . . . . . . . . . . . . . . . . . . . . . . .332 412, 678
Persuasive Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .858 Standardized Test Practice: Revising and Editing
155, 481, 557, 673, 767, 1089, 1195, 1315
Standardized Test Practice: Writing About Literature
Building Vocabulary 87, 391, 551, 663, 827, 909, 1015, 1269

Words with Multiple Meanings . . . . . . . . . . . . . . . . . . . . . .156 Reflect and Assess

100, 158, 342, 410, 484, 560, 610, 676, 770, 866, 932, 1092,
Analyzing Word Parts—Greek and 1198, 1318, 1378
Latin Roots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .340
Homophones, Homonyms, and
Homographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .482

xxx
 Why Study World Literature?

To Become
Culturally
Literate
What is the story behind the
Trojan horse? What’s the
name of Chinua Achebe’s
most famous novel?
Someday you may need to
know this, for an exam or
even a quiz show. If you
read world literature, you’ll
be ready.

To
Experience
the World—
Past and
Present

2
 To See How People Are Different
World literature can expose you to more cultures
than a day at the United Nations or a year’s tour of
the globe. It can be fascinating to contrast different
values and ways of life.

To See How People

Are Similar
You may be surprised to discover
common themes in literature from around
the world, such as the nobility of sacrifice or the
wonder of nature. Reading world literature makes
you see that no culture is completely foreign.

To Gain Wisdom
World literature includes the scriptures of
the great religions and instructive tales
told for thousands of years. As a whole,
it can be seen as the accumulation of
human wisdom. Read it and become a
better person.

To Be Wildly Entertained
Thousands of years ago, people told stories of superheroes with
amazing powers and travelers who had unbelievable adventures.
Many of the characters and plots that entertain us today have been
recycled from world literature. Why not experience the originals?

3
Understanding World Literature
As rewarding as world literature can be, it can some-
times present special challenges. Reading literature
from a foreign or ancient culture can be a strange
experience. Who are these people? Why are they
doing what they’re doing? What do these words I
never heard of mean?

Seek Out Information

Learning something about the history, the land, the people, and
the author before you read helps you overcome these challenges.
World literature comes alive when you understand the context in
which it was written.
The following features in this book will help you open
new doors to literature from around the world:

Introductions
Why did stories from Ancient Greece
often tell of long voyages across the
sea? Why is storytelling such an
important part of West African literature?
Introductions provide answers to these
and other questions. They are quick
guides to the cultures and time periods
that produced the literature you will
read. Each introduction includes maps,
information about history and society,
a time line of important events, and a
feature showing the contributions of
that culture or period to today’s world.

Learning the Language of Literature

These two-page features introduce you to types of literature
associated with certain cultures and time periods. Read about
the development of the epic. Learn how literary movements,
such as Romanticism and Realism, left their mark on the world.

4
 Author Biography and
Build Background
Prereading pages give background
that will help you understand each
selection more fully. Learn about
an author’s life, study important
terms, and find out more about
the history and culture of the
selection you’re about to read.

Online Background
Background information doesn’t
stop there. Visit our Web site
to learn even more about the
cultural contributions of each
time and place.

HUMANITIES
CL AS SZONE .COM

5
Tools for Active Reading

Reader’s Notebook
Putting your thoughts on paper can help you understand and connect with
literature. Many readers record their ideas in a READER'S NOTEBOOK .
You can use almost any kind of notebook for this purpose. Below are two
ways you can use your notebook.

1 I M PROVE YOU R READI NG SKI LLS

Complete the READER'S NOTEBOOK activity

on the Preparing to Read page of each selection.
This activity will help you apply an important skill
as you read.

Prediction
Q ue st io n t to
e stranger 1. He’ll turn ou
1. Who’s th s the
rs in be someone who’
that ap pea at he
opposite of wh
section one? seems to be.

2 RECORD YOU R THOUGHTS

Write down ideas, responses, connections,
and questions before you read, while you
read, and after you read a selection.
Summarize important passages, and collect
any ideas that may later be a springboard
to your own writing.

6
 Strategies for Reading
Reading world literature presents special
challenges and often requires more
background than what you need to read
Working Portfolio literature from your own culture. However,
Artists and writers keep portfolios to store their works
once you begin reading, you apply the same
in progress or the works they are most proud of. Create
reading strategies that you would for any piece
your own Working Portfolio, using a folder, a box, or
of literature. Don’t forget to monitor how well
a notebook. As the year progresses, fill it with examples
you’re using these strategies during reading.
of your papers, your creative writing, your summaries of
projects, and your own goals and accomplishments as Predict Try to figure out what will happen
a reader and writer. next and how the selection might end. Then
read on to see how accurate your guesses were.
Visualize Visualize characters, events, and
setting to help you understand what’s
Tas ha Ed wa rd s happening. Use the art to help you imagine
PORTFOLIO faraway places. Pay attention to the images
that form in your mind as you read.
Comments
Date Project Connect Connect personally with what you
read. Think of similarities between the
’s st or ies Fin ished
10 /6 Es sa y on Tol st oy descriptions in the selection and what you
have personally experienced, heard about, and
read about. In spite of the obvious differences,
Be st pa pe r
11/ 19 Re po rt on re al ism I’ve wr itten
you may find you have things in common with
people from other times and cultures.

N ee d mo re Question While you read, question what

s Ho us e”
12/ 8 Es sa y on “A Do ll’ su pp or tin g happens. Searching for reasons behind events
and characters’ feelings can help you feel closer
de ta ils to literature from another time and place.
Clarify Stop occasionally to review your
understanding of what you read. You can do
this by summarizing what you have read,
identifying the main idea, and making
inferences—drawing conclusions from the
information you are given. As necessary, reread
passages and background information. Also
watch for answers to questions you had earlier.
Evaluate Form opinions about what you
read, both while you’re reading and after
you’ve finished. Develop your own ideas about
characters, events, time periods, and cultures.

On the following pages, you will see how one reader tackles a World Literature
selection—how she uses background information and the Strategies for Reading
above to understand literature from a different time and culture.

7
AC T I V E R E A D I N G M O D E L

Build Background
The story you are about to
read is a folk tale from
19th-century Japan. The
main character is a samurai,
a member of an elite class
of professional soldiers.
Known for their skill in
battle, samurai lived by a
strict code of honor. The
code stressed the values of
courage and loyalty to the
regional lord, or daimyo. Japanese Folk Tale
Retold by Paul Jordan-Smith

8 STRATEGIES FOR READING

 Strategies in Action
Alongside this story are
comments that high school

I
n the era of Bummei there lived a young samurai, Tomotada, student Nicola Shorobura
in the service of the daimyo of Noto. He was a native of made as she read the story
for the first time. Her
Echizen, but had been accepted at a young age into the palace
comments will give you a
of the Lord of Noto, where he proved himself a good soldier and a
glimpse into the mind of
good scholar as well, and enjoyed the favor of his prince. Handsome a reader actively engaged
and amiable, he was admired also by his fellow samurai. in the process of reading.
One day, the Lord of Noto called for Tomotada and sent him on To get the most from this
a special quest to the Lord of Kyoto. Being ordered to pass through reading model, first read the
Echizen, Tomotada asked and was granted permission to visit his story on you own and record
widowed mother. And so he set out on his mission. your responses to it in your
READER'S NOTEBOOK .
Winter had already come; the countryside was covered with snow,
Then read Nicola’s comments
and though his horse was among the most powerful in the Lord of
below and respond to each
Noto’s stable, the young man was forced to proceed slowly. On the of the prompts labeled
second day of his journey, he found himself in mountain districts “YOUR TURN .”
where settlements were few and far between. His anxiety was
increased by the onslaught of a heavy snowstorm, and his horse was
showing signs of extreme fatigue. In the very moment of his despair, Nicola: This sets the mood really
however, Tomotada caught sight of a cottage among the willows on well and helps you picture what’s
a nearby hill. Reaching the dwelling, he knocked loudly on the storm happening.
V I S U A L I Z I N G / E VA L U AT I N G
doors which had been closed against the wind. Presently the doors
opened, and an old woman appeared, who cried out with compassion
at the sight of the noble Tomotada, “Ah, how pitiful! Traveling in Nicola: I’m wondering who the old
such weather, and alone! Come in, young sir, come in!” woman is. Maybe it’ll say further on
“What a relief to find a welcome in these lonely passes,” thought in the story.
Tomotada, as he led his horse to a shed behind the cottage. After QUESTIONING

seeing that his horse was well sheltered and fed, Tomotada entered
the cottage, where he beheld the old woman and her husband, and a
young girl as well, warming themselves by a fire of bamboo splints.
The old couple respectfully requested that he be seated, and
proceeded to warm some rice wine and prepare food for the warrior.
The young girl, in the meantime, disappeared behind a screen, but
not before Tomotada had observed with astonishment that she was
extremely beautiful, though dressed in the meanest attire. He
wondered how such a beautiful creature could be living in such a Nicola: I bet that the girl will be a
lonely and humble place. His thoughts, however, were interrupted by main character in this story.
the old man, who had begun to speak. PREDICTING
“Honored Sir,” he began. “The next village is far from here and the
road is unfit for travel. Unless your quest is of such importance that it
cannot be delayed, I would advise you not to force yourself and your
horse beyond your powers of endurance. Our hovel is perhaps
unworthy of your presence, and we have no comforts to offer; Nicola: He doesn’t even know these
people. They’re being really nice to
nevertheless, please honor us by staying under this miserable roof.”
him and taking him in. They’re
apologizing for their place.
E VA L U AT I N G
GREEN WILLOW 9
 Tomotada was touched by the old man’s words—and secretly, he
was glad of the chance afforded him to see more of the young girl.
Before long, a simple meal was set before him, and the girl herself
came from behind the screen to serve the wine. She had changed her
dress, and though her clothes were still of homespun, her long loose
➤ YOUR TURN hair was neatly combed and smoothed. As she bent to fill his cup,
What details help you form a mental Tomotada was amazed to see that she was even more beautiful than
picture of the girl? he had at first thought: she was the most beautiful creature he had
VISUALIZING
ever seen. She moved with a grace that captivated him, and he could
not take his eyes from her. The old man spoke apologetically, saying,
“Please forgive the clumsy service of our daughter, Green Willow. She
has been raised alone in these mountains and is only a poor, ignorant
girl.” But Tomotada protested that he considered himself lucky
indeed to be served by so lovely a maiden. He saw that his admiring
gaze made her blush, and he left his wine and food untasted before
him. Suddenly struck by inspiration, he addressed her in a poem.
As I rode through the winter
I found a flower and thought,
“Here I shall spend the day.”
But why does the blush of dawn appear
When the dark of night is still around us?
Without a moment’s hesitation, the girl replied:
If my sleeve hides the faint color of dawn,
Perhaps when morning has truly come
Nicola: Her reply kind of seems like My lord will remain.

T
she’s asking him to stay on.
CLARIFYING hen Tomotada knew that the girl had accepted his admiration,
➤ YOUR TURN
and he was all the more taken by the art of her verse and the
Do you agree with Nicola? feelings it expressed. “Seize the luck that has brought you
CLARIFYING here!” he thought to himself, and he resolved to ask the old couple to
give him the hand of their daughter in marriage.
Alas for the Lord of Noto’s quest!
The old couple were astonished by the request of Tomotada, and
they bowed themselves low in gratitude. After some moments of
hesitation, the father spoke: “Honored master, you are a person of
too high a degree for us to consider refusing the honor your request
brings. Indeed our gratitude is immeasurable. But this daughter of
ours is merely a country girl, of no breeding and manners, certainly
not fit to become the wife of a noble samurai such as yourself. But
Nicola: In this culture, I guess the since you find the girl to your liking, and have condescended to
parents have control over the girl’s overlook her peasant origins, please accept her as a gift, a humble
future. handmaid. Deign, O Lord, to regard her henceforth as yours, and act
E VA L U AT I N G / Q U E S T I O N I N G towards her as you will.”

10 STRATEGIES FOR READING

 A CTIVE
R EADING M ODEL

N ow a samurai was not allowed to marry without the consent

of his lord, and Tomotada could not expect permission until
his quest was finished. When morning came, Tomotada
resumed his journey, but his heart
Nicola: Why is the quest so
important to him? He says he wants
grew more apprehensive with every to marry the girl. Why not just do it?
footfall of his horse. Green Willow Maybe this has something to do with
the samurai code of honor mentioned
rode behind her lord, saying not a
in Build Background at the beginning.
word, and gradually the progress of QUESTIONING/CLARIFYING
the young man slowed to a halt. He
could not tear his thoughts from the
girl, and did not know whether he
should bring her to Kyoto. He was
afraid, moreover, that the Lord of
Noto would not give him Nicola: It seems Tomotada doesn’t
permission to marry a peasant girl, have a lot of confidence in what he
and afraid also that his daimyo does. He’s scared of what’s going to
happen because in this society, his
might be likewise captivated by her
lord has total control of his life.
beauty and take her for himself. And
E VA L U AT I N G / C L A R I F Y I N G
so he resolved to hide with her in
the mountains, to settle there and
become himself a simple farmer.
Alas for the Lord of Noto’s quest! Nicola: The kind of love he has for
For five happy years, Tomotada her reminds me of Romeo and Juliet.
and Green Willow dwelt together Their love is more important than
anything else.
in the mountains, and not a day
CONNECTING
passed that did not bring them
both joy and delight in each other
and their life together. Forgotten
was the time before Green Willow
had come into his life. But one day,
while talking with her husband
about some household matter,
Green Willow uttered a loud cry of
Tsukiji at Akashi (1913), Kaburaki Kiyokata. pain, and became very white and
Photo © Peter Harholdt/Corbis. still. “What is it, my wife?” cried
Tomotada as he took her in his
arms. “Forgive me, my lord, for
crying out so rudely, but the pain was so sudden . . . My dear
husband, hold me to you and listen—do not let me go! Our union
has been filled with great joy, and I have known with you a happiness
that cannot bear description. But now it is at an end: I must beg of Nicola: They brought each other joy
you to accept it.” and happiness. Why does it have to
come to an end? Why is she ending it?
QUESTIONING

GREEN WILLOW 11
 Toba (Su Dongpo)
(1820–1832), Katsushika
Hokusai. Woodblock
print, 516 mm × 227 mm.
Honolulu (Hawaii)
Academy of Arts, gift of
James A. Michener, 1970
(15, 943).

12 STRATEGIES FOR READING

 A CTIVE
R EADING M ODEL

“Ah!” cried Tomotada, “It cannot be so. What wild fancies are
these? You are only a little unwell, my darling. Lie down and rest,
and the pain shall pass.”
“No, my dearest, it cannot be. I am dying—I do not imagine it. It
is needless to hide from you the truth any longer, my husband. I am
not a human being. The soul of a tree is my soul, the heart of a tree
my heart, the sap of a willow is my life. And some one, at this most Nicola: Is this really happening, or is
cruel of moments, has cut down my tree—even now its branches have she just comparing herself to a tree
fallen to the ground. And this is why I must die! I have not even the that’s been cut down? Her name is
Green Willow, so maybe this is for
strength left to weep, nor the time . . .”
real. Folk tales sometimes have
With another cry of pain, Green Willow turned her head and tried
unusual things happen.
to hide her face behind her sleeve. In the same moment, her form QUESTIONING/CLARIFYING
seemed to fold in upon itself, and before Tomotada’s astonished and
grief-stricken eyes, her robes crumpled in the air and fell empty to ➤ YOUR TURN
the ground. What’s your take on what
has just happened?
Many years after this, an itinerant monk came through the
CLARIFYING
mountain passes on his way to Echizen. He stopped for water beside
a stream, on the banks of which stood the stumps of three willow
trees—two old and one young. Nearby, a rude stone memorial had
been set up, which showed evidence of regular care unusual in such a
remote place. He inquired about it from an old priest who lived in
the neighborhood and was told the story of Green Willow. Nicola: Who is this monk? Why is he
“And what of Tomotada?” asked the mendicant, when the priest inquiring of the priest? What’s the
had finished his tale. But the old man had fallen into a reverie and significance?
QUESTIONING
gazed at the shrine, oblivious of his guest.
“Alas for the Lord of Noto’s quest!” the old man sighed to himself ➤ YOUR TURN
and fell silent. The air grew chill as the evening drew on. At length, Who do you think the old
the old priest shook himself from his dreams. priest might be?
“Forgive me!” he told his guest. “As age creeps upon me, I PREDICTING
sometimes find myself lost in the memories of a young samurai.”
Nicola: By the process of elimination,
I figure that the priest was the
samurai. He must have set up the
memorial. This ending is really good.
It’s kind of magical.
C L A R I F Y I N G / E VA L U AT I N G

GREEN WILLOW 13
 Literature of the Ancient World
3000B.C.–A.D.500

Nakht hunting with his family (18th dynasty). From the tomb of Nakht, scribe and priest under
Pharaoh Thutmose IV, in the cemetery of Sheikh Abd al-Qurnan, Luxor-Thebes, Egypt.
Photograph copyright © Erich Lessing/Art Resource, New York.

14 UNIT ONE LITERATURE OF THE ANCIENT WORLD

 UNIT ONE

“Man dies, his body is dust,

his family all brought low to the earth;
But writing shall make him remembered,
alive in the mouths of any who read.”
—Papyrus Inscription
(c. 1300–1100 B.C.)

PART 1
Spiritual Beginnings:
Mesopotamian, Egyptian, and
Hebrew Literature . . . . . . . . . . . . . . 16–101

PART 2
Sacred and Practical Teachings:
Literature of Ancient India . . . . . . . 102–159

15
PART 1 Spiritual Beginnings

Mesopotamian, Egyptian,
and Hebrew Literature
Why It Matters
The ancient Middle East is
often called the cradle of
civilization. In prehistoric
times, people gathered
in the fertile river valleys
of Mesopotamia, Canaan, River
and Egypt— the Fertile 1 Cultures
Crescent—to farm. From The earliest
civilizations in
their interactions arose the
the arid Middle East grew up around rivers. Rivers
basic elements of civilization: provided water necessary for people, livestock, and
law, commerce, arts, religion, agriculture. The Nile, Tigris, and Euphrates Rivers
education, and literature. flooded each year, depositing silt that produced a
On this foundation were rich topsoil good for planting. Rivers also provided
an easy means of travel, promoting commerce and
built many later cultures,
social interaction.
including our own. Mediterranean
Sea

3
For Links to the Ancient Middle East, click on:

an

Jordan River
Samaria
na
HUMANITIES
CL AS SZONE .COM
Ca
Jerusalem

Giza 4
Memphis
pt
Egy
r
ive
R
Nile

Egypt The record for a single civilization’s occupy-

4ing a single area of land in the ancient Middle East
belongs to the Egyptians, whose history spanned 3,000
years. The cities of Egypt were scattered up and down
the upper third of the Nile, the longest river in the world.
Protected on either side by vast deserts, Egypt was
spared the constant warfare and shifts of power that
Re

troubled other regions. Egypt’s famous pyramids are not

d

only the tombs of Egyptian rulers but also the source of

some of the world’s oldest literature.
Se
a

16 Thebes
 How Cultures Survived Interaction between ancient peoples was Caspian
often violent. Wars could lead to the destruction or enslavement Sea
of entire populations and the loss of their culture. Egypt was in
large part safe from such a threat. The Sumerians were wiped
out, but their culture survived because it was adopted by its con-
querors. The Hebrews experienced slavery in Egypt and Babylon
and near total destruction by the Assyrians. But their culture sur-
vived because of their strong sense of identity as a people.
Haran
Nineveh

2 Mesopotamia Between the Tigris and

Euphrates Rivers in present-day Iraq is a fertile
M 2 valley known in ancient times as Mesopotamia,
es
op “the land between the rivers.” Here the first
T ig

ot cities arose, each existing independently as

ris

am a city-state. Each city-state had its own ruler,

ia its own army, and its own patron deity, along
with a towering temple or “ziggurat” (shown
Eu
ph
1 here) built in his or her honor.
ra t
es
Ri
ve

Babylon
Riv
er

Uruk

Ur
Pe
rs

The Hebrews and Israel Much of the

3
ia

Hebrews’ history tells of nomadic life, migra-

n

tion, or slavery. Eventually, though, the Hebrews

G

found a home in Canaan, a fertile strip between the

ul
f

Mediterranean Sea and the Jordan River. Here they N

established the kingdom of Israel, built Solomon’s
W
Temple, and wrote down the sacred text called the E
Torah, or Law. The Torah scroll shown above is kept
S
inside a beautifully decorated box called an ark.

0 150 300 miles

0 150 300 kilometers

INTRODUCTION 17
Mesopotamia: History, Arts, and Culture
After being settled by the Sumerians, Mesopotamia was
dominated by a series of empires created by successive Assyrians
invaders. As a rule, however, the conquerors preserved c. 850–612 B.C.
the culture of the peoples they defeated. Various peoples vied for control
of the region in the 300 years
following Kassite rule. Around
Sumerians Babylonians 850 B.C. one of these groups—
c. 3500–2350 B.C. c. 2000–1570 B.C. the Assyrians, a warlike people
Recorded history began with The Babylonians, a Semitic from northern Mesopotamia—
the Sumerians, who invented people who spoke Akkadian, began to consolidate a great
writing around 3000 B.C. A conquered Mesopotamia about empire. They extended their rule
mysterious people possibly of 2000 B.C., establishing an from Mesopotamia to Egypt and
Central Asian origin, they had empire with Babylon, on the Asia Minor. Known for ruthless-
settled southern Mesopotamia Euphrates River, as its capital. ness in battle, the Assyrians
about 500 years earlier and Like the Akkadians, the destroyed the kingdom of Israel
taken up farming in the area, Babylonians adopted the culture and dispersed its inhabitants (see
which became known as Sumer. of the Sumerians, including page 22). However, the Assyrian
By 3000 B.C. their villages had their literature. The Babylonian capital of Nineveh became an
grown into large city-states, empire reached its peak from important learning center. There
such as Ur and Uruk. Each had 1792 to 1750 B.C. under King King Ashurbanipal established
a different ruler and worshiped Hammurabi, who established an early library, preserving
a different god or goddess. one of the first sets of laws—the many Sumerian and Babylonian
Code of Hammurabi. Around writings.
Akkadians 1570 B.C. the Babylonian empire
fell to Kassite invaders, who
c. 2350–2000 B.C.
ruled for more than 400 years.
Neo-Babylonians
Around 2350 B.C. a group of c. 612–539 B.C.
Semites—people who spoke a In 612 B.C. Chaldean invaders
language related to Hebrew conquered the Assyrians,
and Arabic—invaded Sumer destroying Nineveh and found-
from the north. Led by Sargon ing the second Babylonian
of Akkad, the Akkadians empire. This empire, which
conquered the city-states of conquered and enslaved the
Sumer and unified them and remaining Jews of Palestine,
the adjoining regions into endured until it was conquered
the world’s first empire. The by the Persians in 539 B.C.
Akkadians adopted much of
Sumerian culture, including its Mask of King
religion and literature. Sargon of Akkad

SUMERIANS

c. 3500 B.C.

18 UNIT ONE PART 1: MESOPOTAMIAN, EGYPTIAN, AND HEBREW LITERATURE

Cities, Civilization, and Culture People and Society
The Development of Cities Mesopotamian agriculture had begun
well before the Sumerians arrived in about 3500 B.C. However, The Upper Class
it was their effort to control the flooding of the Tigris and In most Mesopotamian cities,
Euphrates for regular irrigation that forced people to become the aristocracy, or upper class,
more organized, encouraging the growth of cities. This led to included members of the ruling
the following developments: family, high-ranking government
officials, military leaders, priests,
Architecture Some ancient large landowners, and some
Mesopotamian cities had
very wealthy merchants.
magnificent buildings and
gardens. A towering ziggu- The Common Folk
rat could be seen from miles Lower on the social scale were
away. Walls, city gates, and merchants and farmers; artisans
thoroughfares were often
decorated with impressive skilled in crafts, such as toolmak-
relief carvings or mosaics. ers, stonemasons, and potters;
and scribes, who kept records
Technology The shaduf —a
long pole on a fulcrum with of religious events and trade or
a bucket on one end and a government transactions.
weight on the other—made The Slaves
it possible to lift water
On the bottom rung of the social
above river level and create
terraced or “hanging” ladder, slaves performed society’s
gardens and even fountains. lowliest tasks. Some slaves were
Other Mesopotamian foreigners conquered in war;
inventions include the others were locals sold into
wheel, the sail, and the plow.
slavery by impoverished parents.
The Women
Sumerian women had far more
Law Established sets of laws like the Code of
Hammurabi made justice more consistent and opportunities than women in
made it easier for large groups of people to live most other ancient civilizations.
together in harmony. They could farm, take up crafts,
Writing The Sumerians invented the world’s first become merchants, even join the
writing. Known as cuneiform, or “wedge-shaped” priesthood. Some of the world’s
script, it was made by pressing the ends of reeds oldest surviving written poetry
into clay, which was then hardened by baking. is a series of sacred hymns
Writing was essential to the development of com- composed by a moon priestess
merce, law, government, religion, and literature.
named Enheduanna, daughter
Math and Science Using arithmetic, geometry, of King Sargon of Akkad.
and astronomy, the Mesopotamians developed a
calendar to help with irrigation needs and even a
“map of the world,” shown at left.

NEO-BABYLONIANS ▼

AKKADIANS BABYLONIANS ASSYRIANS

c. 2350 B.C. c. 2000 B.C. c. 1570 B.C. c. 850 B.C. 539 B.C.

INTRODUCTION 19
Egypt: History, Arts, and Culture
Egyptian history is divided into three “kingdoms.” Each
consisted of several dynasties, or successions of rulers New Kingdom
from the same family or line. c. 1570–1075 B.C.
The New Kingdom began
when native Egyptian rulers
Old Kingdom Middle Kingdom banded together to drive out
c. 2660–2180 B.C. c. 2080–1640 B.C.
the dreaded Hyksos. Fighting
By 3200 B.C., farming villages The Middle Kingdom began with bronze weapons and
along the upper and lower Nile when a family of ruling nobles two-wheeled chariots, New
had organized into two separate in Thebes emerged victorious Kingdom pharaohs went on
kingdoms, Upper Egypt and in its struggles with the rulers to make Egypt the world’s
Lower Egypt. These were united of other cities, seized control strongest power. Thutmose III
about 3100 B.C. by King Menes, of the entire kingdom, and expanded his kingdom farther
who established the first established a powerful central into Africa; Ramses II fought
dynasty. Little is known of the government in Thebes. and later formed an alliance
first two dynasties, but extensive Amenemhet I, founder of the with the Hittites, an Indo-
records were kept in the third, 12th dynasty, and his heirs European people living in what
which begins the Old strengthened the realm both today is Turkey. The weak rule
Kingdom. During politically and commercially, of the 20th dynasty marks the
this time, powerful conquering the African king- end of the New Kingdom and
pharaohs built dom of Nubia in the south and the beginning of a long period
gigantic trading with Asian neighbors of decline that culminated when
pyramids to in the east. After the prosperity Egypt was invaded and sacked
serve as royal of the Middle Kingdom, by the Assyrians in 671 B.C.
tombs. The weak rulers and internal strife
Old Kingdom allowed Semitic invaders called
ended about the Hyksos to conquer Egypt.
2180 B.C. Five
weak dynas- History to Literature
ties followed
in the First
EVENT IN HISTORY EVENT IN LITERATURE
Intermediate
Period. Ancient Egyptians Egyptian hymns, poems, and spells are collect-
believe in an afterlife. ed in the Book of the Dead.
Pharaoh Khafre
(fourth dynasty), New Kingdom pharaoh Akhenaten and his wife, Nefertiti, compose the
builder of the Akhenaten institutes “Hymn to Aten,” or “Adoration of the Disk.”
second of the exclusive worship of the
great pyramids sun god Aten.
at Giza

MIDDLE
OLD KINGDOM
KINGDOM
c. 2660 B.C. c. 2180 B.C. c. 2080 B.C.

20 UNIT ONE PART 1: MESOPOTAMIAN, EGYPTIAN, AND HEBREW LITERATURE

Another random document with
no related content on Scribd:
old Louvre was commenced in the reign of Henry the Eighth; the
Tuileries in that of Elizabeth. In the time of our Civil War Versailles
was yet a swamp. Sans Souci and the Escurial belong to the
Eighteenth Century. The Serail of Jerusalem is a Turkish edifice. The
palaces of Athens, of Cairo, or Tehran, are all of modern date.
Neither can the prisons which remain in fact as well as in history
and drama—with the one exception of St. Angelo in Rome—compare
against the Tower. The Bastile is gone; the Bargello has become a
museum; the Piombi are removed from the Doge’s roof. Vincennes,
Spandau, Spilberg, Magdeburg, are all modern in comparison with a
jail from which Ralph Flambard escaped so long ago as the year
1100, the date of the First Crusade.
Standing on Tower Hill, looking down on the dark lines of wall—
picking out keep and turret, bastion and ballium, chapel and belfry—
the jewel-house, the armoury, the mounts, the casemates, the open
leads—the Bye-ward gate, the Belfry, the Bloody tower—the whole
edifice seems alive with story; the story of a nation’s highest
splendour, its deepest misery, and its darkest shame. The soil
beneath your feet is richer in blood than many a great battlefield; for
out upon this sod has been poured, from generation to generation, a
stream of the noblest life in our land. Should you have come to this
spot alone, in the early day, when the Tower is noisy with martial
doings, you may haply catch, in the hum which rises from the ditch
and issues from the wall below you—broken by roll of drum, by blast
of bugle, by tramp of soldiers—some echoes, as it were, of a far-off
time; some hints of a May-day revel; of a state execution; of a royal
entry. You may catch some sound which recalls the thrum of a
queen’s virginal, the cry of a victim on the rack, the laughter of a
bridal feast. For all these sights and sounds—the dance of love and
the dance of death—are part of that gay and tragic memory which
clings around the Tower.
 THE TOWER OF LONDON

From the reign of Stephen down to that of Henry of Richmond,

Cæsar’s tower (the great Norman keep, now called the White tower)
was a main part of the royal palace; and for that large interval of
time, the story of the White tower is in some sort that of our English
society as well as of our English kings. Here were kept the royal
wardrobe and the royal jewels; and hither came with their goodly
wares, the tiremen, the goldsmiths, the chasers and embroiderers,
from Flanders, Italy, and Almaigne. Close by were the Mint, the lions’
dens, the old archery-grounds, the Court of King’s Bench, the Court
of Common Pleas, the Queen’s gardens, the royal banqueting-hall;
so that art and trade, science and manners, literature and law, sport
and politics, find themselves equally at home.
Two great architects designed the main parts of the Tower;
Gundul the Weeper and Henry the Builder; one a poor Norman
monk, the other a great English king....
 Henry the Third, a prince of epical fancies, as Corffe, Conway,
Beaumaris, and many other fine poems in stone attest, not only
spent much of his time in the Tower, but much of his money in
adding to its beauty and strength. Adam de Lamburn was his master
mason; but Henry was his own chief clerk of the works. The Water
gate, the embanked wharf, the Cradle tower, the Lantern, which he
made his bedroom and private closet, the Galleyman tower, and the
first wall, appear to have been his gifts. But the prince who did so
much for Westminster Abbey, not content with giving stone and piles
to the home in which he dwelt, enriched the chambers with frescoes
and sculpture, the chapels with carving and glass; making St. John’s
chapel in the White tower splendid with saints, St. Peter’s church on
the Tower Green musical with bells. In the Hall tower, from which a
passage led through the Great hall into the King’s bedroom in the
Lantern, he built a tiny chapel for his private use—a chapel which
served for the devotion of his successors until Henry the Sixth was
stabbed to death before the cross. Sparing neither skill nor gold to
make the great fortress worthy of his art, he sent to Purbeck for
marble, and to Caen for stone. The dabs of lime, the spawls of flint,
the layers of brick, which deface the walls and towers in too many
places, are of either earlier or later times. The marble shafts, the
noble groins, the delicate traceries, are Henry’s work. Traitor’s gate,
one of the noblest arches in the world, was built by him; in short,
nearly all that is purest in art is traceable to his reign....
The most eminent and interesting prisoner ever lodged in the
Tower is Raleigh; eminent by his personal genius, interesting from
his political fortune. Raleigh has in higher degree than any other
captive who fills the Tower with story, the distinction that he was not
the prisoner of his country, but the prisoner of Spain.
Many years ago I noted in the State Papers evidence, then
unknown, that a very great part of the second and long
imprisonment of the founder of Virginia was spent in the Bloody
tower and the adjoining Garden house; writing at this grated
window; working in the little garden on which it opened; pacing the
terrace on this wall, which was afterwards famous as Raleigh’s Walk.
Hither came to him the wits and poets, the scholars and inventors of
his time; Johnson and Burrell, Hariot and Pett; to crack light jokes;
to discuss rabbinical lore; to sound the depths of philosophy; to map
out Virginia; to study the ship-builder’s art. In the Garden house he
distilled essences and spirits; compounded his great cordial;
discovered a method (afterwards lost) of turning salt water into
sweet; received the visits of Prince Henry; wrote his political tracts;
invented the modern warship; wrote his History of the World....
The day of Raleigh’s death was the day of a new English birth.
Eliot was not the only youth of ardent soul who stood by the scaffold
in Palace Yard, to note the matchless spirit in which the martyr met
his fate, and walked away from that solemnity—a new man.
Thousands of men in every part of England who had led a careless
life became from that very hour the sleepless enemies of Spain. The
purposes of Raleigh were accomplished, in the very way which his
genius had contrived. Spain held the dominion of the sea, and
England took it from her. Spain excluded England from the New
World, and the genius of that New World is English.
The large contest in the new political system of the world, then
young, but clearly enough defined, had come to turn upon this
question—Shall America be mainly Spanish and theocratic, or English
and free? Raleigh said it should be English and free. He gave his
blood, his fortune, and his genius, to the great thought in his heart;
and, in spite of that scene in Palace Yard, which struck men as the
victory of Spain, America is at this moment English and free.

Her Majesty’s Tower (London, 1869).

 THE CATHEDRAL OF ANTWERP.
WILLIAM MAKEPEACE THACKERAY.

I WAS awakened this morning with the chime which the Antwerp
Cathedral clock plays at half hours. The tune has been haunting me
ever since, as tunes will. You dress, eat, drink, walk, and talk to
yourself to their tune; their inaudible jingle accompanies you all day;
you read the sentences of the paper to their rhythm. I tried
uncouthly to imitate the tune to the ladies of the family at breakfast,
and they say it is “the shadow dance of Dinorah.” It may be so. I
dimly remember that my body was once present during the
performance of that opera, while my eyes were closed, and my
intellectual faculties dormant at the back of the box; howbeit, I have
learned that shadow dance from hearing it pealing up ever so high
in the air at night, morn, noon.
How pleasant to lie awake and listen to the cheery peal, while
the old city is asleep at midnight, or waking up rosy at sunrise, or
basking in noon, or swept by the scudding rain which drives in gusts
over the broad places, and the great shining river; or sparkling in
snow, which dresses up a hundred thousand masts, peaks, and
towers; or wrapped round with thunder—cloud canopies, before
which the white gables shine whiter; day and night the kind little
carillon plays its fantastic melodies overhead. The bells go on
ringing. Quot vivos vocant, mortuos plangunt, fulgura frangunt; so
on to the past and future tenses, and for how many nights, days,
and years! While the French were pitching their fulgura into Chassé’s
citadel, the bells went on ringing quite cheerfully. While the scaffolds
were up and guarded by Alva’s soldiery, and regiments of penitents,
blue, black, and grey, poured out of churches and convents, droning
their dirges, and marching to the place of the Hôtel de Ville, where
heretics and rebels were to meet their doom, the bells up yonder
were chanting at their appointed half hours and quarters, and rang
the mauvais quart d’heure for many a poor soul. This bell can see as
far away as the towers and dikes of Rotterdam. That one can call a
greeting to St. Ursula’s at Brussels, ind toss a recognition to that one
at the town hall of Oudenarde, and remember how, after a great
struggle there a hundred and fifty years ago, the whole plain was
covered with flying French chivalry—Burgundy, and Berri, and the
Chevalier of St. George flying like the rest. “What is your clamour
about Oudenarde?” says another bell (Bob Major this one must be).
“Be still thou querulous old clapper! I can see over to Hougoumont
and St. John. And about forty-five years since, I rang all through one
Sunday in June, when there was such a battle going on in the
cornfields there as none of you others ever heard tolled of. Yes, from
morning service until after vespers, the French and English were all
at it, ding-dong!” And then calls of business intervening, the bells
have to give up their private jangle, resume their professional duty,
and sing their hourly chorus out of Dinorah.
What a prodigious distance those bells can be heard! I was
awakened this morning to their tune, I say. I have been hearing it
constantly ever since. And this house whence I write, Murray says, is
two hundred and ten miles from Antwerp. And it is a week off; and
there is the bell still jangling its shadow dance out of Dinorah. An
audible shadow, you understand, and an invisible sound, but quite
distinct; and a plague take the tune!
 CATHEDRAL OF ANTWERP

Who has not seen the church under the bell? Those lofty aisles,
those twilight chapels, that cumbersome pulpit with its huge
carvings, that wide grey pavement flecked with various light from
the jewelled windows, those famous pictures between the
voluminous columns over the altars which twinkle with their
ornaments, their votive little silver hearts, legs, limbs, their little
guttering tapers, cups of sham roses, and what not? I saw two
regiments of little scholars creeping in and forming square, each in
its appointed place, under the vast roof, and teachers presently
coming to them. A stream of light from the jewelled windows beams
slanting down upon each little squad of children, and the tall
background of the church retires into a greyer gloom. Pattering little
feet of laggards arriving echo through the great nave. They trot in
and join their regiments, gathered under the slanting sunbeams.
What are they learning? Is it truth? Those two grey ladies with their
books in their hands in the midst of these little people have no doubt
of the truth of every word they have printed under their eyes. Look,
through the windows jewelled all over with saints, the light comes
streaming down from the sky, and heaven’s own illuminations paint
the book! A sweet, touching picture indeed it is, that of the little
children assembled in this immense temple, which has endured for
ages, and grave teachers bending over them. Yes, the picture is very
pretty of the children and their teachers, and their book—but the
text? Is it the truth, the only truth, nothing but the truth? If I
thought so, I would go and sit down on the form cum parvulis, and
learn the precious lesson with all my heart.
But I submit, an obstacle to conversions is the intrusion and
impertinence of that Swiss fellow with the baldric—the officer who
answers to the beadle of the British islands—and is pacing about the
church with an eye on the congregation. Now the boast of Catholics
is that their churches are open to all; but in certain places and
churches there are exceptions. At Rome I have been into St. Peter’s
at all hours: the doors are always open, the lamps are always
burning, the faithful are forever kneeling at one shrine or the other.
But at Antwerp it is not so. In the afternoon you can go to the
church and be civilly treated, but you must pay a franc at the side
gate. In the forenoon the doors are open, to be sure, and there is no
one to levy an entrance fee. I was standing ever so still, looking
through the great gates of the choir at the twinkling lights, and
listening to the distant chants of the priests performing the service,
when a sweet chorus from the organ-loft broke out behind me
overhead, and I turned round. My friend the drum-major ecclesiastic
was down upon me in a moment. “Do not turn your back to the altar
during divine service,” says he, in very intelligible English. I take the
rebuke, and turn a soft right-about face, and listen a while as the
service continues. See it I cannot, nor the altar and its ministrants.
We are separated from these by a great screen and closed gates of
iron, through which the lamps glitter and the chant comes by gusts
only. Seeing a score of children trotting down a side aisle, I think I
may follow them. I am tired of looking at that hideous old pulpit,
with its grotesque monsters and decorations. I slip off to the side
aisle; but my friend the drum-major is instantly after me—almost I
thought he was going to lay hands on me. “You mustn’t go there,”
says he; “you mustn’t disturb the service.” I was moving as quietly
as might be, and ten paces off there were twenty children kicking
and chattering at their ease. I point them out to the Swiss. “They
come to pray,” says he. “You don’t come to pray; you—” “When I
come to pay,” says I, “I am welcome,” and with this withering
sarcasm I walk out of church in a huff. I don’t envy the feelings of
that beadle after receiving point blank such a stroke of wit.

Roundabout Papers (London, 1863).

 THE TAJ MAHAL.
ANDRÉ CHEVRILLON.

IT is well known that the Taj is a mausoleum built by the Mogul

Shah-Jehan to the Begum Mumtaz-i-Mahal. It is a regular octagon
surmounted by a Persian dome, which is surrounded by four
minarets. The building, erected upon a terrace which dominates the
enclosing gardens, is constructed of blocks of the purest white
marble, and rises to a height of two hundred and forty-three feet.
We step from the carriage before a noble portico of red sandstone,
pierced by a bold arch and covered with white arabesques. After
passing through this arch, we see the Taj looming up before us eight
hundred metres distant. Probably no masterpiece of architecture
calls forth a similar emotion.