Mark Twain 29

Change a poor boy’s outfit and he gets lucky—or does he? Well, you

are about to get lucky. Get ready to read this classic tale, The Prince

and the Pauper, in play form. Follow Tom Canty and the Prince of

Wales as they experience a dramatic change of luck.

Here’s what you need to know before you begin the play:

• The play is a version of Mark Twain’s story The Prince and the

Pauper.

• Characters’ names appear in front of their lines of dialogue (the

words that they speak).

• Stage directions appear in parentheses and italics. Stage directions

tell the reader or actor about the characters’ actions, thoughts,

and feelings.

• Each scene starts with a description of the time and setting.

The “At Rise” text describes what is happening onstage as the

curtain rises.

• The Prince of Wales is the title given to the person next in line to

the British throne.

• A pauper (pô√p¥r) is a very poor person.

• The Great Seal is the official insignia of the king, used to stamp

important documents. The seal indicates the king’s approval.

ReadingStandard 3.3Analyze theinfluence of setting on theproblem and its resolution.

30 Structures: Building Blocks of MeaningChapter 1

Characters

EDWARD, Prince of Wales

TOM CANTY, the Pauper

LORD HERTFORD

LORD ST. JOHN

KING HENRY VIII

HERALD

MILES HENDON

JOHN CANTY, Tom’s father

HUGO, a young thief

TWO WOMEN

JUSTICE

CONSTABLE

JAILER

SIR HUGH HENDON

TWO PRISONERS

TWO GUARDS

THREE PAGES

LORDS AND LADIES

VILLAGERS

10

20

Like most plays, this onebegins with a cast ofcharacters. Circle this list.Why is it important toinclude a cast of characters?

Mark Twaindramatized by Joellen Bland

”The Prince and the Pauper” by Mark Twain (adapted by Joellen Bland) from Plays, The Drama Magazine forYoung People, vol. 59, no. 6, April 2000. Copyright © 2000 by Kalmbach Publishing Co. Reprinted by permis-sion of the publisher.

Scene 1

Time: 1547.

Setting: Westminster Palace, London. Gates leading to a

courtyard are at right. Slightly to left, off the courtyard and

inside the gates, the interior of a palace room is visible.

There is a couch with a rich robe draped on it, a screen at

rear, bell cord, mirror, chairs, and a table holding a bowl of

nuts and a large golden seal. A piece of armor hangs on one

wall. Exits rear and down stage.

At Rise: TWO GUARDS stand left and right of gates. Several

VILLAGERS hover nearby, straining to see into the courtyard

where the PRINCE is playing. TWO WOMEN enter right.

First Woman. I have walked all morning just to have a

glimpse of Westminster Palace.

Mark Twain 31

30

Plays open with a descriptionof where and when theaction takes place. Circle thewords that give you thisinformation.

Westminster Palace, London.

• • • • • • Notes • • • • • •

Second Woman. Maybe if we can get near enough to the

gates, we can see the young prince.

[TOM CANTY, dirty and ragged, comes out of crowd and steps

close to gates.]

Tom. I have always dreamed of seeing a real prince!

(Excited, he presses his nose against gates.)

First Guard. Mind your manners, you young beggar!

(Seizes TOM by collar and sends him sprawling into crowd.)

[VILLAGERS laugh as TOM slowly gets to his feet.]

Prince (rushing to gates). How dare you treat a poor

subject of the king in such a manner! Open the gates and

let him in!

[As VILLAGERS see PRINCE, they remove hats and bow low.]

Villagers (shouting together). Long live the Prince of Wales!

[GUARDS open gates and TOM slowly passes through, as if in a

dream.]

Prince (to TOM). You look tired, and you have been treated

cruelly. I am Edward, Prince of Wales. What is your name?

Tom (in awe). Tom Canty, Your Highness.

Prince. Come into the palace with me, Tom. (PRINCE leads

TOM into anteroom.)

[VILLAGERS pantomime conversation, and all but a few exit.]

32 Structures: Building Blocks of MeaningChapter 1

40

50

pantomime (pan√t¥•m¢m≈) v.:use actions or gestures with-out words as a means ofexpression.

Pause at line 47. What canyou tell about the princefrom his actions? Circle the text that answers thisquestion.

In line 55 is the wordanteroom. If you know thatthe prefix ante- means“comes before,” what wouldyou guess an anteroom is?

Where do you live, Tom?

Tom. In Offal Court, Your Highness.

Prince. Offal Court? That’s an odd name. Do you have

parents?

Tom. Yes, Your Highness.

Prince. How does your father treat you?

Tom. If it please you, Your Highness, when I am not able to

beg for a penny for our supper, he treats me to beatings.

Prince (shocked). What! My father is not a calm man, but

he does not beat me. (Looks at TOM thoughtfully) You speak

well and have an easy grace. Have you been schooled?

Tom. Very little, Your Highness. A good priest who shares

our house has taught me from his books.

Prince. Do you have a pleasant life in Offal Court?

Tom. Pleasant enough, Your Highness, save when I am

hungry. We have Punch and Judy shows, and sometimes we

lads have fights in the street.

Prince (eagerly). I should like that. Tell me more.

Tom. In summer, we run races and swim in the river, and

we love to wallow in the mud.

Prince (wistfully). If I could wear your clothes and play in

the mud just once, with no one to forbid me, I think I

could give up the crown!

Tom (shaking his head). And if I could wear your fine

clothes just once, Your Highness . . .

Prince. Would you like that? Come, then. We shall change

places. You can take off your rags and put on my clothes—

and I will put on yours. (He leads TOM behind screen, and

they return shortly, each wearing the other’s clothes.) Let’s

look in this mirror. (Leads TOM to mirror)

Mark Twain 33

60

70

80

Pause at line 84. The princehas just reached a decision.Retell what he has decidedto do. What does he want?

Offal means “waste parts” or“garbage,” usually the partsof butchered animals thatare thrown away. What does this name suggestabout the place Tom lives(line 60)?

Tom. Oh, Your Highness, it is not proper for me to wear

such clothes.

Prince (excitedly). Heavens, do you not see it? We look like

brothers! We have the same features and bearing. If we

went about together, dressed alike, there is no one who

could say which is the Prince of Wales and which is

Tom Canty.

Tom (drawing back, rubbing his hand). Your Highness, I am

frightened. . . .

Prince. Do not worry. (Seeing TOM rub his hand) Is that a

bruise on your hand?

Tom. Yes, but it is slight thing, Your Highness.

Prince (angrily). It was shameful and cruel of that guard to

strike you. Do not stir a step until I come back. I command

you! (He picks up the golden seal and carefully puts it into a

piece of armor. He then dashes out to gates.) Open! Unbar

the gates at once!

[SECOND GUARD opens gates, and as PRINCE runs out, FIRST

GUARD seizes him, boxes him on the ear, and knocks him to

ground.]

First Guard. Take that, you little beggar, for the trouble you

have made for me with the prince.

[VILLAGERS roar with laughter.]

Prince (picking himself up, turning on GUARD furiously).

I am Prince of Wales! You shall hang for laying your hand

on me!

34 Structures: Building Blocks of MeaningChapter 1

90

100

110

Notice what the prince doesas he exits. Circle his action.What do you predict itmeans?

• • • • • • Notes • • • • • •

First Guard (presenting arms, mockingly). I salute Your

Gracious Highness! (Then, angrily shoving PRINCE aside)

Be off, you mad bag of rags!

[PRINCE is surrounded by VILLAGERS, who hustle him off.]

Villagers (ad-lib as they exit, shouting). Make way for His

Royal Highness! Make way for the Prince of Wales! Hail to

the prince!

Tom (admiring himself in mirror). If only the boys in Offal

Court could see me! They will not believe me when I tell

them about this. (Looks around anxiously) But where is

the prince? (Looks cautiously into courtyard. TWO GUARDS

immediately snap to attention and salute. He quickly ducks

back into anteroom as LORDS ST. JOHN and HERTFORD enter

at rear.)

Hertford (going toward TOM, then stopping and bowing low).

My lord, you look distressed. What is wrong?

Tom (trembling). Oh, I beg of you, be merciful. I am no

prince, but poor Tom Canty of Offal Court. Please let

me see the prince, and he will give my rags back to me

and let me go unhurt. (Kneeling) Please, be merciful and

spare me!

Hertford (disturbed). Your Highness, on your knees? To

me? (Bows quickly, then aside to ST. JOHN) The prince has

gone mad! We must inform the king. (To TOM) A moment,

Your Highness.

[HERTFORD and ST. JOHN exit rear.]

Tom. Oh, there is no hope for me now. They will hang me

for certain!

Mark Twain 35

120

130

140

Stage directions describecharacters’ actions or emotional states. They oftenappear in parentheses orbrackets and are italicized.Circle the word that tells youhow Tom feels when LordHertford begins speaking to him (line 129).

• • • • • • Notes • • • • • •

• • • • • • Notes • • • • • •

[HERTFORD and ST. JOHN reenter, supporting the KING. TOM

watches in awe as they help him to couch, where he sinks

down wearily.]

King (beckoning TOM close to him). Now, my son, Edward,

my prince. What is this? Do you mean to deceive me, the

king, your father, who loves you and treats you so kindly?

Tom (dropping to his knees). You are the king? Then I have

no hope!

King (stunned). My child, you are not well. Do not break

your father’s old heart. Say you know me.

Tom. Yes, you are my lord the king, whom God preserve.

King. True, that is right. Now, you will not deny that you

are Prince of Wales, as they say you did just a while ago?

Tom. Your Grace, believe me, I am the lowest of your sub-

jects, being born a pauper, and it is by great mistake that

I am here. I am too young to die. Oh, please, spare me, sire!

King (amazed). Die? Do not talk so, my child. You shall

not die.

Tom (gratefully). God save you, my king! And now, may

I go?

King. Go? Where would you go?

Tom. Back to the alley where I was born and bred

to misery.

King. My poor child, rest your head here. (He holds TOM’s

head and pats his shoulder, then turns to HERTFORD and ST.

JOHN.) Alas, I am old and ill, and my son is mad. But this

shall pass. Mad or sane, he is my heir and shall rule

England. Tomorrow he shall be installed and confirmed

in his princely dignity! Bring the Great Seal!

36 Structures: Building Blocks of MeaningChapter 1

150

160

heir (er) n.: person whoinherits another’s property ortitle upon the other’s death.

With a partner, read theboxed passage aloud. Onepartner should read theking’s lines; the other, Tom’slines. Pay attention to thestage directions, and try tocapture the tone that Tomand the king might use.When finished, switch roles.

Why is it possible that Tomcan pass for the prince?

Hertford (bowing low). Please, Your Majesty, you took the

Great Seal from the chancellor two days ago to give to His

Highness the prince.

King. So I did. (To TOM) My child, tell me, where is the

Great Seal?

Tom (trembling). Indeed, my lord, I do not know.

King. Ah, your affliction hangs heavily upon you. ’Tis no

matter. You will remember later. Listen, carefully! (Gently

but firmly) I command you to hide your affliction in all

ways that be within your power. You shall deny to no one

that you are the true prince, and if your memory should

fail you upon any occasion of state, you shall be advised by

your uncle, the Lord Hertford.

Tom (resigned). The king has spoken. The king shall

be obeyed.

King. And now, my child, I go to rest. (He stands weakly,

and HERTFORD leads him off, rear.)

Tom (wearily, to ST. JOHN). May it please your lordship to let

me rest now?

St. John. So it please Your Highness, it is for you to

command and us to obey. But it is wise that you rest,

for this evening you must attend the lord mayor’s banquet

in your honor.

[He pulls the bell cord, and THREE PAGES enter and kneel

before TOM.]

Tom. Banquet? (Terrified, he sits on the couch and reaches

for a cup of water, but the FIRST PAGE instantly seizes the cup,

drops to one knee, and serves it to him. TOM starts to take off

Mark Twain 37

170

180

190

banquet (ba«√kw¥t) n.:elaborate meal; feast.

affliction (¥•flik√◊¥n) n.:illness; pain; suffering.

We know what happened tothe Great Seal. Where is it?(Lines 101–102.)

The word pages has multiplemeanings. What do youguess it means in line 193?

his boots, but the SECOND PAGE stops him and does it for him.

He tries to remove his cape and gloves, and the THIRD PAGE

does it for him.) I wonder that you do not try to breathe for

me also! (Lies down cautiously. PAGES cover him with a robe,

then back away and exit.)

St. John (to HERTFORD, as he enters). Plainly, what do

you think?

Hertford. Plainly, this. The king is near death, my nephew

the Prince of Wales is clearly mad and will mount the

throne mad. God protect England, for she will need it!

St. John. Does it not seem strange that madness could so

change his manner from what it used to be? It troubles

me, his saying he is not the prince.

Hertford. Peace, my lord! If he were an impostor and

called himself the prince, that would be natural. But was

there ever an impostor who, being called prince by the

king and court, denied it? Never! This is the true prince

gone mad. And tonight all London shall honor him.

[HERTFORD and ST. JOHN exit. TOM sits up, looks around

helplessly, then gets up.]

Tom. I should have thought to order something to eat.

(Sees a bowl of nuts on the table) Ah! Here are some nuts!

(Looks around, sees the Great Seal in the armor, takes it out,

looks at it curiously) This will make a good nutcracker. (He

takes the bowl of nuts, sits on the couch, and begins to crack

nuts with the Great Seal and eat them as curtain falls.)

38 Structures: Building Blocks of MeaningChapter 1

200

210

220

This is the end of the firstscene. Pause here to retellwhat has happened so far inthe plot.

impostor (im•päs√t¥r) n.:person who pretends to besomeone or something thathe or she is not.

Scene 2

Time: Later that night.

Setting: A street in London near Offal Court.

At Rise: PRINCE limps in, dirty and untidy. He looks around

wearily. Several VILLAGERS pass by, pushing against him.

Prince. I have never seen this poor section of London. I

must be near Offal Court. If only I can find it before I

drop!

[JOHN CANTY steps out of crowd, seizes PRINCE roughly.]

Canty. Out at this time of night, and I warrant you haven’t

brought a farthing home! If that is the case and I do not

break all the bones in your miserable body, then I am not

John Canty!

Prince (eagerly). Oh, are you his father?

Canty. His father? I am your father, and—

Prince. Take me to the palace at once, and your son will be

returned to you. The king, my father, will make you rich

beyond your wildest dreams. Oh, save me, for I am indeed

the Prince of Wales.

Canty (staring in amazement). Gone stark mad! But mad or

not, I’ll soon find where the soft places lie in your bones.

Come home! (Starts to drag PRINCE off)

Prince (struggling). Let me go! I am the Prince of Wales,

and the king shall have your life for this!

Canty (angrily). I’ll take no more of your madness! (Raises

stick to strike, but PRINCE struggles free and runs off. CANTY

runs after him.)

Mark Twain 39

230

240

250

What is the prince learning,as Scene 2 ends?

Circle the words thatdescribe the setting ofScene 2. How is it differentfrom Scene 1?

40 Structures: Building Blocks of MeaningChapter 1

Scene 3

Setting: Same as Scene 1, with addition of a dining table,

set with dishes and goblets, on a raised platform.

Thronelike chair is at the head of table.

At Rise: A banquet is in progress. TOM, in royal robes, sits

at the head of table, with HERTFORD at his right and ST. JOHN

at his left. LORDS and LADIES sit around the table, eating and

talking softly.

Tom (to HERTFORD). What is this, my lord? (Holds up plate)

Hertford. Lettuce and turnips, Your Highness.

Tom. Lettuce and turnips? I have never seen them before.

Am I to eat them?

Hertford (discreetly). Yes, Your Highness, if you so desire.

[TOM begins to eat food with his fingers. Fanfare of trumpets

is heard, and HERALD enters carrying scroll. All turn to look.]

Herald (reading from scroll). His Majesty, King Henry VIII,

is dead! The king is dead!

[All rise and turn to TOM, who sits stunned.]

All (together). The king is dead. Long live the king! Long

live Edward, the king of England! (All bow to TOM. HERALD

bows and exits.)

Hertford (to TOM). Your Majesty, we must call the council.

Come, St. John.

[HERTFORD and ST. JOHN lead TOM off at rear. LORDS and

LADIES follow, talking among themselves. At gates, down right,

260

270

Pause at line 277. What newproblem has come up forTom?

Pause at line 265. In whatway do Tom’s actions revealwho he truly is?

VILLAGERS enter and mill about. PRINCE enters right, pounds

on gates, and shouts.]

Prince. Open the gates! I am the Prince of Wales! Open, I

say! And though I am friendless with no one to help me, I

will not be driven from my ground.

Miles Hendon (entering through crowd). Though you be

prince or not, you are indeed a gallant lad and not friend-

less. Here I stand to prove it, and you might have a worse

friend than Miles Hendon.

First Villager. ’Tis another prince in disguise. Take the lad

and dunk him in the pond!

[He seizes PRINCE, but MILES strikes him with flat of his sword.

Crowd, now angry, presses forward threateningly when the

fanfare of trumpets is heard offstage. HERALD, carrying scroll,

enters up left at gates.]

Herald. Make way for the king’s messenger! (Reading

from scroll) His Majesty, King Henry VIII is dead! The

king is dead!

[He exits right, repeating the message, and VILLAGERS stand in

stunned silence.]

Prince (stunned). The king is dead!

First Villager (shouting). Long live Edward, king of

England!

Villagers (together). Long live the king! (Shouting, ad-lib)

Long live King Edward! Heaven protect Edward, king

of England!

Mark Twain 41

280

290

300

• • • • • • Notes • • • • • •

Circle the word gallant inline 283. Then underline lines in the dialogue abovethat help you figure out the meaning of the word.What might gallant mean?

Miles (taking PRINCE by arm). Come, lad, before the crowd

remembers us. I have a room at the inn, and you can stay

there. (He hurries off with stunned PRINCE.)

[TOM, led by HERTFORD, enters courtyard up rear. VILLAGERS

see them.]

Villagers (together). Long live the king! (They fall to their

knees as curtains close.)

Scene 4

Setting: MILES’s room at inn. At right is table set with

dishes and bowls of food, a chair at each side. At left is bed,

with table and chair next to it, and a window. Candle is

on table.

At Rise: MILES and PRINCE approach table.

Miles. I have had a hot supper prepared. I’ll bet you’re

hungry, lad.

Prince. Yes, I am. It’s kind of you to let me stay with you,

Miles. I am truly Edward, king of England, and you shall

not go unrewarded. (Sits at table)

Miles (to himself). First he called himself prince, and now

king. Well, I will humor him. (Starts to sit)

Prince (angrily). Stop! Would you sit in the presence of

the king?

Miles (surprised, standing up quickly). I beg your pardon,

Your Majesty. I was not thinking. (Stares uncertainly at

PRINCE, who sits at table expectantly. MILES starts to uncover

dishes of food, serves PRINCE, and fills glasses.)

42 Structures: Building Blocks of MeaningChapter 1

310

320

Take time to picture thescene described in the setting. Draw a box aroundthe descriptions. How is the setting different fromOffal Court?

What has happened to theprince by the end of Scene 3?

Prince. Miles, you have a gallant way about you. Are you

nobly born?

Miles. My father is a baronet, Your Majesty.

Prince. Then you also must be a baronet.

Miles (shaking his head). My father banished me from

home seven years ago, so I fought in the wars. I was taken

prisoner, and I have spent the past seven years in prison.

Now I am free, and I am returning home.

Prince. You must have been shamefully wronged! But I

will make things right for you. You have saved me from

injury and possible death. Name your reward and if it be

within the compass of my royal power, it is yours.

Miles (pausing briefly, then dropping to his knee). Since

Your Majesty is pleased to hold my simple duty worthy

of reward, I ask that I and my successors may hold the

privilege of sitting in the presence of the king.

Prince (taking MILES’s sword, tapping him lightly on each

shoulder). Rise and seat yourself. (Returns sword to MILES,

then rises and goes over to bed)

Miles (aside). He should have been born a king. He plays

the part to a marvel! If I had not thought of this favor, I

might have had to stand for weeks. (Sits down and begins

to eat)

Prince. Sir Miles, you will stand guard while I sleep. (Lies

down and instantly falls asleep)

Miles. Yes, Your Majesty. (With a rueful look at his uneaten

supper, he stands up.) Poor little chap. I suppose his mind

has been disordered with ill usages. (Covers PRINCE with his

cape) Well, I will be his friend and watch over him. (Blows

out candle, then yawns and sits on chair next to bed, and falls

asleep.)

Mark Twain 43

330

340

350 Circle the word disordered(line 355). The prefix dis-means “not.” If the worddisinterested means “notinterested,” what does theword disordered mean?

What do you guess a baronetis (line 331)?

Is Miles serious here (line 343)?

[JOHN CANTY and HUGO appear at window, peer around

room, then enter cautiously through window. They lift the

sleeping PRINCE, staring nervously at MILES.]

Canty (in a loud whisper). I swore the day he was born he

would be a thief and a beggar, and I won’t lose him now.

Lead the way to the camp, Hugo!

[CANTY and HUGO, a thief, carry the PRINCE off right, as MILES

sleeps on and curtain falls.]

Scene 5

Time: Two weeks later.

Setting: Country village street. May be played before

curtain.

Before Rise: VILLAGERS walk about. CANTY, HUGO, and

PRINCE enter.

Canty. I will go in this direction. Hugo, keep my mad son

with you, and see that he does not escape again! (Exits)

Hugo (seizing PRINCE by the arm). He won’t escape! I’ll see

that he earns his bread today, or else!

Prince (pulling away). I will not beg with you, and I will

not steal! I have suffered enough in this miserable company

of thieves!

Hugo. You shall suffer more if you do not do as I tell you!

(Raises clenched fist at PRINCE) Refuse if you dare! (WOMAN

enters, carrying wrapped bundle in a basket on her arm.)

Wait here until I come back. (HUGO sneaks along after

WOMAN, then snatches her bundle, runs back to PRINCE, and

thrusts it into his arms.) Run after me and call “Stop, thief!”

Be sure you lead her astray! (Runs off.)

44 Structures: Building Blocks of MeaningChapter 1

360

370

380

Retell what has happened inScene 4. What new problemshave come up for the prince?

• • • • • • Notes • • • • • •

Circle the word lead (line364). Lead (l≤d), meaning“guide,” and lead (led),meaning “the material pipes are made of,” arehomographs. Homographsare words that are spelledthe same and oftenpronounced the same, butthey mean different things.

[PRINCE throws down bundle in disgust.]

Woman. Help! Thief! Stop, thief! (Rushes at PRINCE and

seizes him just as several VILLAGERS enter) You little thief!

What do you mean by robbing a poor woman? Somebody

bring the constable!

[MILES enters and watches.]

First Villager (grabbing PRINCE). I’ll teach him a lesson, the

little villain!

Prince (struggling). Unhand me! I did not rob this woman!

Miles (stepping forth and pushing man back with the flat

of his sword). Let us proceed gently, my friends. This is a

matter for the law.

Prince (springing to MILES’s side). You have come just in

time, Sir Miles. Carve this rabble to rags!

Miles. Speak softly. Trust in me and all shall go well.

[CONSTABLE enters.]

Constable (reaching for PRINCE). Come along, young rascal!

Miles. Gently, good friend. He shall go peaceably to

the justice.

Prince. I will not go before a justice! I did not do

this thing!

Miles (taking him aside). Sire, will you reject the laws of the

realm, yet demand that your subjects respect them?

Mark Twain 45

390

400

Pause at line 401. What doyou think will happen to theprince?

What do you guess a constable is (line 391)?

Prince (after a pause; calmly). You are right, Sir Miles.

Whatever the king requires a subject to suffer under the

law, he will suffer himself while he holds the station of

a subject.

[CONSTABLE leads them off right. VILLAGERS follow.]

Scene 6

Setting: Office of the justice. A high bench is at center.

At Rise: JUSTICE sits behind bench. CONSTABLE enters with

MILES and PRINCE, followed by VILLAGERS. WOMAN carries

wrapped bundle.

Constable (to JUSTICE). A young thief, your worship,

is accused of stealing a dressed pig from this poor woman.

Justice (looking down at PRINCE, then WOMAN). My good

woman, are you absolutely certain this lad stole

your pig?

Woman. It was none other than he, your worship.

Justice. Are there no witnesses to the contrary? (All shake

their heads.) Then the lad stands convicted. (To WOMAN)

What do you hold this property to be worth?

Woman. Three shillings and eight pence, your worship.

Justice (leaning down to WOMAN). Good woman, do you

know that when one steals a thing above the value of

thirteen pence, the law says he shall hang for it?

Woman (upset). Oh, what have I done? I would not hang

the poor boy for the whole world! Save me from this, your

worship. What can I do?

Justice (gravely). You may revise the value, since it is not

yet written in the record.

46 Structures: Building Blocks of MeaningChapter 1

410

420

430

What does this detail sayabout the laws in England atthis time (lines 430–432)?

Pause at line 413. What doesthis decision reveal about theprince’s character?

Circle the words shilling andpence (line 429). These coinswere used in England at thetime the story is set.

Woman. Then call the pig eight pence, your worship.

Justice. So be it. You may take your property and go.

[WOMAN starts off and is followed by CONSTABLE. MILES follows

them cautiously down right.]

Constable (stopping WOMAN). Good woman, I will buy

your pig from you. (Takes coins from his pocket) Here is

eight pence.

Woman. Eight pence! It cost me three shillings and

eight pence.

Constable. Indeed! Then come back before his worship

and answer for this. The lad must hang!

Woman. No! No! Say no more. Give me the eight pence

and hold your peace.

[CONSTABLE hands her coins and takes pig. WOMAN exits,

angrily. MILES returns to bench.]

Justice. The boy is sentenced to a fortnight in the common

jail. Take him away, Constable! (JUSTICE exits.)

[PRINCE gives MILES a nervous glance.]

Miles (following CONSTABLE). Good sir, turn your back a

moment and let the poor lad escape. He is innocent.

Constable (outraged). What? You say this to me? Sir, I arrest

you in—

Miles. Do not be so hasty! (Slyly) The pig you have pur-

chased for eight pence may cost you your neck, man.

Constable (laughing nervously). Ah, but I was merely jest-

ing with the woman, sir.

Mark Twain 47

440

450

460

Pause at line 444. What is theconstable up to here?

• • • • • • Notes • • • • • •

48 Structures: Building Blocks of MeaningChapter 1

Miles. Would the justice think it a jest?

Constable. Good sir! The justice has no more sympathy

with a jest than a dead corpse! (Perplexed) Very well, I will

turn my back and see nothing! But go quickly! (Exits)

Miles (to PRINCE). Come, my liege. We are free to go.

And that band of thieves shall not set hands on you again.

I swear it!

Prince (wearily). Can you believe, Sir Miles, that in the last

fortnight, I, the king of England, have escaped from thieves

and begged for food on the road? I have slept in a barn

with a calf! I have washed dishes in a peasant’s kitchen and

narrowly escaped death. And not once in all my wanderings

did I see a courier searching for me! Is it not matter for

commotion and distress that the head of state is gone?

Miles (sadly, aside). Still busy with his pathetic dream.

(To PRINCE) It is strange indeed, my liege. But come, I will

take you to my father’s home in Kent. There you may rest

in a house with seventy rooms! I am all impatient to be

home again!

[They exit, MILES cheerful, PRINCE puzzled, as curtains close.]

Scene 7

Setting: Village jail. Bare stage, with barred window on

one wall.

At Rise: TWO PRISONERS, in chains, are onstage. JAILER

shoves MILES and PRINCE, in chains, onstage. They struggle

and protest.

Miles. But I tell you, I am Miles Hendon! My brother,

Sir Hugh, has stolen my bride and my estate!

470

480

490

Where are the prince andMiles in Scene 7? What new complication has occurred?

Why is no one looking forthe prince (lines 476–477)?

Jailer. Be silent! Sir Hugh will see that you pay well for

claiming to be his dead brother and for assaulting him in

his own house! (Exits)

Miles (sitting with head in hands). Oh, my dear Edith . . .

now wife to my brother, Hugh, against her will, and my

poor father . . . dead!

First Prisoner. At least you have your life, sir. I am to be

hanged for killing a deer in the king’s park.

Second Prisoner. And I must hang for stealing a yard of

cloth to dress my children.

Prince (moved; to PRISONERS). When I mount the throne,

you shall all be free. And the laws that have dishonored

you shall be swept from the books. (Turning away) Kings

should go to school to learn their own laws and be

merciful.

First Prisoner. What does the lad mean? I have heard that

the king is mad, but merciful.

Second Prisoner. He is to be crowned at Westminster

tomorrow.

Prince (violently). King? What king, good sir?

First Prisoner. Why, we have only one, his most sacred

majesty, King Edward VI.

Second Prisoner. Whether he be mad or not, his praises

are on all men’s lips. He has saved many innocent lives,

and plans to destroy the cruelest laws that oppress people.

Prince (turning away, shaking his head). How can this be?

Surely it is not that little beggar boy!

[SIR HUGH enters with JAILER.]

Mark Twain 49

500

510

What do you learn Tom isdoing as king (lines514–516)?

What is the prince learningabout the laws of his owncountry (lines 498–502)?

Whom are the prisoners talk-ing about (lines 507–513)?

Sir Hugh. Seize the imposter!

[JAILER pulls MILES to his feet.]

Miles. Hugh, this has gone far enough!

Sir Hugh. You will sit in the public stocks, and the boy

would join you if he were not so young. See to it, jailer, and

after two hours, you may release them. Meanwhile, I ride to

London for the coronation!

[SIR HUGH exits and MILES is hustled out by JAILER.]

Prince. Coronation! There can be no coronation

without me!

[Curtain.]

Scene 8

Time: Coronation Day.

Setting: Outside gates of Westminster Abbey. Throne is

center. A bench is near it.

At Rise: LORDS and LADIES crowd abbey. Outside gates,

GUARDS drive back cheering VILLAGERS, among them MILES.

Miles (distraught). I’ve lost him! Poor little chap! He has

been swallowed up in the crowd!

[Fanfare of trumpets is heard, then HERTFORD, ST. JOHN,

LORDS and LADIES enter slowly, followed by PAGES, one of

whom carries the crown on small cushion. TOM follows the

50 Structures: Building Blocks of MeaningChapter 1

520

530

540

This scene takes place oncoronation day. Who do youthink will be crowned theking on this day?

Retell what has happened tothe prince and the pauper inScene 7.

procession, looking about nervously. Suddenly, the PRINCE,

in rags, steps from the crowd, his hand raised.]

Prince. I forbid you to set the crown of England upon that

head. I am the king!

Hertford. Seize the vagabond!

Tom. I forbid it! He is the king! (Kneeling before PRINCE)

Oh, my lord the king, let poor Tom Canty be the first

to say, “Put on your crown and enter into your own

right again.”

[HERTFORD and several LORDS look closely at both boys.]

Hertford. This is strange indeed. (To TOM) By your favor,

sir, I wish to ask certain questions of this lad.

Prince. I will answer truly whatever you may ask, my lord.

Hertford. But if you have been well trained, you may

answer my questions as well as our lord the king. I need

definite proof. (Thinks a moment) Ah! Where lies the Great

Seal of England? It has been missing for weeks, and only

the true Prince of Wales can say where it lies.

Tom. Wait! Was the seal round and thick, with letters

engraved on it? (HERTFORD nods.) I know where it is, but it

was not I who put it there. The rightful king shall tell you.

(To PRINCE) Think, my king, it was the very last thing you

did that day before you rushed out of the palace wearing

my rags.

Prince (pausing). I recall how we exchanged clothes, but

have no recollection of hiding the Great Seal.

Tom (eagerly). Remember when you saw the bruise on my

hand you ran to the door, but first you hid this thing you

call the seal.

Mark Twain 51

550

560

570

How does Hertford test the prince to see if he is the true king?

• • • • • • Notes • • • • • •

Prince (suddenly). Ah! I remember! (To ST. JOHN) My good

St. John, you shall find the Great Seal in the armor that

hangs on the wall in my chamber.

[ST. JOHN hesitates, but at a nod from TOM hurries off.]

Tom (pleased). Right, my king! Now the scepter of England

is yours again.

[ST. JOHN returns in a moment with Great Seal, holds it up

for all to see.]

All (shouting). Long live Edward, king of England!

[TOM takes off cape and throws it over PRINCE’s rags. Trumpet

fanfare is heard. ST. JOHN takes the crown and places it on the

PRINCE. All kneel.]

Hertford. Let the small impostor be flung into the tower!

Prince (firmly). I will not have it so. But for him, I would

not have my crown. (To TOM) My poor boy, how was it you

could remember where I hid the seal?

Tom (embarrassed). I did not know what it was, my king,

and I used it to . . . to crack nuts.

[All laugh. MILES steps forward, staring in amazement.]

52 Structures: Building Blocks of MeaningChapter 1

580

How is the prince’s problemfinally resolved?

Miles. Is he really the king, the sovereign of England, and

not the poor and friendless Tom o’ Bedlam I thought he

was? (Sinks down on bench) I wish I had a bag to hide my

head in!

First Guard (rushing up to him). Stand up, you mannerless

clown! How dare you sit in the presence of the king!

Prince. Do not touch him! He is my trusty servant, Miles

Hendon, who saved me from shame and possible death.

For his service, he owns the right to sit in my presence.

Miles (bowing, then kneeling). Your Majesty!

Prince. Rise, Sir Miles. I command that Sir Hugh Hendon,

who sits within this hall, be seized and put under lock and

key until I have need of him. (Beckons to TOM) From what I

have heard, Tom Canty, you have governed the realm with

royal gentleness and mercy in my absence. Henceforth, you

shall hold the honorable title of king’s ward! (TOM kneels

and kisses PRINCE’s hand.) And because I have suffered with

the poorest of my subjects and felt the cruel force of unjust

laws, I pledge myself to a reign of mercy for all!

[All bow low, then rise.]

All (shouting). Long live the king! Long live Edward, king

of England!

[Curtain]

THE END

590

600

610

Mark Twain 53

Why was it important for theprince to leave the court andlive as a commoner?

“Tom o’ Bedlam” is a termthat refers to someone whois mentally ill. What doesMiles discover?

54 Structures: Building Blocks of MeaningChapter 1

Plot and Setting Write a scene-by-scene summary of the play. Besure to indicate where each scene is set. Before you begin writing, fill

out the chart on the next page to gather your key events. At the end

of your plot summary, tell what message you think is contained in

this story about a king who lives for a time as a poor person. (What

does he learn?)

Personal Word List Record the words you learned from this story inyour Personal Word List. Then, say something to a partner using one

of those words. Your partner can reply using another word from the

list. Continue the conversation until one of you runs out of words—

or ways to use them.

Personal Reading Log Record this selection in your Personal ReadingLog. Write a few sentences telling how you think the play would

work as a TV series. Give yourself 10 points on the Reading Meter for

reading the selection.

Checklist for Standards Mastery Use the Checklist for StandardsMastery to track your progress in mastering the standards.

Graphic Organizer 55

The Prince and the Pauper Interactive Reading, page 30

Interact with a Literary Text

Plot and Setting Chart Fill out the chart with details from ThePrince and the Pauper. First, fill in the eight settings as described inthe notes at the beginning of the scenes. Then fill in at least one keyevent that happened in each setting.

Settings Play Events

Scene 1:

Scene 2:

Scene 3:

Scene 4:

Scene 5:

Scene 6:

Scene 7:

Scene 8:

Chapter 1 7

DIFFERENTIATING INSTRUCTIONThe Prince and the Pauper

■ Learners Having DifficultyThis play has many characters,scenes, and stage directions.Students having difficulty willbenefit from listening to thisselection on the audio CDbefore they read. You may alsowant to play specific scenes asthey read.

■ Benchmark StudentsBecause this play uses somearchaic language and termi-nology, ask on-level learnersto circle any unfamiliar wordsnot listed as vocabulary. Thenhave them work with a part-ner to look up the words in adictionary and make a list torefer to as they read.

■ Advanced StudentsChallenge advanced studentsto critique the effectiveness ofthe play’s plot and characteri-zations.

READING OPTIONBecause of its many roles andonstage activity, this play may beconfusing for some readers. Youmay want students to becomethoroughly familiar with thisclassic by having them stage aclass production of the play.

TEACHER TO TEACHERAs students read and dramatizethe entire play or part of it, theywill increase their understandingof the characters. Point out thatduring the rehearsal process,directors and actors will discovermore about the characters.

The Prince and the Pauperbased on a novel by Mark Twain ■ page 30

■ Have the class read the material in Before You Read. Since studentspresumably know what a prince is, explain that a pauper is a verypoor person. Speculate about what might happen if a prince and apauper could somehow meet.

■ Note that students will use the “Retelling” strategy to help themunderstand the play. Encourage them to follow the sequence ofevents carefully to prepare for their retellings.

■ Have students locate and read the first note about Text Structure.Point out that the play has a large cast, which might make it suit-able for a class performance.

■ Model the “Retelling” strategy for students, emphasizing the orderof events. Use signal words and expressions such as before, then,later, however, on the next day, and since.

■ Have volunteers read the parts of the prince and Tom Canty as theplay begins. Later, if the class seems to enjoy reading the playaloud, invite students of all abilities to take various parts, readingthe lines and gesturing as they imagine the characters would.

■ Pause occasionally to have a student retell a scene that was just read.■ Have students continue reading the play, using the side-column

questions and comments as a guide.■ When students have finished reading the play, have them complete

the Plot and Setting Chart on page 55, and add the play to theirPersonal Reading Logs.

■ Photocopy and distribute the Retellings Rubric in Section Three ofthe Teacher’s Edition. Then, have students evaluate one another’sretellings. Bring the class back together to complete Own the Play.

■ Finally, use the Vocabulary Check on Teacher’s Edition page 14 andthe Comprehension Check on Teacher’s Edition page 15 to evalu-ate students’ mastery of the vocabulary and literary standards.

14 Interactive Reading

Name ______________________________ Class _____________ Date _____________

Co

pyr

igh

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by

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Vocabulary CheckVocabulary CheckThe Prince and thePauper ■ Interactive Reading, page 30Reading Standard 1.4 Monitor expository text for unknownwords or words with novel meanings by using word, sentence, andparagraph clues to determine meaning.

A. Words in ContextWrite the correct vocabulary word in each blank. Use each word only once.

No one believed poor Tom Canty when he said he was not the

(1) _______________ to the throne of England. He managed to get through the

royal (2) _______________, though his table manners were rude. Once he confessed

that he was an (3) _______________, not even the king knew what to make

of him. In fact, everyone thought the boy was suffering from a terrible

(4) _______________ of the mind. They would (5) _______________ behind

his back, signaling that they thought he was ill.

B. Word CluesWrite the vocabulary word suggested by each clue.

1. Do this to communicate without words.

2. If you plan to attend one, be sure you have an appetite.

3. If you are suffering from one, see a doctor.

4. If your family is rich, you probably are one.

5. You could say that this person is not really himself.

use actions or gestures without words as a means ofexpression

person who has the right to inherit another person’sproperty or title

illness; pain; suffering

elaborate meal; great feast

person who pretends to be someone he or she is not

pantomime, verb

heir, noun

affliction, noun

banquet, noun

impostor, noun

Vocabulary DevelopmentVocabulary Development

Chapter 1 15

Name ______________________________ Class _____________ Date _____________

Comprehension CheckComprehension CheckThe Prince and thePauper ■ Interactive Reading, page 30Reading Standard 3.3 Analyze the influence of setting on theproblem and its resolution.

Co

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igh

t ©

by

Ho

lt, R

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art

and

Win

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ll ri

gh

ts r

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.

the places and times in which a story takes place

struggle between opposing forces

final part of the plot, in which the loose ends ofthe story are tied up

A. Circle the letter of the correct response to each item.

1. The conflict in the play stems from the fact that—A no one believes that the prince and Tom Canty have switched placesB the prince wants to keep playing Tom CantyC Tom Canty wants to be crowned KingD Tom’s father wants to be crowned King

2. Which statement is not true about the play’s setting?F The setting is in a fantasy world.G The play has several settings.H The play is set in England.J The play is set in 1547.

3. What happens in the resolution of the play?A The true prince gives Tom a title.B Tom’s father seizes the prince, thinking that the boy is his son.C Tom is put in chains.D Both boys are punished.

B. Which scene in The Prince and the Pauper did you like best? Tell where the sceneis set, name the characters in the scene, and summarize its main action. Writethree or four sentences.

setting

conflict

resolution

Academic VocabularyAcademic Vocabulary

110 Interactive Reading: Teacher’s Edition

Chapter 1

Practice Read: ZooVocabulary Check, page 8

A: 1. wonderment2. breed3. offspring4. mate5. parting

B: 1. parting2. mate3. breed4. offspring5. wonderment

Comprehension Check, page 9A: 1. C

2. J3. D4. F

B: Answers will vary. Encourage students to usetheir imaginations. Strong answers will reflect an understanding of setting and story events.

from The Martian ChroniclesVocabulary Check, page 10

A: 1. atomized2. depopulated3. extinguished 4. conscious5. anesthetic

B: 1. extinguished 2. atomized3. anesthetic4. depopulated5. conscious

Comprehension Check, page 11A: 1. B

2. G3. D

B: Students’ responses should note that the plot isdirectly related to the setting.

Tricky ScienceVocabulary Check, page 12

A: 1. hoax2. abductions3. herds4. sapphire5. traces

B: 1. taking away 2. remaining signs of its presence3. trick4. pack5. jewel

Comprehension Check, page 13A: 1. C

2. J3. D4. G

B: Memos should be based on a reasonable evalua-tion of the article’s accuracy.

The Prince and the PauperVocabulary Check, page 14

A: 1. heir 2. banquet 3. impostor 4. affliction 5. pantomime

B: 1. pantomime 2. banquet 3. affliction 4. heir 5. impostor

Comprehension Check, page 15A: 1. A

2. F 3. A

B: Be sure students respond to the three aspects ofthe prompt: setting, characters, action.

134 Interactive Reading: Teacher’s Edition

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Chapter 1Pupil Pages xx–55

Pupil Pages with Answers 135

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DLA

DIE

S

VIL

LAG

ER

S

10 20

Like

mo

st p

lays

, th

is o

ne

beg

ins

wit

h a

cas

t o

fch

arac

ters

. Cir

cle

this

list

.W

hy

is it

imp

ort

ant

toin

clu

de

a ca

st o

f ch

arac

ters

?

Sug

ges

ted

res

po

nse

:

It t

ells

peo

ple

pu

ttin

g

on

th

e p

lay

wh

at r

ole

s

to f

ill.

Mar

k Tw

ain

dra

mat

ized

by

Joel

len

Bla

nd

”Th

e Pr

ince

an

d t

he

Pau

per

” b

y M

ark

Twai

n (

adap

ted

by

Joel

len

Bla

nd

) fr

om

Pla

ys, T

he

Dra

ma

Mag

azin

e fo

rY

ou

ng

Peo

ple

,vo

l. 59

, no

. 6, A

pri

l 200

0. C

op

yrig

ht

© 2

000

by

Kal

mb

ach

Pu

blis

hin

g C

o.R

epri

nte

d b

y p

erm

is-

sio

n o

f th

e p

ub

lish

er.

Chapter 1Pupil Pages xx–55

136 Interactive Reading: Teacher’s Edition

Wh

ere

do y

ou li

ve,T

om?

Tom

.In

Off

al C

ourt

,You

r H

igh

nes

s.

Pri

nce

.Off

al C

ourt

? T

hat

’s a

n o

dd n

ame.

Do

you

hav

e

pare

nts

?

Tom

.Yes

,You

r H

igh

nes

s.

Pri

nce

.How

doe

s yo

ur

fath

er t

reat

you

?

Tom

.If

it p

leas

e yo

u,Y

our

Hig

hn

ess,

wh

en I

am

not

abl

e to

beg

for

a pe

nny

for

ou

r su

pper

,he

trea

ts m

e to

bea

tin

gs.

Pri

nce

(sho

cked

).W

hat

! My

fath

er is

not

a c

alm

man

,bu

t

he

does

not

bea

t m

e.(L

ooks

at

TO

Mth

ough

tful

ly)

You

spe

ak

wel

l an

d h

ave

an e

asy

grac

e.H

ave

you

bee

n s

choo

led?

Tom

.Ver

y lit

tle,

You

r H

igh

nes

s.A

goo

d pr

iest

wh

o sh

ares

our

hou

se h

as t

augh

t m

e fr

om h

is b

ooks

.

Pri

nce

.Do

you

hav

e a

plea

san

t lif

e in

Off

al C

ourt

?

Tom

.Ple

asan

t en

ough

,You

r H

igh

nes

s,sa

ve w

hen

I a

m

hun

gry.

We

hav

e P

un

ch a

nd

Judy

sh

ows,

and

som

etim

es w

e

lads

hav

e fi

ghts

in t

he

stre

et.

Pri

nce

(eag

erly

).I

shou

ld li

ke t

hat

.Tel

l me

mor

e.

Tom

.In

su

mm

er,w

e ru

n r

aces

an

d sw

im in

th

e ri

ver,

and

we

love

to

wal

low

in t

he

mu

d.

Pri

nce

(wis

tful

ly).

IfI

cou

ld w

ear

you

r cl

oth

es a

nd

play

in

the

mu

d ju

st o

nce

,wit

h n

o on

e to

for

bid

me,

I th

ink

I

cou

ld g

ive

up

the

crow

n!

Tom

(sha

king

his

hea

d).A

nd

ifI

cou

ld w

ear

you

r fi

ne

clot

hes

just

on

ce,Y

our

Hig

hn

ess

...

Pri

nce

.Wou

ld y

ou li

ke t

hat

? C

ome,

then

.We

shal

l ch

ange

plac

es.Y

ou c

an t

ake

off

you

r ra

gs a

nd

put

on m

y cl

oth

es—

and

I w

ill p

ut

on y

ours

.(H

e le

ads

TO

Mbe

hind

scr

een,

and

they

ret

urn

shor

tly,

each

wea

ring

the

oth

er’s

clot

hes.

) Le

t’s

look

in t

his

mir

ror.

(Lea

ds T

OM

to m

irro

r)

Mar

k Tw

ain

33

60 70 80

Pau

se a

t lin

e 84

. Th

e p

rin

ceh

as ju

st r

each

ed a

dec

isio

n.

Ret

ell w

hat

he

has

dec

ided

to d

o. W

hat

do

es h

e w

ant?

Sug

ges

ted

ret

ellin

g:

The

Prin

ce w

ants

to

kno

w w

hat

it’s

like

to b

e a

com

mo

ner

, so

he

dec

ides

to

sw

itch

pla

ces

wit

h T

om

.

Off

alm

ean

s “w

aste

par

ts”

or

“gar

bag

e,”

usu

ally

th

e p

arts

of

bu

tch

ered

an

imal

s th

atar

e th

row

n a

way

. Wh

at

do

es t

his

nam

e su

gg

est

abo

ut

the

pla

ce T

om

live

s(l

ine

60)?

It m

ust

be

very

po

or.

It p

rob

ably

sm

ells

bad

.

It m

igh

t b

e in

th

e ar

ea

wh

ere

anim

als

are

bu

tch

ered

.

Seco

nd

Wom

an.M

aybe

ifw

e ca

n g

et n

ear

enou

gh t

o th

e

gate

s,w

e ca

n s

ee t

he

you

ng

prin

ce.

[TO

MC

AN

TY,

dirt

y an

d ra

gged

,com

es o

ut o

fcro

wd

and

step

s

clos

e to

gat

es.]

Tom

.I h

ave

alw

ays

drea

med

of

seei

ng

a re

al p

rin

ce!

(Exc

ited

,he

pres

ses

his

nose

aga

inst

gat

es.)

Firs

t G

uar

d.M

ind

you

r m

ann

ers,

you

you

ng

begg

ar!

(Sei

zes

TO

Mby

col

lar

and

send

s hi

m s

praw

ling

into

cro

wd.

)

[ VIL

LAG

ER

Sla

ugh

as T

OM

slow

ly g

ets

to h

is fe

et.]

Pri

nce

(rus

hing

to

gate

s).H

ow d

are

you

tre

at a

poo

r

subj

ect

ofth

e ki

ng

in s

uch

a m

ann

er! O

pen

th

e ga

tes

and

let

him

in!

[As

VIL

LAG

ER

Sse

e P

RIN

CE,t

hey

rem

ove

hats

and

bow

low

.]

Vil

lage

rs(s

hout

ing

toge

ther

).Lo

ng

live

the

Pri

nce

of

Wal

es!

[ GU

AR

DS

open

gat

es a

nd T

OM

slow

ly p

asse

s th

roug

h,as

ifin

a

drea

m.]

Pri

nce

(to

TO

M).

You

look

tir

ed,a

nd

you

hav

e be

en t

reat

ed

cru

elly

.I a

m E

dwar

d,P

rin

ce o

fW

ales

.Wh

at is

you

r n

ame?

Tom

(in

awe)

.Tom

Can

ty,Y

our

Hig

hn

ess.

Pri

nce

.Com

e in

to t

he

pala

ce w

ith

me,

Tom

.(P

RIN

CE

lead

s

TO

Min

to a

nter

oom

.)

[ VIL

LAG

ER

Spa

nto

mim

eco

nver

sati

on,a

nd a

ll bu

t a

few

exi

t.]

32

Stru

ctu

res:

Bu

ildin

g B

lock

s o

f M

ean

ing

Chap

ter

1

40 50

pan

tom

ime

(pan

√t¥

•m

¢m≈)

v.:

use

act

ion

s o

r g

estu

res

wit

h-

ou

t w

ord

s as

a m

ean

s o

fex

pre

ssio

n.

Pau

se a

t lin

e 47

. Wh

at c

anyo

u t

ell a

bo

ut

the

pri

nce

fro

m h

is a

ctio

ns?

Cir

cle

the

text

th

at a

nsw

ers

this

qu

esti

on

.

The

pri

nce

is f

air

and

com

pas

sio

nat

e.

In li

ne

55 is

th

e w

ord

ante

roo

m.I

f yo

u k

no

w t

hat

the

pre

fix

ante

-m

ean

s“c

om

es b

efo

re,”

wh

at w

ou

ldyo

u g

ues

s an

an

tero

om

is?

An

an

tero

om

is a

ro

om

lead

ing

to

an

oth

er

roo

m, u

sual

ly a

larg

er r

oo

m.

Chapter 1Pupil Pages xx–55

Pupil Pages with Answers 137

Firs

t G

uar

d(p

rese

ntin

g ar

ms,

moc

king

ly).

I sa

lute

You

r

Gra

ciou

s H

igh

nes

s! (

The

n,an

grily

sho

ving

PR

INC

Eas

ide)

Be

off,

you

mad

bag

of

rags

!

[PR

INC

Eis

sur

roun

ded

by V

ILLA

GE

RS,

who

hus

tle

him

off

.]

Vil

lage

rs(a

d-lib

as

they

exi

t,sh

outi

ng).

Mak

e w

ay f

or H

is

Roy

al H

igh

nes

s! M

ake

way

for

th

e P

rin

ce o

fW

ales

! Hai

l to

the

prin

ce!

Tom

(adm

irin

g hi

mse

lfin

mir

ror)

.If

only

th

e bo

ys in

Off

al

Cou

rt c

ould

see

me!

Th

ey w

ill n

ot b

elie

ve m

e w

hen

I t

ell

them

abo

ut

this

.(Lo

oks

arou

nd a

nxio

usly

) B

ut

wh

ere

is

the

prin

ce?

(Loo

ks c

auti

ousl

y in

to c

ourt

yard

.TW

OG

UA

RD

S

imm

edia

tely

sna

p to

att

enti

on a

nd s

alut

e.H

e qu

ickl

y du

cks

back

into

ant

eroo

m a

s LO

RD

SST

.JO

HN

and

HE

RT

FOR

Den

ter

at r

ear.

)

Her

tfor

d(g

oing

tow

ard

TO

M,t

hen

stop

ping

and

bow

ing

low

).

My

lord

,you

look

dis

tres

sed.

Wh

at is

wro

ng?

Tom

(tre

mbl

ing)

.Oh

,I b

eg o

fyo

u,b

e m

erci

ful.

I am

no

prin

ce,b

ut

poor

Tom

Can

ty o

fO

ffal

Cou

rt.P

leas

e le

t

me

see

the

prin

ce,a

nd

he

will

giv

e m

y ra

gs b

ack

to m

e

and

let

me

go u

nhu

rt.(

Kne

elin

g) P

leas

e,be

mer

cifu

l an

d

spar

e m

e!

Her

tfor

d(d

istu

rbed

).Yo

ur

Hig

hn

ess,

on y

our

knee

s? T

o

me?

(B

ows

quic

kly,

then

asi

de t

o ST

.JO

HN

) T

he

prin

ce h

as

gon

e m

ad! W

e m

ust

info

rm t

he

kin

g.(T

o T

OM

) A

mom

ent,

You

r H

igh

nes

s.

[HE

RT

FOR

Dan

dST

.JO

HN

exit

rea

r.]

Tom

.Oh

,th

ere

is n

o h

ope

for

me

now

.Th

ey w

ill h

ang

me

for

cert

ain

!

Mar

k Tw

ain

35

120

130

140

Stag

e d

irec

tio

ns

des

crib

ech

arac

ters

’ act

ion

s o

r em

oti

on

al s

tate

s. T

hey

oft

enap

pea

r in

par

enth

eses

or

bra

cket

s an

d a

re it

alic

ized

.C

ircl

e th

e w

ord

th

at t

ells

yo

uh

ow

To

m f

eels

wh

en L

ord

Her

tfo

rd b

egin

s sp

eaki

ng

to

him

(lin

e 12

9).

• •

•

•

• •

No

tes

• •

•

•

• •

• •

•

•

• •

No

tes

• •

•

•

• •

Tom

.Oh

,You

r H

igh

nes

s,it

is n

ot p

rope

r fo

r m

e to

wea

r

such

clo

thes

.

Pri

nce

(exc

ited

ly).

Hea

ven

s,do

you

not

see

it?

We

look

like

brot

her

s! W

e h

ave

the

sam

e fe

atu

res

and

bear

ing.

Ifw

e

wen

t ab

out

toge

ther

,dre

ssed

alik

e,th

ere

is n

o on

e w

ho

cou

ld s

ay w

hic

h is

th

e P

rin

ce o

fW

ales

an

d w

hic

h is

Tom

Can

ty.

Tom

(dra

win

g ba

ck,r

ubbi

ng h

is h

and)

.You

r H

igh

nes

s,I

am

frig

hte

ned

....

Pri

nce

.Do

not

wor

ry.(

Seei

ng T

OM

rub

his

hand

) Is

th

at a

bru

ise

on y

our

han

d?

Tom

.Yes

,bu

t it

is s

ligh

t th

ing,

You

r H

igh

nes

s.

Pri

nce

(ang

rily

).It

was

sh

amef

ul a

nd

cru

el o

fth

at g

uar

d to

stri

ke y

ou.D

o n

ot s

tir

a st

ep u

nti

l I c

ome

back

.I c

omm

and

you

! (H

e pi

cks

up t

he g

olde

n se

al a

nd c

aref

ully

put

s it

into

a

piec

e of

arm

or.H

e th

en d

ashe

s ou

t to

gat

es.)

Ope

n! U

nba

r

the

gate

s at

on

ce!

[SE

CO

ND

GU

AR

Dop

ens

gate

s,an

d as

PR

INC

Eru

ns o

ut,F

IRST

GU

AR

Dse

izes

him

,box

es h

im o

n th

e ea

r,an

d kn

ocks

him

to

grou

nd.]

Firs

t G

uar

d.T

ake

that

,you

litt

le b

egga

r,fo

r th

e tr

oubl

e yo

u

hav

e m

ade

for

me

wit

h t

he

prin

ce.

[VIL

LAG

ER

Sro

ar w

ith

laug

hter

.]

Pri

nce

(pic

king

him

self

up,t

urni

ng o

n G

UA

RD

furi

ousl

y).

I am

Pri

nce

of

Wal

es! Y

ou s

hal

l han

g fo

r la

yin

g yo

ur

han

d

on m

e!

34

Stru

ctu

res:

Bu

ildin

g B

lock

s o

f M

ean

ing

Chap

ter

1

90 100

110

No

tice

wh

at t

he

pri

nce

do

esas

he

exit

s. C

ircl

e h

is a

ctio

n.

Wh

at d

o y

ou

pre

dic

t it

mea

ns?

An

swer

s w

ill v

ary.

Stu

den

ts m

ay p

red

ict

that

th

e g

old

en s

eal

will

get

bro

ken

or

lost

.

No

te t

hat

th

e Pr

ince

pu

ts it

in “

care

fully

.”

• •

•

•

• •

No

tes

• •

•

•

• •

Chapter 1Pupil Pages xx–55

138 Interactive Reading: Teacher’s Edition

Her

tfor

d(b

owin

g lo

w).

Ple

ase,

You

r M

ajes

ty,y

ou t

ook

the

Gre

at S

eal f

rom

th

e ch

ance

llor

two

days

ago

to

give

to

His

Hig

hn

ess

the

prin

ce.

Kin

g.So

I d

id.(

To T

OM

) M

y ch

ild,t

ell m

e,w

her

e is

th

e

Gre

at S

eal?

Tom

(tre

mbl

ing)

.In

deed

,my

lord

,I d

o n

ot k

now

.

Kin

g.A

h,y

our

affl

icti

onh

angs

hea

vily

upo

n y

ou.’

Tis

no

mat

ter.

You

will

rem

embe

r la

ter.

List

en,c

aref

ully

! (G

entl

y

but

firm

ly)

I co

mm

and

you

to

hid

e yo

ur

affl

icti

on in

all

way

s th

at b

e w

ith

in y

our

pow

er.Y

ou s

hal

l den

y to

no

one

that

you

are

th

e tr

ue

prin

ce,a

nd

ifyo

ur

mem

ory

shou

ld

fail

you

upo

n a

ny o

ccas

ion

of

stat

e,yo

u s

hal

l be

advi

sed

by

you

r u

ncl

e,th

e Lo

rd H

ertf

ord.

Tom

(res

igne

d).T

he

kin

g h

as s

poke

n.T

he

kin

g sh

all

be o

beye

d.

Kin

g.A

nd

now

,my

child

,I g

o to

res

t.(H

e st

ands

wea

kly,

and

HE

RT

FOR

Dle

ads

him

off

,rea

r.)

Tom

(wea

rily

,to

ST.J

OH

N).

May

it p

leas

e yo

ur

lord

ship

to

let

me

rest

now

?

St.J

ohn

.So

it p

leas

e Yo

ur

Hig

hn

ess,

it is

for

you

to

com

man

d an

d u

s to

obe

y.B

ut

it is

wis

e th

at y

ou r

est,

for

this

eve

nin

g yo

u m

ust

att

end

the

lord

may

or’s

ban

quet

in y

our

hon

or.

[He

pulls

the

bel

l cor

d,an

d T

HR

EE

PAG

ES

ente

r an

d kn

eel

befo

re T

OM

.]

Tom

.Ban

quet

? (T

erri

fied

,he

sits

on

the

couc

h an

d re

ache

s

for

a cu

p of

wat

er,b

ut t

he F

IRST

PAG

Ein

stan

tly

seiz

es t

he c

up,

drop

s to

one

kne

e,an

d se

rves

it t

o hi

m.T

OM

star

ts t

o ta

ke o

ff

Mar

k Tw

ain

37

170

180

190

ban

qu

et(b

a«√k

w¥t

)n

.:el

abo

rate

mea

l; fe

ast.

affl

icti

on

(¥•fl

ik√◊

¥n)

n.:

illn

ess;

pai

n; s

uff

erin

g.

We

kno

w w

hat

hap

pen

ed t

oth

e G

reat

Sea

l. W

her

e is

it?

(Lin

es 1

01–1

02.)

See

pag

e 34

. Wh

en

he

left

, th

e Pr

ince

pu

t

a g

old

sea

l in

a p

iece

of

arm

or.

The

wo

rd p

ages

has

mu

ltip

lem

ean

ing

s. W

hat

do

yo

ug

ues

s it

mea

ns

in li

ne

193?

We

kno

w f

rom

co

nte

xt

that

pag

es a

re p

eop

le

wh

o a

tten

d t

he

Kin

g.

Form

erly

, th

ey w

ere

bo

ys in

tra

inin

g f

or

knig

hth

oo

d.

[HE

RT

FOR

Dan

dST

.JO

HN

reen

ter,

supp

orti

ng t

he K

ING

.TO

M

wat

ches

in a

we

as t

hey

help

him

to

couc

h,w

here

he

sink

s

dow

n w

eari

ly.]

Kin

g(b

ecko

ning

TO

Mcl

ose

to h

im).

Now

,my

son

,Edw

ard,

my

prin

ce.W

hat

is t

his

? D

o yo

u m

ean

to

dece

ive

me,

the

kin

g,yo

ur

fath

er,w

ho

love

s yo

u a

nd

trea

ts y

ou s

o ki

ndl

y?

Tom

(dro

ppin

g to

his

kne

es).

You

are

th

e ki

ng?

Th

en I

hav

e

no

hop

e!

Kin

g(s

tunn

ed).

My

child

,you

are

not

wel

l.D

o n

ot b

reak

you

r fa

ther

’s o

ld h

eart

.Say

you

kn

ow m

e.

Tom

.Yes

,you

are

my

lord

th

e ki

ng,

wh

om G

od p

rese

rve.

Kin

g.Tr

ue,

that

is r

igh

t.N

ow,y

ou w

ill n

ot d

eny

that

you

are

Pri

nce

of

Wal

es,a

s th

ey s

ay y

ou d

id ju

st a

wh

ile a

go?

Tom

.You

r G

race

,bel

ieve

me,

I am

th

e lo

wes

t of

you

r su

b-

ject

s,be

ing

born

a p

aupe

r,an

d it

is b

y gr

eat

mis

take

th

at

I am

her

e.I

am t

oo y

oun

g to

die

.Oh

,ple

ase,

spar

e m

e,si

re!

Kin

g(a

maz

ed).

Die

? D

o n

ot t

alk

so,m

y ch

ild.Y

ou s

hal

l

not

die

.

Tom

(gra

tefu

lly).

God

sav

e yo

u,m

y ki

ng!

An

d n

ow,m

ay

I go

?

Kin

g.G

o? W

her

e w

ould

you

go?

Tom

.Bac

k to

th

e al

ley

wh

ere

I w

as b

orn

an

d br

ed

to m

iser

y.

Kin

g.M

y po

or c

hild

,res

t yo

ur

hea

d h

ere.

(He

hold

s T

OM

’s

head

and

pat

s hi

s sh

ould

er,t

hen

turn

s to

HE

RT

FOR

Dan

dST

.

JOH

N.)

Ala

s,I

am o

ld a

nd

ill,a

nd

my

son

is m

ad.B

ut

this

shal

l pas

s.M

ad o

r sa

ne,

he

is m

y h

eir

and

shal

l ru

le

En

glan

d.To

mor

row

he

shal

l be

inst

alle

d an

d co

nfi

rmed

in h

is p

rin

cely

dig

nit

y! B

rin

g th

e G

reat

Sea

l!

36

Stru

ctu

res:

Bu

ildin

g B

lock

s o

f M

ean

ing

Chap

ter

1

150

160

hei

r(e

r)n

.:p

erso

n w

ho

inh

erit

s an

oth

er’s

pro

per

ty o

rti

tle

up

on

th

e o

ther

’s d

eath

.

Wit

h a

par

tner

, rea

d t

he

bo

xed

pas

sag

e al

ou

d. O

ne

par

tner

sh

ou

ld r

ead

th

eki

ng

’s li

nes

; th

e o

ther

, To

m’s

lines

. Pay

att

enti

on

to

th

est

age

dir

ecti

on

s, a

nd

try

to

cap

ture

th

e to

ne

that

To

man

d t

he

kin

g m

igh

t u

se.

Wh

en f

inis

hed

, sw

itch