1. Start little by little you shouldn’t expect too much, children might resist sudden changing of language.
2. Children learn by doing and any activity that uses one or more of their five senses enhance learning.
3. Initially if it wasn’t understandable by the children you can help them understand by translating, but the goal is to stop doing this little by little. Before translating you can help them understand your mean by gesture, posture, pictures and playing a role.
Studies indicate that pointing to an object helps children better understand and learn the meaning of new words .researchers believe that pointing to an objects helps a young child channel his/her attention and focus more intensely on what you are talking about.
4. Help children to ask their questions in English, if they couldn’t do it at all, do help them word by word; but don’t answer them in your own language.
5. Give context for the words that you use.
6. Try not to overwhelm children – a couple of new words at a time is fine.
7. Subjects of your discussion should be about the things that children are very interested in; it makes the class as active as possible.
8. In the first days they might just play a role as a listener but step by step it will change, try to make them as active as possible.
9. Don’t correct the child’s mistake while she/he is talking. Try to correct the mistakes indirectly.
10. Be a good listener.
11. If a child stuck on a word and you know what she wants to say, do go ahead and supply the word to help her along. If she says: “I want a,a,a….” you can say: “ a new sheet ?”
12. As a teacher you should replace word like “thing” with the appropriate word. Then ask all the class to repeat the sentence or the phrase.
13. Even if the child is not so fluent in English to reply quickly to you, that’s no problem; studies show that children who hear a lot of elaborate vocabulary will also learn those words.
14. Read simple story books, it is an effective way to improve children lexicon. Ask parents to read 1 simple story every night for the child.
15. Want parents to provide activities like simple dialogue games for the child.
16. Hold a program that contains every day conversation, it is the best way for a child.
Miss Martha Meacham kept the little bakery on the corner (the one where you go up three steps, and the bell tinkles when you open the door).
Miss Martha was forty, her bank-book showed a credit of two thousand dollars, and she possessed two false teeth and a sympathetic heart. Many people have married whose chances to do so were much inferior to Miss Martha's.
Two or three times a week a customer came in in whom she began to take an interest. He was a middle-aged man, wearing spectacles and a brown beard trimmed to a careful point.
He spoke English with a strong German accent. His clothes were worn and darned in places, and wrinkled and baggy in others. But he looked neat, and had very good manners.
He always bought two loaves of stale bread. Fresh bread was five cents a loaf. Stale ones were two for five. Never did he call for anything but stale bread.
Once Miss Martha saw a red and brown stain on his fingers. She was sure then that he was an artist and very poor. No doubt he lived in a garret, where he painted pictures and ate stale bread and thought of the good things to eat in Miss Martha's bakery.
Often when Miss Martha sat down to her chops and light rolls and jam and tea she would sigh, and wish that the gentle-mannered artist might share her tasty meal instead of eating his dry crust in that draughty attic. Miss Martha's heart, as you have been told, was a sympathetic one.
In order to test her theory as to his occupation, she brought from her room one day a painting that she had bought at a sale, and set it against the shelves behind the bread counter.
It was a Venetian scene. A splendid marble palazzio (so it said on the picture) stood in the foreground -- or rather forewater. For the rest there were gondolas (with the lady trailing her hand in the water), clouds, sky, and chiaro-oscuro in plenty. No artist could fail to notice it.
Two days afterward the customer came in.
"Two loafs of stale bread, if you blease.
"You haf here a fine bicture, madame," he said while she was wrapping up the bread.
"Yes?" says Miss Martha, reveling in her own cunning. "I do so admire art and" (no, it would not do to say "artists" thus early) "and paintings," she substituted. "You think it is a good picture?"
"Der balance," said the customer, is not in good drawing. Der bairspective of it is not true. Goot morning, madame."
He took his bread, bowed, and hurried out.
Yes, he must be an artist. Miss Martha took the picture back to her room.
How gentle and kindly his eyes shone behind his spectacles! What a broad brow he had! To be able to judge perspective at a glance -- and to live on stale bread! But genius often has to struggle before it is recognized.
What a thing it would be for art and perspective if genius were backed by two thousand dollars in bank, a bakery, and a sympathetic heart to -- But these were day-dreams, Miss Martha.
Often now when he came he would chat for a while across the showcase. He seemed to crave Miss Martha's cheerful words.
He kept on buying stale bread. Never a cake, never a pie, never one of her delicious Sally Lunns.
She thought he began to look thinner and discouraged. Her heart ached to add something good to eat to his meagre purchase, but her courage failed at the act. She did not dare affront him. She knew the pride of artists.
Miss Martha took to wearing her blue-dotted silk waist behind the counter. In the back room she cooked a mysterious compound of quince seeds and borax. Ever so many people use it for the complexion.
One day the customer came in as usual, laid his nickel on the showcase, and called for his stale loaves. While Miss Martha was reaching for them there was a great tooting and clanging, and a fire-engine came lumbering past.
The customer hurried to the door to look, as any one will. Suddenly inspired, Miss Martha seized the opportunity.
On the bottom shelf behind the counter was a pound of fresh butter that the dairyman had left ten minutes before. With a bread knife Miss Martha made a deep slash in each of the stale loaves, inserted a generous quantity of butter, and pressed the loaves tight again.
When the customer turned once more she was tying the paper around them.
When he had gone, after an unusually pleasant little chat, Miss Martha smiled to herself, but not without a slight fluttering of the heart.
Had she been too bold? Would he take offense? But surely not. There was no language of edibles. Butter was no emblem of unmaidenly forwardness.
For a long time that day her mind dwelt on the subject. She imagined the scene when he should discover her little deception.
He would lay down his brushes and palette. There would stand his easel with the picture he was painting in which the perspective was beyond criticism.
He would prepare for his luncheon of dry bread and water. He would slice into a loaf -- ah!
Miss Martha blushed. Would he think of the hand that placed it there as he ate? Would he --
The front door bell jangled viciously. Somebody was coming in, making a great deal of noise.
Miss Martha hurried to the front. Two men were there. One was a young man smoking a pipe -- a man she had never seen before. The other was her artist.
His face was very red, his hat was on the back of his head, his hair was wildly rumpled. He clinched his two fists and shook them ferociously at Miss Martha. _At Miss Martha_.
"_Dummkopf_!" he shouted with extreme loudness; and then "_Tausendonfer_!" or something like it in German.
The young man tried to draw him away.
"I vill not go," he said angrily, "else I shall told her."
He made a bass drum of Miss Martha's counter.
"You haf shpoilt me," he cried, his blue eyes blazing behind his spectacles. "I vill tell you. You vas von _meddingsome old cat_!"
Miss Martha leaned weakly against the shelves and laid one hand on her blue-dotted silk waist. The young man took the other by the collar.
"Come on," he said, "you've said enough." He dragged the angry one out at the door to the sidewalk, and then came back.
"Guess you ought to be told, ma'am," he said, "what the row is about. That's Blumberger. He's an architectural draftsman. I work in the same office with him.
"He's been working hard for three months drawing a plan for a new city hall. It was a prize competition. He finished inking the lines yesterday. You know, a draftsman always makes his drawing in pencil first. When it's done he rubs out the pencil lines with handfuls of stale bread crumbs. That's better than India rubber.
"Blumberger's been buying the bread here. Well, to-day -- well, you know, ma'am, that butter isn't -- well, Blumberger's plan isn't good for anything now except to cut up into railroad sandwiches."
Miss Martha went into the back room. She took off the blue-dotted silk waist and put on the old brown serge she used to wear. Then she poured the quince seed and borax mixture out of the window into the ash can. مشاهده ترجمه داستان : http://www.scribd.com/doc/6651604/Se-Dastane-Kootah
Why O.Henry named the story, Witch’s Loaves?
The title is ironic like many other stories of Henry. When we start with the title we do not expect the ending to be like this. And we do not expect the loaves to bring such happening. But actually many things are surprising in O.Henry’s writing.
There is One hint in the story that we can make it relevant with the topic: The man, Blumberger, calling Miss Martha an "old cat" when she inadvertently ruins his drawings because her romantic fancy of him as a starving artist prompted her to add butter to his stale bread, considers her the equivalent of a witch who put an evil spell on him and destroyed his work.
how is the setting of the story?
The story itself is set in a city, probably about 100 years ago or so (it never states what time period, but one can guess from the bakery, and from the man having a German accent that it might be a time when European immigrants came to America in large crowds seeking work-about 100 years ago).
What does O.Henry want to show in the last sentences of "Witches’ Loaves?"
if we pay attention to the story Miss Martha wanted to have a romantic relation with the man, and this desire pushed her to think in away that this man need her help. at the end of the story she has found out how wrong she was and she is going back to her previous life. This return to her normal state is symbolized by the change of clothing.
Characterization :
The are two characters Miss Martha Meacham and the German man, who she assumes is an artist (until the end), Miss Martha is a person who tried to help, actually she was kind. another thing was that she was a curious woman that she used the painting in order to fine out about her guess.
Style :
The style is rather straightforward, humorous, and a bit sarcastic, as a lot of O. Henry's works are, and the theme would be something along the lines of never assuming anything about anyone, don't be judgmental, or how presumptions can be wrong and dangerous. [from:WWW.enotes.com]
Night had fallen on that great and beautiful city known as Bagdad-on-the-Subway. And with the night came the enchanted glamour that belongs not to Arabia alone. In different masquerade the streets, bazaars and walled houses of the occidental city of romance were filled with the same kind of folk that so much interested our interesting old friend, the late Mr. H. A. Rashid. They wore clothes eleven hundred years nearer to the latest styles than H. A. saw in old Bagdad; but they were about the same people underneath. With the eye of faith, you could have seen the Little Hunchback, Sinbad the Sailor, Fitbad the Tailor, the Beautiful Persian, the one-eyed Calenders, Ali Baba and Forty Robbers on every block, and the Barber and his Six Brothers, and all the old Arabian gang easily.
But let us revenue to our lamb chops.
Old Tom Crowley was a caliph. He had $42,000,000 in preferred stocks and bonds with solid gold edges. In these times, to be called a caliph you must have money. The old-style caliph business as conducted by Mr. Rashid is not safe. If you hold up a person nowadays in a bazaar or a Turkish bath or a side street, and inquire into his private and personal affairs, the police court'll get you.
Old Tom was tired of clubs, theatres, dinners, friends, music, money and everything. That's what makes a caliph - you must get to despise everything that money can buy, and then go out and try to want something that you can't pay for.
"I'll take a little trot around town all by myself," thought old Tom, "and try if I can stir up anything new. Let's see - it seems I've read about a king or a Cardiff giant or something in old times who used to go about with false whiskers on, making Persian dates with folks he hadn't been introduced to. That don't listen like a bad idea. I certainly have got a case of humdrumness and fatigue on for the ones I do know. That old Cardiff used to pick up cases of trouble as he ran upon 'em and give 'em gold - sequins, I think it was - and make 'em marry or got 'em good Government jobs. Now, I'd like something of that sort. My money is as good as his was even if the magazines do ask me every month where I got it. Yes, I guess I'll do a little Cardiff business to-night, and see how it goes."
Plainly dressed, old Tom Crowley left his Madison Avenue palace, and walked westward and then south. As he stepped to the sidewalk, Fate, who holds the ends of the strings in the central offices of all the enchanted cities pulled a thread, and a young man twenty blocks away looked at a wall clock, and then put on his coat.
James Turner worked in one of those little hat-cleaning establishments on Sixth Avenue in which a fire alarms rings when you push the door open, and where they clean your hat while you wait - two days. James stood all day at an electric machine that turned hats around faster than the best brands of champagne ever could have done. Overlooking your mild impertinence in feeling a curiosity about the personal appearance of a stranger, I will give you a modified description of him. Weight, 118; complexion, hair and brain, light; height, five feet six; age, about twenty-three; dressed in a $10 suit of greenish-blue serge; pockets containing two keys and sixty-three cents in change.
But do not misconjecture because this description sounds like a General Alarm that James was either lost or a dead one. Allons!
James stood all day at his work. His feet were tender and extremely susceptible to impositions being put upon or below them. All day long they burned and smarted, causing him much suffering and inconvenience. But he was earning twelve dollars per week, which he needed to support his feet whether his feet would support him or not.
James Turner had his own conception of what happiness was, just as you and I have ours. Your delight is to gad about the world in yachts and motor-cars and to hurl ducats at wild fowl. Mine is to smoke a pipe at evenfall and watch a badger, a rattlesnake, and an owl go into their common prairie home one by one.
James Turner's idea of bliss was different; but it was his. He would go directly to his boarding-house when his day's work was done. After his supper of small steak, Bessemer potatoes, stooed (not stewed) apples and infusion of chicory, he would ascend to his fifth-floor-back hall room. Then he would take off his shoes and socks, place the soles of his burning feet against the cold bars of his iron bed, and read Clark Russell's sea yarns. The delicious relief of the cool metal applied to his smarting soles was his nightly joy. His favorite novels never palled upon him; the sea and the adventures of its navigators were his sole intellectual passion. No millionaire was ever happier than James Turner taking his ease.
When James left the hat-cleaning shop he walked three blocks out of his way home to look over the goods of a second-hand bookstall. On the sidewalk stands he had more than once picked up a paper-covered volume of Clark Russell at half price.
While he was bending with a scholarly stoop over the marked-down miscellany of cast-off literature, old Tom the caliph sauntered by. His discerning eye, made keen by twenty years' experience in the manufacture of laundry soap (save the wrappers!) recognized instantly the poor and discerning scholar, a worthy object of his caliphanous mood. He descended the two shallow stone steps that led from the sidewalk, and addressed without hesitation the object of his designed munificence. His first words were no worse than salutatory and tentative.
James Turner looked up coldly, with "Sartor Resartus" in one hand and "A Mad Marriage" in the other.
"Beat it," said he. "I don't want to buy any coat hangers or town lots in Hankipoo, New Jersey. Run along, now, and play with your Teddy bear."
"Young man," said the caliph, ignoring the flippancy of the hat cleaner, "I observe that you are of a studious disposition. Learning is one of the finest things in the world. I never had any of it worth mentioning, but I admire to see it in others. I come from the West, where we imagine nothing but facts. Maybe I couldn't understand the poetry and allusions in them books you are picking over, but I like to see somebody else seem to know what they mean. I'm worth about $40,000,000, and I'm getting richer every day. I made the height of it manufacturing Aunt Patty's Silver Soap. I invented the art of making it. I experimented for three years before I got just the right quantity of chloride of sodium solution and caustic potash mixture to curdle properly. And after I had taken some $9,000,000 out of the soap business I made the rest in corn and wheat futures. Now, you seem to have the literary and scholarly turn of character; and I'll tell you what I'll do. I'll pay for your education at the finest college in the world. I'll pay the expense of your rummaging over Europe and the art galleries, and finally set you up in a good business. You needn't make it soap if you have any objections. I see by your clothes and frazzled necktie that you are mighty poor; and you can't afford to turn down the offer. Well, when do you want to begin?"
The hat cleaner turned upon old Tom the eye of the Big City, which is an eye expressive of cold and justifiable suspicion, of judgment suspended as high as Haman was hung, of self-preservation, of challenge, curiosity, defiance, cynicism, and, strange as you may think it, of a childlike yearning for friendliness and fellowship that must be hidden when one walks among the "stranger bands." For in New Bagdad one, in order to survive, must suspect whosoever sits, dwells, drinks, rides, walks or sleeps in the adjacent chair, house, booth, seat, path or room.
"Say, Mike," said James Turner, "what's your line, anyway - shoe laces? I'm not buying anything. You better put an egg in your shoe and beat it before incidents occur to you. You can't work off any fountain pens, gold spectacles you found on the street, or trust company certificate house clearings on me. Say, do I look like I'd climbed down one of them missing fire-escapes at Helicon Hall? What's vitiating you, anyhow?"
"Son," said the caliph, in his most Harunish tones, "as I said, I'm worth $40,000,000. I don't want to have it all put in my coffin when I die. I want to do some good with it. I seen you handling over these here volumes of literature, and I thought I'd keep you. I've give the missionary societies $2,000,000, but what did I get out of it? Nothing but a receipt from the secretary. Now, you are just the kind of young man I'd like to take up and see what money could make of him."
Volumes of Clark Russell were hard to find that evening at the Old Book Shop. And James Turner's smarting and aching feet did not tend to improve his temper. Humble hat cleaner though he was, he had a spirit equal to any caliph's.
"Say, you old faker," he said, angrily, "be on your way. I don't know what your game is, unless you want change for a bogus $40,000,000 bill. Well, I don't carry that much around with me. But I do carry a pretty fair left-handed punch that you'll get if you don't move on."
"You are a blamed impudent little gutter pup," said the caliph.
Then James delivered his self-praised punch; old Tom seized him by the collar and kicked him thrice; the hat cleaner rallied and clinched; two bookstands were overturned, and the books sent flying. A copy came up, took an arm of each, and marched them to the nearest station house. "Fighting and disorderly conduct," said the cop to the sergeant.
"Three hundred dollars bail," said the sergeant at once, asseveratingly and inquiringly.
"Sixty-three cents," said James Turner with a harsh laugh.
The caliph searched his pockets and collected small bills and change amounting to four dollars.
"I am worth," he said, "forty million dollars, but -"
"Lock 'em up," ordered the sergeant.
In his cell, James Turner laid himself on his cot, ruminating. "Maybe he's got the money, and maybe he ain't. But if he has or he ain't, what does he want to go 'round butting into other folks's business for? When a man knows what he wants, and can get it, it's the same as $40,000,000 to him."
Then an idea came to him that brought a pleased look to his face.
He removed his socks, drew his cot close to the door, stretched himself out luxuriously, and placed his tortured feet against the cold bars of the cell door. Something hard and bulky under the blankets of his cot gave one shoulder discomfort. He reached under, and drew out a paper-covered volume by Clark Russell called "A Sailor's Sweetheart." He gave a great sigh of contentment.
Presently, to his cell came the doorman and said:
"Say, kid, that old gazabo that was pinched with you for scrapping seems to have been the goods after all. He 'phoned to his friends, and he's out at the desk now with a roll of yellowbacks as big as a Pullman car pillow. He wants to bail you, and for you to come out and see him."
The policeman on the beat moved up the avenue impressively. The impressiveness was habitual and not for show, for spectators were few. The time was barely 10 o'clock at night, but chilly gusts of wind with a taste of rain in them had well nigh depeopled the streets.
Trying doors as he went, twirling his club with many intricate and artful movements, turning now and then to cast his watchful eye adown the pacific thoroughfare, the officer, with his stalwart form and slight swagger, made a fine picture of a guardian of the peace. The vicinity was one that kept early hours. Now and then you might see the lights of a cigar store or of an all-night lunch counter; but the majority of the doors belonged to business places that had long since been closed.
When about midway of a certain block the policeman suddenly slowed his walk. In the doorway of a darkened hardware store a man leaned, with an unlighted cigar in his mouth. As the policeman walked up to him the man spoke up quickly.
"It's all right, officer," he said, reassuringly. "I'm just waiting for a friend. It's an appointment made twenty years ago. Sounds a little funny to you, doesn't it? Well, I'll explain if you'd like to make certain it's all straight. About that long ago there used to be a restaurant where this store stands--'Big Joe' Brady's restaurant."
"Until five years ago," said the policeman. "It was torn down then."
The man in the doorway struck a match and lit his cigar. The light showed a pale, square-jawed face with keen eyes, and a little white scar near his right eyebrow. His scarfpin was a large diamond, oddly set.
"Twenty years ago to-night," said the man, "I dined here at 'Big Joe' Brady's with Jimmy Wells, my best chum, and the finest chap in the world. He and I were raised here in New York, just like two brothers, together. I was eighteen and Jimmy was twenty. The next morning I was to start for the West to make my fortune. You couldn't have dragged Jimmy out of New York; he thought it was the only place on earth. Well, we agreed that night that we would meet here again exactly twenty years from that date and time, no matter what our conditions might be or from what distance we might have to come. We figured that in twenty years each of us ought to have our destiny worked out and our fortunes made, whatever they were going to be."
"It sounds pretty interesting," said the policeman. "Rather a long time between meets, though, it seems to me. Haven't you heard from your friend since you left?"
"Well, yes, for a time we corresponded," said the other. "But after a year or two we lost track of each other. You see, the West is a pretty big proposition, and I kept hustling around over it pretty lively. But I know Jimmy will meet me here if he's alive, for he always was the truest, stanchest old chap in the world. He'll never forget. I came a thousand miles to stand in this door to-night, and it's worth it if my old partner turns up."
The waiting man pulled out a handsome watch, the lids of it set with small diamonds.
"Three minutes to ten," he announced. "It was exactly ten o'clock when we parted here at the restaurant door."__
"Did pretty well out West, didn't you?" asked the policeman.
"You bet! I hope Jimmy has done half as well. He was a kind of plodder, though, good fellow as he was. I've had to compete with some of the sharpest wits going to get my pile. A man gets in a groove in New York. It takes the West to put a razor-edge on him."
The policeman twirled his club and took a step or two.
"I'll be on my way. Hope your friend comes around all right. Going to call time on him sharp?"
"I should say not!" said the other. "I'll give him half an hour at least. If Jimmy is alive on earth he'll be here by that time. So long, officer."
"Good-night, sir," said the policeman, passing on along his beat, trying doors as he went.
There was now a fine, cold drizzle falling, and the wind had risen from its uncertain puffs into a steady blow. The few foot passengers astir in that quarter hurried dismally and silently along with coat collars turned high and pocketed hands. And in the door of the hardware store the man who had come a thousand miles to fill an appointment, uncertain almost to absurdity, with the friend of his youth, smoked his cigar and waited.
About twenty minutes he waited, and then a tall man in a long overcoat, with collar turned up to his ears, hurried across from the opposite side of the street. He went directly to the waiting man.
"Is that you, Bob?" he asked, doubtfully.
"Is that you, Jimmy Wells?" cried the man in the door.
"Bless my heart!" exclaimed the new arrival, grasping both the other's hands with his own. "It's Bob, sure as fate. I was certain I'd find you here if you were still in existence. Well, well, well! --twenty years is a long time. The old gone, Bob; I wish it had lasted, so we could have had another dinner there. How has the West treated you, old man?"
"Bully; it has given me everything I asked it for. You've changed lots, Jimmy. I never thought you were so tall by two or three inches."
"Oh, I grew a bit after I was twenty."
"Doing well in New York, Jimmy?"
"Moderately. I have a position in one of the city departments. Come on, Bob; we'll go around to a place I know of, and have a good long talk about old times."
The two men started up the street, arm in arm. The man from the West, his egotism enlarged by success, was beginning to outline the history of his career. The other, submerged in his overcoat, listened with interest.
At the corner stood a drug store, brilliant with electric lights. When they came into this glare each of them turned simultaneously to gaze upon the other's face.
The man from the West stopped suddenly and released his arm.
"You're not Jimmy Wells," he snapped. "Twenty years is a long time, but not long enough to change a man's nose from a Roman to a pug."
"It sometimes changes a good man into a bad one, said the tall man. "You've been under arrest for ten minutes, 'Silky' Bob. Chicago thinks you may have dropped over our way and wires us she wants to have a chat with you. Going quietly, are you? That's sensible. Now, before we go on to the station here's a note I was asked to hand you. You may read it here at the window. It's from Patrolman Wells."
The man from the West unfolded the little piece of paper handed him. His hand was steady when he began to read, but it trembled a little by the time he had finished. The note was rather short.
~"Bob: I was at the appointed place on time. When you struck the match to light your cigar I saw it was the face of the man wanted in Chicago. Somehow I couldn't do it myself, so I went around and got a plain clothes man to do the job. JIMMY."
analyze :
What is the climax of the story?
the climax of the story is when the police officer (not Jimmy Wells, but the second one who comes to arrest Bob) tells Bob that he is under arrest.
What is the setting at the beginning of the story ?
This story begins on a street in New York City. Bob is standing out in front of the place where his favorite restaurant used to be. The name of the restaurant was "Big Joe Brady's."and the police man described in as a conscientious person. he even start talking in a doubtful manner while Bob start it with kindness.
