A Norwegian folk tale retold by Eric A. Kimmel · A Norwegian folk tale retold by Eric A. Kimmel Reading Standard 3.8 Critique the credibility of ... Folk tales focus more on the

Once there was—or perhaps there was not—a boy named

Ola. He lived on a farm not far from the sea, on the road

that leads to the great city of Bergen. Ola loved the fiddle.

He would walk for miles to hear a talented fiddler play.

He saved all his money, and one proud day Ola

brought home his very own fiddle. His grandfather showed

him how to hold the bow and draw it across the strings.

SKREEK! A terrible noise came out. It sounded like

two cats fighting. Ola dropped the bow in surprise. His

mother picked it up.

“Don’t be discouraged, Ola,” she said. “Fiddles sound

like that when one is learning to play. There will be many

sour notes. Keep practicing. The music will come.”

10

You are going to read a folk tale based on a real person, Ole Bull.

Ole Bull was born in Norway in 1810 and began playing the violin

at age five. He became a world-famous virtuoso violinist. He also

founded the Norwegian Theater with the famous playwright Henrik

Ibsen in 1850.

318 You the CriticChapter 8

A Norwegian folk tale retold by Eric A. Kimmel

ReadingStandard 3.8Critique thecredibility ofcharacterizationand the degreeto which plot iscontrived orrealistic (forexample,compare use offact and fantasyin historical fiction).

Pause after the first sentence.Circle the words that tell youthat this story may not be afolk tale.

• • • • • • Notes • • • • • •

“Ola and the Grim” by Eric A. Kimmel from Cricket, vol. 28, no. 5, January 2001. Copyright © 2001 by Eric A. Kimmel. Reprinted by permission of Shearwater Books c/o Ralph Vicinanza, Ltd.

HRW SE_6-8_2nd Printing_F 12/14/01 12:52 PM Page 318

Ola practiced and practiced. Whenever he found a

spare moment, he took his fiddle and played. He practiced

in the barn and in the shade of haystacks until his father

asked him to stop. His fiddling frightened the animals. The

cows stopped giving milk. The hens stopped laying eggs.

The sheep scattered, and the sheepdogs that herded them

ran off and were nowhere to be found.

From then on, Ola practiced away from the farm. He

sat under trees in the forest and on lonely rocks at the

seashore. Crabs scurried into the surf. Seals dived deep. Sea

gulls screamed overhead. But Ola persisted, even when the

seabirds spattered him with their droppings. He kept

sawing away at his fiddle. Ola practiced hour after hour,

day after day. None of it did any good. He still played as

badly as ever. His fiddle sounded like roosters crowing,

donkeys braying, oxen bellowing, wagons with axles that

needed greasing—everything but what a fiddle should

sound like. His family covered their ears. No one wanted

to tell Ola to give up. But everyone hoped he would.

One day there was a wedding at a neighboring farm.

A fiddler came all the way from Bergen. All the guests

agreed he was the finest fiddler they had ever heard.

While the man rested between dances, Ola came up

and spoke to him.

“Sir, can you give me some advice? I want to be a

fiddler like you and make everybody merry. I practice

and practice, but I never get any better, no matter how

hard I try. Everything sounds like noise. I can’t even keep

my fiddle in tune. Can you tell me what to do?”

20

30

40

Ola and the Grim 319

Pause at line 20. Ola’s audience extends beyond his family. Do you think thereactions of the animals arepossible?

persisted (p¥r•sist√¥d) v.:kept on.

Pause at line 32. Underlinethe similes the writer uses to let us know what Ola’s fiddling sounded like. (Canyou add a simile to this list to describe how bad musicsounds?)

Access SE_6-8_Final Confirming 9/24/01 10:58 PM Page 319

The fiddler put down his tankard. He leaned over

to Ola and whispered in his ear, “How badly do you want

to play?”

“Oh, very badly, sir!”

“I was once like you,” the fiddler said. “I, too, wanted

to play badly. And I did. Very badly! So I went to see the

fosse-grim.”

“Who’s that?” Ola asked.

“The fosse-grim is a troll. He lives below a waterfall.

Sometimes, if you listen closely, you’ll hear him playing his

harp. The grim is a master musician. He can play any

instrument. He can teach you how to play your fiddle. But

he won’t do it for nothing. You must bring him a gift. The

greater the gift, the greater the learning.”

“What sort of gift should I bring?” Ola asked.

“The fosse-grim likes meat,” the fiddler said. “Bring

him something to eat.”

The next day Ola finished his chores early. He took his

fiddle and set out for the mountains. “I’m going to practice

awhile,” he told his family.

“Come back before dark,” his father said. “I don’t want

the trolls to get you.”

“Take something to eat in case you get hungry,” his

mother added.

No one told Ola not to go. As much as they cared

about him, they were grateful not to have to hear him

practicing.

50

60


A tankard (line 43) is a largedrinking cup with a handleand often a hinged lid.

A troll (line 51) is a figure inScandinavian folklore. Trollsare from a race of imaginarybeings, often with specialpowers or skills.

What detail on this pageexplains the story’s title?

• • • • • • Notes • • • • • •


Ola stopped at the smokehouse. He stuffed a large

sausage into his knapsack. Then he set out, following the

path that wound along the stream.

The path took Ola high into the mountains. It led to

the foot of a rushing waterfall.

Ola stood by the falls, listening. He heard music in

the tumbling water that sounded like notes played on a

harp. The sweet, mysterious music sang to the waterfall.

It danced in the silver spray. Ola had never heard anything

so beautiful in his life. There is magic in this place, he

thought.

“Grim!” he called. “Fosse-Grim, are you here?”

A curious creature emerged from the pool beneath the

falls. Its skin was mottled green, and it cradled a harp in its

arms. Strands of green, silky hair, like long threads of algae,

hung to its shoulders. It drew its fingers across the harp and

spoke in a voice like splashing water.

“What do you want, boy?”

“I need your help, Grim,” Ola said. “I want to play the

fiddle so badly.”

“Let me hear you.”

Ola took his fiddle from his knapsack. Tuning the

strings as best he could, he took up his bow and began

to play.

“Stop! Stop!” cried the grim. “You’re hurting my ears!

There is nothing I can teach you, boy. You want to play

badly. And you do!”

70

80

90


mottled (mät√¥ld) adj.:streaked or spotted indifferent colors or shades.

Underline the words in theparagraph beginning at line75 that personify the music—that is, that describe themusic doing things that onlyhumans do.

In the paragraph beginningat line 82, what similes doesthe writer use to help youimagine what the grim lookslike? Underline them.

Algae (al√j≤) are microscopicorganisms found in dampplaces.

Most folk tales have verystrong plot lines. Folk talesfocus more on the story thanthey do on the characters. Atthis point in the plot, whatdoes the main characterwant? What problems doeshe have getting what hewants?


“Don’t mock me, Grim,” Ola said. “You know what I

mean. I want to become a good fiddler. Can you help me?”

“I can,” the grim said. “But I won’t do it for nothing.

What did you bring me?”

Ola held out the sausage. The grim snatched it right

away. He bit off the end, “Ugh! Tough and stringy! Can’t

you afford decent sausage, boy? Never mind. I’ll give you

what it’s worth. I can at least teach you how to tune that

fiddle. Listen closely. I’ll pluck a string on my harp. You

match it. Let’s begin.”

The grim plucked a note. Ola tried to tune his fiddle

string to it, but the note slipped away. It was like trying to

catch fish barehanded.

“No, no, no!” the grim yelled. “That’s too high! Now

you’re too low! What’s the matter with you? Are your ears

blocked? Can you hear anything?”

The grim stretched out his long, green arm. He pressed

the palm of his hand against Ola’s ear. Ola felt something

inside his head SNAP! It popped and crackled like ice

breaking on a pond. Suddenly he heard the sounds around

him clearly. It was as if he were listening for the first time.

“Try again,” the grim said.

This time Ola tuned his strings effortlessly. And they

stayed in tune, no matter how long he played.

“Thank you, Grim,” Ola said.

“Keep practicing,” the grim snorted as he dived

beneath the ripples.

100

110

120


Underline the simile in theparagraph beginning at line107 that helps you imaginehow hard it was for Ola totune his fiddle to the grim’snote.

What simile is used later onthis page to help you imag-ine what happened insideOla’s head? Underline it.

Pause at the end of thepage. What part of Ola’sproblem has been resolved?

• • • • • • Notes • • • • • •


Ola raced home. He tuned his fiddle and sawed away.

“Listen to me now!” he cried to everyone. “I can play in

tune.” And he did, for the first time!

However, there is more to fiddling than playing in

tune. Ola still squeaked and scraped. His timing was off;

his fingering incorrect. Every song he attempted became

a hopeless muddle.

“Keep practicing, Ola. You’re getting better,” his

mother said.

But Ola knew that wasn’t true. He could not hope to

get anywhere on his own, no matter how hard he practiced.

It was time to visit the grim.

Ola packed his knapsack and fiddle. He followed the

stream up into the mountains. When he reached the

waterfall, he called out, “Grim, come up from the pool!

I need you!”

The waters rippled. The fosse-grim appeared, cradling

his harp. “What do you want, boy?”

“I want to play the fiddle in the worst way. Help me,

please!”

The grim laughed. “You don’t need me. You already

play in the worst way. You’re the worst fiddler I ever heard.

You couldn’t get any worse if you tried.”

“Don’t mock me, Grim!” Ola pleaded. “You know what

I mean. Playing in tune is not enough. I need to know so

much more.”

130

140


• • • • • • Notes • • • • • •

Pause at line 130. What fur-ther problems does Ola havein his quest to learn to playthe fiddle? Underline them.


“Nothing buys nothing,” the grim replied. “What did

you bring me?”

“A whole leg of mutton!” Ola took the meat from his

knapsack. He tossed it to the grim, who gnawed it down

to the bone.

“That’s worth something,” the grim finally said,

smacking his lips. “Take out your fiddle. We’ll play

together.”

The grim came out of the pool. He sat beside Ola,

pressing the boy’s fingers down with his left hand and

pulling his wrist back and forth with his right.

“Ow! You’re pinching me!” Ola cried.

“Stop complaining! Open yourself to the music. Feel

its wonder. Let it take you.”

Ola played and played. The grim guided his fingers

from note to note. Ola felt as if he had walked through a

hidden door into a secret realm. He lost himself in the

music that poured from his fiddle like a mountain brook

streaming down a waterfall.

At last the grim said, “Enough! I’ve given you a leg of

mutton’s worth of music. Those tunes are in your fingers

now. Practice every day so you don’t forget them.

Otherwise, you’ll have to bring me another leg of mutton

to have me teach you again.”

“Will I be a good fiddler?” Ola asked.

“Adequate. Nothing more. What do you expect for a

leg of mutton? You’ll earn your living playing at weddings

and festivals. At least people won’t run away when you take

out your fiddle. Isn’t that what you wanted?”

“I guess so,” said Ola.

150

160

170


adequate (ad√i•kw¥t) adj.:good enough.

• • • • • • Notes • • • • • •

Pause at line 168. Underlinethe simile that describes how Ola felt as he played.Underline the simile thathelps you hear the quality ofthe music Ola was able toplay after his second lesson.

Pause at the bottom of thepage. Is this what Ola wants?


But it wasn’t. Everyone loved Ola’s playing now. His family

begged him to take out his fiddle in the evening, after

the day’s work was done. Neighbors invited him to their

farms to play for them. Whenever a joyous occasion arose,

people sent for Ola to play. “You’re a great fiddler, Ola!”

everyone said.

It wasn’t so, and Ola knew it. A vast gulf lay between

what Ola wanted to play and what he could play. He heard

music everywhere: in the wind, in trees, rippling fields of

wheat and rushing streams, in surging ocean waves and

quiet mountain meadows. He tried to capture it with his

fiddle, but the notes slipped away. Ola felt like a fisherman

carried out to sea by a running tide. He sees the land clear-

ly, but he cannot reach it, no matter how hard he rows.

“I must visit the fosse-grim,” Ola said to himself.

Once more Ola followed the stream. He struggled up

the path, bent double with the weight of a whole side of

beef on his shoulders.

“Grim, come out! I need you!” Ola called to the

waterfall.

The fosse-grim emerged from the pool. “What do you

want, boy?”

“Grim, it is not enough to be a good fiddler. I want to

be a great fiddler. I want to be able to play the music I hear,

the music I love. I will practice night and day. I will do

anything you ask. Look! I have brought you half of a whole

steer. If it is not enough, I will go back down the mountain

for more. Tell me what I must do, Grim, to become the

fiddler I want to be.”

“Put down the beef and take out your fiddle,” the grim

said. He climbed out of the pool to sit beside Ola. “You and

180

190

200

210


Pause at line 194. What is itthat Ola wants now? Whatwill he do to find it?

Pause at line 193.Underline the extended simile that the writer uses to help us imagine how Olafeels about his music.

Have you noticed that theamount of food Ola bringsthe grim gets larger andlarger? What has he broughtthe grim now?


I will play together. Keep playing, no matter what happens.

Play until I tell you to stop.”

The grim took hold of Ola’s wrist and fingers. Together

they began to play: songs, scales, exercises. Hour after hour.

Ola’s wrists began to cramp.

“Let me rest, Grim! My hands ache!”

“Keep playing!” The grim pulled Ola’s arm back and

forth. He pressed the boy’s fingers onto the strings until

blisters rose from his fingertips.

“Let me go, Grim! You’re torturing me! This is more

than I can endure!”

“What a fool you are! Did you expect to buy greatness

for a side of beef? Pain is the price of genius. The great ones

of the world are always disappointed, neglected, misunder-

stood. And still they keep on. But look at you! A few little

blisters and you’re ready to quit. Go ahead! What do I care?

I have your beef. Dolts like you keep me well fed.”

Ola set his jaw. He clamped the fiddle beneath his

chin. “No. I will go on.”

“Then play!”

Ola and the grim played through the night until the sun

came up. By then, Ola’s hands had tightened into claws, the

fiddle’s strings had snapped, and the bow hung in pieces.

“But you’re a real fiddler now,” said the grim. “Go!

Make your way in the world. I have nothing more to

teach you.”

220

230


What does the grim meanwhen he says, “Did youexpect to buy greatness for a side of beef” (lines222–223)? Do you agree that“Pain is the price of genius”?

How has Ola’s problem beenresolved?


Ola left without a word of thanks. He felt too weary

to speak. He stumbled down the mountain, and it was

many weeks before he had the strength to take up his

fiddle again.

But when he did . . .

Years later, a special performance took place in Bergen’s

concert hall. People came from all over Scandinavia to hear

Ole Bull, Norway’s most famous violinist. All the critics

agreed, “Ole Bull has no peer. He is the finest musician in

Scandinavia. The best in Europe. The greatest in the world.”

At the reception afterward a small, odd-looking man

with a mottled green complexion was seen heaping his

plate at the smorgasbord in back of the hall. A Swedish

countess asked him, “Did you enjoy the concert? It

astonishes me that a human being can possess such

natural talent.”

To which the odd little man replied, “Talent? Bah! It’s

courage, dedication, and hard work. Ola couldn’t play a

note when we began. You’ve no idea what I went through

just to teach him to tune his fiddle!”

240

250


The fosse-grim is a creatureof fantasy, but how is therelationship between thefosse-grim and Ola realistic?

The concluding section of thestory in Bergen’s concert hallcontains a mix of fact andfantasy. What do you think isactually true here?



Personal Word List Astound your friends by using this selection’s

words in conversation. Of course, write the words in your Personal

Word List.

Personal Reading Log As you enter this folk tale in your Personal

Reading Log, note the uses of figurative language that you liked.

Give yourself another 4 points on the Reading Meter.

Checklist for Standards Mastery Use the Checklist for Standards

Mastery to see how much you have learned this year.

Credibility Part of this folk tale is obviously fantasy. The main char-

acter, however, is based on an actual person. How credible is the

character of Ola as he is portrayed in the story? Consider his feelings

and his actions. Think about his decisions to keep on trying. Is this

the way a real-life character would behave when he or she wants

something very, very much? In a sentence, tell how credible or con-

trived you found the character of Ola. Give three examples of his

actions or feelings to support your evaluation.

Evaluation of the Character Ola

Story detail 1:

Story detail 2:

Story detail 3:

Theme In a few sentences, sum up what you see as the theme, or

message, of this folk tale. Does the message apply only to artists, or

does it apply to everyone? Cite specific passages from the story in

your answer.


Graphic Organizer 329

Ola and the Grim Interactive Reading, page 318

Go Beyond a Literary Text

Biographical Notes Research the life of your favorite musician.Fill in the following chart with details you find in the library oronline. Share your findings with the class.

Musician’s Name:

Birth/Death dates:

Where born:

Parents and family life:

Education:

Notable accomplishments:

Hobbies:

Quotation:


Chapter 8 101

DIFFERENTIATING INSTRUCTION

Ola and the Grim

� Learners Having DifficultyRead or play the Audio CD ofat least the first five or sixparagraphs for these learners.You might want to pair stu-dents with advanced learnersto help them respond to thenotes in the side columns.

� Benchmark Students Thesestudents should have little dif-ficulty with this selection. Asstudents read, have them takenotes about details that theyfind realistic or unbelievable.

� Advanced Students Thesestudents should find thisselection easy to read. Youmight want to have themextend the reading by doing aresearch project on Ole Bull.

TEACHER TO TEACHER

If students find it difficult toidentify an important passagefor their “Save the Last Word forMe” response, point out twopossible choices in the text, andask them to choose the one thatthey prefer.

Ola and the Grim Eric A. Kimmel � page 318

� Tell students that they are going to read a Norwegian folk talebased on a real person, Ole Bull. Discuss with students any folkheroes they may already know about, such as Johnny Appleseedand Davy Crockett, who were also actual people.

� Have students read the Before You Read note, and explain to themthat the famous violinist Ole Bull started out as a child prodigy.

� Remind students that as they read they will use the “Save the LastWord for Me” strategy to help them critique the story’s plot andcharacterization.

� Point out to students the first Text Structure note in the side col-umn, and have them circle the words that bring into question theauthenticity of this story. Ask them if the writer’s depiction of Ola’ssituation seems realistic or not.

� Direct students’ attention to the Evaluate note in the side column.Are the animals’ reactions possible? Point out that the writer isusing exaggeration for humorous effect.

� Have students read the story independently. Remind them to writetheir responses to the side-column notes in their books.

� After students finish reading, divide the class into small groups todiscuss their responses.

� As a whole class, ask students to comment on what they foundrealistic or unrealistic about the story’s characterization and plot.

� Have students return to the text of “Ola and the Grim” and mark itwith their own notes and comments.

� Evaluate students’ mastery of “Ola and the Grim” by having themcomplete the Vocabulary Check on Teacher’s Edition page 108 andthe Comprehension Check on Teacher’s Edition page 109.

� Assign the Biographical Notes project on Interactive Reading page329 as an extension activity.

101_HRW_ACCESS_GR6TE.PS 9/26/01 1:08 PM Page 101

108 Interactive Reading

Name ______________________________ Class _____________ Date _____________

Co

pyr

igh

t ©

by

Ho

lt, R

ineh

art

and

Win

sto

n. A

ll ri

gh

ts r

eser

ved

.

Vocabulary CheckVocabulary CheckOla and the Grim� Interactive Reading, page 318

Reading Standard 1.4 Know common affixes, and use thisknowledge to analyze the meaning of words.

A. Words in ContextUse words from the word box to complete the paragraph below. Use each word only once.

The fiddler (1) _______________ with his advice to Ola. “If you want to be a

fiddler,” he told Ola, “you have to visit the grim who lives below a waterfall. He’ll

teach you.” The grim turned out to be an odd-looking creature with

(2) _______________ skin. Ola played terribly on his fiddle for the grim, but after a

while he learned to be (3) _______________, and then he became excellent.

B. Affixes: The Suffix -lyThe suffix -ly means “in a certain way.” Nicely, for example, means “in a nice way.”Underline the word that contains the suffix -ly in each sentence below. Then, writethe word’s definition below.

1. He still played as badly as ever. (Lines 27–28)

2. Sometimes, if you listen closely, you’ll hear himplaying his harp. (Lines 52–53)

3. He heard the sounds around him clearly. (Lines 116–117)

4. “That’s worth something,” the grim finally said,smacking his lips. (Lines 155–156)

good enough

streaked or spotted in different colors or shades

kept on

adequate, adjective

mottled, adjective

persisted, verb

Vocabulary DevelopmentVocabulary Development


Chapter 8 109

Name ______________________________ Class _____________ Date _____________

Comprehension CheckComprehension CheckOla and the Grim� Interactive Reading, page 318

Reading Standard 3.8 Critique the credibility of characterizationand the degree to which plot is contrived or realistic (e.g., compareuse of fact and fantasy in historical fiction).

Co

pyr

igh

t ©

by

Ho

lt, R

ineh

art

and

Win

sto

n. A

ll ri

gh

ts r

eser

ved

.

believable

obviously artificial and not true to real life

showing people and things as they really appear to be

imaginary; not real

A. Circle the letter of the best response to each item below.

1. Which of the following statements best describes the characters of Ola and the fosse-grim?A Both characters are completely realistic.B Ola is realistic, and the fosse-grim is fantastic.C The fosse-grim is realistic, and Ola is fantastic.D Both characters are totally built on fantasy.

2. Which plot event from the story seems the least realistic?F Ola dropped the bow in surprise.G He stuffed a large sausage into his knapsack.H Ola’s wrists began to cramp.J Ola felt something inside his head snap!

3. Which detail from the story is credible?A The grim taught Ola to play like a master in only three lessons.B Ola practiced and practiced because he wanted to play more than anything.C Ola’s fiddling frightened the animals, causing the cows to stop giving milk.D The grim was a curious green creature with stands of green, silky hair.

B. In “Ola and the Grim,” do people behave the way they do in real life? Explain.

credible

contrived

realistic

fantasy

Academic VocabularyAcademic Vocabulary


Answer Key 117

Chapter 8

Practice Read: My Field Trip to PompeiiVocabulary Check, page 102

A: 1. vaccinate2. compress3. arena

B: 1. one who visits2. one who sells3. one who speaks4. one who uses a sword

Comprehension Check, page 103A: 1. C

2. G3. A4. J

B: Answers will vary. Sample answer: Even thoughtime travel is a fantasy, the writer makes thecharacters credible. The narrator is especiallybelievable because he is upset by the suffering hesees in the time travel and he cannot interfere.

Utzel and His Daughter, PovertyVocabulary Check, page 104

A: 1. maintained 2. charitable 3. consternation 4. industrious

B: 1. full of charity2. full of misery3. full of wealth

Comprehension Check, page 105A: 1. A

2. G3. D

B: Answers will vary. Sample answer: Utzel changedbecause he loved his daughter. He did not wantto work, but “it was even worse to have newshoes and go around barefoot.”

I Never Have Enough TimeVocabulary Check, page 106

A: 1. measly2. procrastinate3. priorities

B: 1. exchanging views of each other2. the act of managing time3. the act of assigning something

Comprehension Check, page 107A: 1. C

2. J3. C4. F

B: Answers will vary. Sample answer: I would tellmy friend to keep a schedule, either an electronicone or a notepad. I would also tell him to do themost important activity first and save the leastimportant activity for last.

Ola and the GrimVocabulary Check, page 108

A: 1. persisted2. mottled3. adequate

B: 1. in a bad manner2. in a careful manner3. in a clear manner4. in a concluding manner

Comprehension Check, page 109A: 1. B

2. J3. B

B: Answers will vary. Sample answer: Events don’thappen the way they do in real life in “Ola andthe Grim.” Ola learns to play like a virtuoso inthree lessons—in real life it takes years of lessonsto learn how to play.


Pupil Pages with Answers 279

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afte

r h

our,

day

afte

r da

y.N

one

ofit

did

any

goo

d.H

e st

ill p

laye

d as

badl

y as

eve

r.H

is f

iddl

e so

un

ded

like

roos

ters

cro

win

g,

don

keys

bra

yin

g,ox

en b

ello

win

g,w

agon

s w

ith

axl

es t

hat

nee

ded

grea

sin

g—ev

eryt

hin

g bu

t w

hat

a f

iddl

e sh

ould

sou

nd

like.

His

fam

ily c

over

ed t

hei

r ea

rs.N

o on

e w

ante

d

to t

ell O

la t

o gi

ve u

p.B

ut

ever

yon

e h

oped

he

wou

ld.

On

e da

y th

ere

was

a w

eddi

ng

at a

nei

ghbo

rin

g fa

rm.

A f

iddl

er c

ame

all t

he

way

fro

m B

erge

n.A

ll th

e gu

ests

agre

ed h

e w

as t

he

fin

est

fidd

ler

they

had

eve

r h

eard

.

Wh

ile t

he

man

res

ted

betw

een

dan

ces,

Ola

cam

e u

p

and

spok

e to

him

.

“Sir

,can

you

giv

e m

e so

me

advi

ce?

I w

ant

to b

e a

fidd

ler

like

you

an

d m

ake

ever

ybod

y m

erry

.I p

ract

ice

and

prac

tice

,bu

t I

nev

er g

et a

ny b

ette

r,n

o m

atte

r h

ow

har

d I

try.

Ever

yth

ing

sou

nds

like

noi

se.I

can

’t e

ven

kee

p

my

fidd

le in

tu

ne.

Can

you

tel

l me

wh

at t

o do

?”

20 30 40

Ola

an

d t

he

Gri

m319

Pau

se a

t lin

e 20

. Ola

’s

aud

ien

ce e

xten

ds

bey

on

d

his

fam

ily. D

o y

ou

th

ink

the

reac

tio

ns

of

the

anim

als

are

po

ssib

le?

Stu

den

ts s

ho

uld

reco

gn

ize

that

alth

ou

gh

Ola

’s p

layi

ng

may

hav

e d

istu

rbed

the

anim

als,

th

e

auth

or

is u

sin

g

exag

ger

atio

n h

ere

for

hu

mo

rou

s ef

fect

.

Stu

den

ts’ s

imili

es w

ill

vary

.

per

sist

ed(p¥r

•sist√¥d)

v.:

kep

t o

n.

Pau

se a

t lin

e 32

. Un

der

line

the

sim

iles

the

wri

ter

use

s to

let

us

kno

w w

hat

Ola

’s

fid

dlin

g s

ou

nd

ed li

ke. (

Can

you

ad

d a

sim

ile t

o t

his

list

to

des

crib

e h

ow

bad

mu

sic

sou

nd

s?)

On

ce t

her

e w

as—

or p

erh

aps

ther

e w

as n

ot—

a bo

y n

amed

Ola

.He

lived

on

a f

arm

not

far

fro

m t

he

sea,

on t

he

road

that

lead

s to

th

e gr

eat

city

of

Ber

gen

.Ola

love

d th

e fi

ddle

.

He

wou

ld w

alk

for

mile

s to

hea

r a

tale

nte

d fi

ddle

r pl

ay.

He

save

d al

l his

mon

ey,a

nd

one

prou

d da

y O

la

brou

ght

hom

e h

is v

ery

own

fid

dle.

His

gra

ndf

ath

er s

how

ed

him

how

to

hol

d th

e bo

w a

nd

draw

it a

cros

s th

e st

rin

gs.

SKR

EE

K!A

ter

ribl

e n

oise

cam

e ou

t.It

sou

nde

d lik

e

two

cats

fig

hti

ng.

Ola

dro

pped

th

e bo

w in

su

rpri

se.H

is

mot

her

pic

ked

it u

p.

“Don

’t b

e di

scou

rage

d,O

la,”

she

said

.“Fi

ddle

s so

un

d

like

that

wh

en o

ne

is le

arn

ing

to p

lay.

Th

ere

will

be

man

y

sou

r n

otes

.Kee

p pr

acti

cin

g.T

he

mu

sic

will

com

e.”

10

You

are

go

ing

to

rea

d a

fo

lk t

ale

bas

ed o

n a

rea

l per

son

, Ole

Bu

ll.

Ole

Bu

ll w

as b

orn

in N

orw

ay in

181

0 an

d b

egan

pla

yin

g t

he

vio

lin

at a

ge

five

. He

bec

ame

a w

orl

d-f

amo

us

virt

uo

so v

iolin

ist.

He

also

fou

nd

ed t

he

No

rweg

ian

Th

eate

r w

ith

th

e fa

mo

us

pla

ywri

gh

t H

enri

k

Ibse

n in

185

0.

318

You

th

e C

riti

cCh

apte

r 8

A N

orw

egia

n f

olk

tal

e re

told

by

Eric

A. K

imm

el

Readin

gSta

ndard

3.8

Crit

ique

the

cred

ibili

ty o

fch

arac

teri

zati

onan

d th

e de

gree

to w

hich

plo

t is

cont

rive

d or

real

isti

c (f

orex

ampl

e,co

mpa

re u

se o

ffa

ct a

nd f

anta

syin

his

tori

cal

fict

ion)

.

Pau

se a

fter

th

e fi

rst

sen

ten

ce.

Cir

cle

the

wo

rds

that

tel

l yo

uth

at t

his

sto

ry m

ay n

ot

be

afo

lk t

ale.

• •

•

•

• •

No

tes

• •

•

•

• •

“Ola

an

d t

he

Gri

m”

by

Eric

A. K

imm

el f

rom

Cri

cket

, vo

l. 28

, no

. 5, J

anu

ary

2001

. Co

pyr

igh

t ©

200

1 b

y Er

ic A

. Kim

mel

. Rep

rin

ted

by

per

mis

sio

n o

f Sh

earw

ater

Bo

oks

c/o

Ral

ph

Vic

inan

za, L

td.

Chapter 8Pupil Pages 292–329

HRW TE_6_S2 CH8_2nd Printing_F 12/28/01 1:34 PM Page 279

280 Interactive Reading: Teacher’s Edition

Ola

sto

pped

at

the

smok

ehou

se.H

e st

uff

ed a

larg

e

sau

sage

into

his

kn

apsa

ck.T

hen

he

set

out,

follo

win

g th

e

path

th

at w

oun

d al

ong

the

stre

am.

Th

e pa

th t

ook

Ola

hig

h in

to t

he

mou

nta

ins.

It le

d to

the

foot

of

a ru

shin

g w

ater

fall.

Ola

sto

od b

y th

e fa

lls,l

iste

nin

g.H

e h

eard

mu

sic

in

the

tum

blin

g w

ater

th

at s

oun

ded

like

not

es p

laye

d on

a

har

p.T

he

swee

t,m

yste

riou

s m

usi

c sa

ng

to t

he

wat

erfa

ll.

It d

ance

d in

th

e si

lver

spr

ay.O

la h

ad n

ever

hea

rd a

nyth

ing

so b

eau

tifu

l in

his

life

.Th

ere

is m

agic

in t

his

pla

ce,h

e

thou

ght.

“Gri

m!”

he

calle

d.“F

osse

-Gri

m,a

re y

ou h

ere?

”

A c

uri

ous

crea

ture

em

erge

d fr

om t

he

pool

ben

eath

th

e

falls

.Its

ski

n w

as m

ottl

edgr

een

,an

d it

cra

dled

a h

arp

in it

s

arm

s.St

ran

ds o

fgr

een

,silk

y h

air,

like

lon

g th

read

s of

alga

e,

hun

g to

its

shou

lder

s.It

dre

w it

s fi

nge

rs a

cros

s th

e h

arp

and

spok

e in

a v

oice

like

spl

ash

ing

wat

er.

“Wh

at d

o yo

u w

ant,

boy?

”

“I n

eed

you

r h

elp,

Gri

m,”

Ola

sai

d.“I

wan

t to

pla

y th

e

fidd

le s

o ba

dly.”

“Let

me

hea

r yo

u.”

Ola

too

k h

is f

iddl

e fr

om h

is k

nap

sack

.Tu

nin

g th

e

stri

ngs

as

best

he

cou

ld,h

e to

ok u

p h

is b

ow a

nd

bega

n

to p

lay. “S

top!

Sto

p!”

crie

d th

e gr

im.“

You’

re h

urt

ing

my

ears

!

Th

ere

is n

oth

ing

I ca

n t

each

you

,boy

.You

wan

t to

pla

y

badl

y.A

nd

you

do!

”

70 80 90

Ola

an

d t

he

Gri

m321

mo

ttle

d(mät√¥ld)

adj.:

stre

aked

or

spo

tted

ind

iffe

ren

t co

lors

or

shad

es.

Un

der

line

the

wo

rds

in t

he

par

agra

ph

beg

inn

ing

at

line

75 t

hat

per

son

ify

the

mu

sic—

that

is, t

hat

des

crib

e th

em

usi

c d

oin

g t

hin

gs

that

on

lyh

um

ans

do

.

In t

he

par

agra

ph

beg

inn

ing

at li

ne

82, w

hat

sim

iles

do

esth

e w

rite

r u

se t

o h

elp

yo

uim

agin

e w

hat

th

e g

rim

loo

kslik

e? U

nd

erlin

e th

em.

Alg

ae(al√j≤)

are

mic

rosc

op

ico

rgan

ism

s fo

un

d in

dam

pp

lace

s.

Mo

st f

olk

tal

es h

ave

very

stro

ng

plo

t lin

es. F

olk

tal

esfo

cus

mo

re o

n t

he

sto

ry t

han

they

do

on

th

e ch

arac

ters

. At

this

po

int

in t

he

plo

t, w

hat

do

es t

he

mai

n c

har

acte

rw

ant?

Wh

at p

rob

lem

s d

oes

he

hav

e g

etti

ng

wh

at h

ew

ants

?

He

wan

ts t

o p

lay

the

fid

dle

. Th

e p

rob

lem

is

that

he

pla

ys b

adly

.

Th

e fi

ddle

r pu

t do

wn

his

tan

kard

.He

lean

ed o

ver

to O

la a

nd

wh

ispe

red

in h

is e

ar,“

How

bad

ly d

o yo

u w

ant

to p

lay?

”

“Oh

,ver

y ba

dly,

sir!

”

“I w

as o

nce

like

you

,”th

e fi

ddle

r sa

id.“

I,to

o,w

ante

d

to p

lay

badl

y.A

nd

I di

d.V

ery

badl

y! S

o I

wen

t to

see

th

e

foss

e-gr

im.”

“Wh

o’s

that

?”O

la a

sked

.

“Th

e fo

sse-

grim

is a

tro

ll.H

e liv

es b

elow

a w

ater

fall.

Som

etim

es,i

fyo

u li

sten

clo

sely

,you

’ll h

ear

him

pla

yin

g h

is

har

p.T

he

grim

is a

mas

ter

mu

sici

an.H

e ca

n p

lay

any

inst

rum

ent.

He

can

tea

ch y

ou h

ow t

o pl

ay y

our

fidd

le.B

ut

he

won

’t d

o it

for

not

hin

g.Yo

u m

ust

bri

ng

him

a g

ift.

Th

e

grea

ter

the

gift

,th

e gr

eate

r th

e le

arn

ing.

”

“Wh

at s

ort

ofgi

ft s

hou

ld I

bri

ng?

”O

la a

sked

.

“Th

e fo

sse-

grim

like

s m

eat,”

the

fidd

ler

said

.“B

rin

g

him

som

eth

ing

to e

at.”

Th

e n

ext

day

Ola

fin

ish

ed h

is c

hor

es e

arly

.He

took

his

fidd

le a

nd

set

out

for

the

mou

nta

ins.

“I’m

goi

ng

to p

ract

ice

awh

ile,”

he

told

his

fam

ily.

“Com

e ba

ck b

efor

e da

rk,”

his

fat

her

sai

d.“I

don

’t w

ant

the

trol

ls t

o ge

t yo

u.”

“Tak

e so

met

hin

g to

eat

in c

ase

you

get

hu

ngr

y,”h

is

mot

her

add

ed.

No

one

told

Ola

not

to

go.A

s m

uch

as

they

car

ed

abou

t h

im,t

hey

wer

e gr

atef

ul n

ot t

o h

ave

to h

ear

him

prac

tici

ng.

50 60

320

You

th

e C

riti

cCh

apte

r 8

Ata

nka

rd(l

ine

43)

is a

larg

ed

rin

kin

g c

up

wit

h a

han

dle

and

oft

en a

hin

ged

lid

.

Atr

oll

(lin

e 51

) is

a f

igu

re in

Scan

din

avia

n f

olk

lore

. Tro

llsar

e fr

om

a r

ace

of

imag

inar

yb

ein

gs,

oft

en w

ith

sp

ecia

lp

ow

ers

or

skill

s.

Wh

at d

etai

l on

th

is p

age

exp

lain

s th

e st

ory

’s t

itle

?

The

wo

rd g

rim

in t

he

titl

e re

fers

to

th

e tr

oll.

• •

•

•

• •

No

tes

• •

•

•

• •


Access TE_6-Ch8Anno_Final 10/17/01 4:39 PM Page 280


Ola

rac

ed h

ome.

He

tun

ed h

is f

iddl

e an

d sa

wed

aw

ay.

“Lis

ten

to

me

now

!”h

e cr

ied

to e

very

one.

“I c

an p

lay

in

tun

e.”

An

d h

e di

d,fo

r th

e fi

rst

tim

e!

How

ever

,th

ere

is m

ore

to f

iddl

ing

than

pla

yin

g in

tun

e.O

la s

till

squ

eake

d an

d sc

rape

d.H

is t

imin

g w

as o

ff;

his

fin

geri

ng

inco

rrec

t.Ev

ery

son

g h

e at

tem

pted

bec

ame

a h

opel

ess

mu

ddle

.

“Kee

p pr

acti

cin

g,O

la.Y

ou’r

e ge

ttin

g be

tter

,”h

is

mot

her

sai

d.

Bu

t O

la k

new

th

at w

asn’

t tr

ue.

He

cou

ld n

ot h

ope

to

get

anyw

her

e on

his

ow

n,n

o m

atte

r h

ow h

ard

he

prac

tice

d.

It w

as t

ime

to v

isit

th

e gr

im.

Ola

pac

ked

his

kn

apsa

ck a

nd

fidd

le.H

e fo

llow

ed t

he

stre

am u

p in

to t

he

mou

nta

ins.

Wh

en h

e re

ach

ed t

he

wat

erfa

ll,h

e ca

lled

out,

“Gri

m,c

ome

up

from

th

e po

ol!

I n

eed

you

!”

Th

e w

ater

s ri

pple

d.T

he

foss

e-gr

im a

ppea

red,

crad

ling

his

har

p.“W

hat

do

you

wan

t,bo

y?”

“I w

ant

to p

lay

the

fidd

le in

th

e w

orst

way

.Hel

p m

e,

plea

se!”

Th

e gr

im la

ugh

ed.“

You

don

’t n

eed

me.

You

alr

eady

play

in t

he

wor

st w

ay.Y

ou’r

e th

e w

orst

fid

dler

I e

ver

hea

rd.

You

cou

ldn’

t ge

t an

y w

orse

ifyo

u t

ried

.”

“Don

’t m

ock

me,

Gri

m!”

Ola

ple

aded

.“Yo

u k

now

wh

at

I m

ean

.Pla

yin

g in

tu

ne

is n

ot e

nou

gh.I

nee

d to

kn

ow s

o

mu

ch m

ore.

”

130

140

Ola

an

d t

he

Gri

m323

• •

•

•

• •

No

tes

• •

•

•

• •

Pau

se a

t lin

e 13

0. W

hat

fu

r-th

er p

rob

lem

s d

oes

Ola

hav

ein

his

qu

est

to le

arn

to

pla

yth

e fi

dd

le?

Un

der

line

them

.

“Don

’t m

ock

me,

Gri

m,”

Ola

sai

d.“Y

ou k

now

wh

at I

mea

n.I

wan

t to

bec

ome

a go

od f

iddl

er.C

an y

ou h

elp

me?

”

“I c

an,”

the

grim

sai

d.“B

ut

I w

on’t

do

it f

or n

oth

ing.

Wh

at d

id y

ou b

rin

g m

e?”

Ola

hel

d ou

t th

e sa

usa

ge.T

he

grim

sn

atch

ed it

rig

ht

away

.He

bit

off

the

end,

“Ugh

! Tou

gh a

nd

stri

ngy

! Can

’t

you

aff

ord

dece

nt

sau

sage

,boy

? N

ever

min

d.I’

ll gi

ve y

ou

wh

at it

’s w

orth

.I c

an a

t le

ast

teac

h y

ou h

ow t

o tu

ne

that

fidd

le.L

iste

n c

lose

ly.I

’ll p

luck

a s

trin

g on

my

har

p.Yo

u

mat

ch it

.Let

’s b

egin

.”

Th

e gr

im p

luck

ed a

not

e.O

la t

ried

to

tun

e h

is f

iddl

e

stri

ng

to it

,bu

t th

e n

ote

slip

ped

away

.It

was

like

try

ing

to

catc

h f

ish

bar

ehan

ded.

“No,

no,

no!

”th

e gr

im y

elle

d.“T

hat

’s t

oo h

igh

! Now

you’

re t

oo lo

w! W

hat

’s t

he

mat

ter

wit

h y

ou?

Are

you

r ea

rs

bloc

ked?

Can

you

hea

r an

yth

ing?

”

Th

e gr

im s

tret

ched

ou

t h

is lo

ng,

gree

n a

rm.H

e pr

esse

d

the

palm

of

his

han

d ag

ain

st O

la’s

ear

.Ola

fel

t so

met

hin

g

insi

de h

is h

ead

SNA

P! I

t po

pped

an

d cr

ackl

ed li

ke ic

e

brea

kin

g on

a p

ond.

Sudd

enly

he

hea

rd t

he

sou

nds

aro

un

d

him

cle

arly

.It

was

as

ifh

e w

ere

liste

nin

g fo

r th

e fi

rst

tim

e.

“Try

aga

in,”

the

grim

sai

d.

Th

is t

ime

Ola

tu

ned

his

str

ings

eff

ortl

essl

y.A

nd

they

stay

ed in

tu

ne,

no

mat

ter

how

lon

g h

e pl

ayed

.

“Th

ank

you

,Gri

m,”

Ola

sai

d.

“Kee

p pr

acti

cin

g,”

the

grim

sn

orte

d as

he

dive

d

ben

eath

th

e ri

pple

s.

100

110

120

322

You

th

e C

riti

cCh

apte

r 8

Un

der

line

the

sim

ilein

th

ep

arag

rap

h b

egin

nin

g a

t lin

e10

7 th

at h

elp

s yo

u im

agin

eh

ow

har

d it

was

fo

r O

la t

otu

ne

his

fid

dle

to

th

e g

rim

’sn

ote

.

Wh

atsi

mile

is u

sed

late

r o

nth

is p

age

to h

elp

yo

u im

ag-

ine

wh

at h

app

ened

insi

de

Ola

’s h

ead

? U

nd

erlin

e it

.

Pau

se a

t th

e en

d o

f th

ep

age.

Wh

at p

art

of

Ola

’sp

rob

lem

has

bee

n r

eso

lved

?

At

leas

t h

e ca

n n

ow

tun

e h

is f

idd

le.

• •

•

•

• •

No

tes

• •

•

•

• •




Bu

t it

was

n’t.

Ever

yon

e lo

ved

Ola

’s p

layi

ng

now

.His

fam

ily

begg

ed h

im t

o ta

ke o

ut

his

fid

dle

in t

he

even

ing,

afte

r

the

day’

s w

ork

was

don

e.N

eigh

bors

invi

ted

him

to

thei

r

farm

s to

pla

y fo

r th

em.W

hen

ever

a jo

you

s oc

casi

on a

rose

,

peop

le s

ent

for

Ola

to

play

.“Yo

u’re

a g

reat

fid

dler

,Ola

!”

ever

yon

e sa

id.

It w

asn’

t so

,an

d O

la k

new

it.A

vas

t gu

lfla

y be

twee

n

wh

at O

la w

ante

d to

pla

y an

d w

hat

he

cou

ld p

lay.

He

hea

rd

mu

sic

ever

ywh

ere:

in t

he

win

d,in

tre

es,r

ippl

ing

fiel

ds o

f

wh

eat

and

rush

ing

stre

ams,

in s

urg

ing

ocea

n w

aves

an

d

quie

t m

oun

tain

mea

dow

s.H

e tr

ied

to c

aptu

re it

wit

h h

is

fidd

le,b

ut

the

not

es s

lippe

d aw

ay.O

la f

elt

like

a fi

sher

man

carr

ied

out

to s

ea b

y a

run

nin

g ti

de.H

e se

es t

he

lan

d cl

ear-

ly,b

ut

he

can

not

rea

ch it

,no

mat

ter

how

har

d h

e ro

ws.

“I m

ust

vis

it t

he

foss

e-gr

im,”

Ola

sai

d to

him

self

.

On

ce m

ore

Ola

fol

low

ed t

he

stre

am.H

e st

rugg

led

up

the

path

,ben

t do

ubl

e w

ith

th

e w

eigh

t of

a w

hol

e si

de o

f

beef

on h

is s

hou

lder

s.

“Gri

m,c

ome

out!

I n

eed

you

!”O

la c

alle

d to

th

e

wat

erfa

ll.

Th

e fo

sse-

grim

em

erge

d fr

om t

he

pool

.“W

hat

do

you

wan

t,bo

y?”

“Gri

m,i

t is

not

en

ough

to

be a

goo

d fi

ddle

r.I

wan

t to

be a

gre

at f

iddl

er.I

wan

t to

be

able

to

play

th

e m

usi

c I

hea

r,

the

mu

sic

I lo

ve.I

will

pra

ctic

e n

igh

t an

d da

y.I

will

do

anyt

hin

g yo

u a

sk.L

ook!

I h

ave

brou

ght

you

hal

fof

a w

hol

e

stee

r.If

it is

not

en

ough

,I w

ill g

o ba

ck d

own

th

e m

oun

tain

for

mor

e.Te

ll m

e w

hat

I m

ust

do,

Gri

m,t

o be

com

e th

e

fidd

ler

I w

ant

to b

e.”

“Pu

t do

wn

th

e be

efan

d ta

ke o

ut

you

r fi

ddle

,”th

e gr

im

said

.He

clim

bed

out

ofth

e po

ol t

o si

t be

side

Ola

.“Yo

u a

nd

180

190

200

210

Ola

an

d t

he

Gri

m325

Pau

se a

t lin

e 19

4. W

hat

is it

that

Ola

wan

ts n

ow

? W

hat

will

he

do

to

fin

d it

?

Ola

wan

ts g

reat

nes

s as

a fi

dd

le p

laye

r. H

e w

ill

pro

bab

ly f

ind

th

e

foss

e-g

rim

an

d b

eg

for

ano

ther

less

on

.

Pau

se a

t lin

e 19

3.U

nd

erlin

e th

e ex

ten

ded

si

mile

that

th

e w

rite

r u

ses

to h

elp

us

imag

ine

ho

w O

lafe

els

abo

ut

his

mu

sic.

Hav

e yo

u n

oti

ced

th

at t

he

amo

un

t o

f fo

od

Ola

bri

ng

sth

e g

rim

get

s la

rger

an

dla

rger

? W

hat

has

he

bro

ug

ht

the

gri

m n

ow

?

a h

alf

of

a st

eer

“Not

hin

g bu

ys n

oth

ing,

”th

e gr

im r

eplie

d.“W

hat

did

you

bri

ng

me?

”

“A w

hol

e le

g of

mu

tton

!”O

la t

ook

the

mea

t fr

om h

is

knap

sack

.He

toss

ed it

to

the

grim

,wh

o gn

awed

it d

own

to t

he

bon

e.

“Th

at’s

wor

th s

omet

hin

g,”

the

grim

fin

ally

sai

d,

smac

kin

g h

is li

ps.“

Take

ou

t yo

ur

fidd

le.W

e’ll

play

toge

ther

.”

Th

e gr

im c

ame

out

ofth

e po

ol.H

e sa

t be

side

Ola

,

pres

sin

g th

e bo

y’s

fin

gers

dow

n w

ith

his

left

han

d an

d

pulli

ng

his

wri

st b

ack

and

fort

h w

ith

his

rig

ht.

“Ow

! You

’re

pin

chin

g m

e!”

Ola

cri

ed.

“Sto

p co

mpl

ain

ing!

Ope

n y

ours

elf

to t

he

mu

sic.

Feel

its

won

der.

Let

it t

ake

you

.”

Ola

pla

yed

and

play

ed.T

he

grim

gu

ided

his

fin

gers

from

not

e to

not

e.O

la f

elt

as if

he

had

wal

ked

thro

ugh

a

hid

den

doo

r in

to a

sec

ret

real

m.H

e lo

st h

imse

lfin

th

e

mu

sic

that

pou

red

from

his

fid

dle

like

a m

oun

tain

bro

ok

stre

amin

g do

wn

a w

ater

fall.

At

last

th

e gr

im s

aid,

“En

ough

! I’v

e gi

ven

you

a le

g of

mu

tton

’s w

orth

of

mu

sic.

Th

ose

tun

es a

re in

you

r fi

nge

rs

now

.Pra

ctic

e ev

ery

day

so y

ou d

on’t

for

get

them

.

Oth

erw

ise,

you’

ll h

ave

to b

rin

g m

e an

oth

er le

g of

mu

tton

to h

ave

me

teac

h y

ou a

gain

.”

“Will

I b

e a

good

fid

dler

?”O

la a

sked

.

“Ad

equ

ate.

Not

hin

g m

ore.

Wh

at d

o yo

u e

xpec

t fo

r a

leg

ofm

utt

on?

You’

ll ea

rn y

our

livin

g pl

ayin

g at

wed

din

gs

and

fest

ival

s.A

t le

ast

peop

le w

on’t

ru

n a

way

wh

en y

ou t

ake

out

you

r fi

ddle

.Isn

’t t

hat

wh

at y

ou w

ante

d?”

“I g

ues

s so

,”sa

id O

la.

150

160

170

324

You

th

e C

riti

cCh

apte

r 8

adeq

uat

e(ad√i•kw¥t)

adj.:

go

od

en

ou

gh

.

• •

•

•

• •

No

tes

• •

•

•

• •

Pau

se a

t lin

e 16

8. U

nd

erlin

eth

esi

mile

that

des

crib

es

ho

w O

la f

elt

as h

e p

laye

d.

Un

der

line

the

sim

ile t

hat

hel

ps

you

hea

r th

e q

ual

ity

of

the

mu

sic

Ola

was

ab

le t

op

lay

afte

r h

is s

eco

nd

less

on

.

Pau

se a

t th

e b

ott

om

of

the

pag

e. Is

th

is w

hat

Ola

wan

ts?

Pro

bab

ly n

ot.

He

seem

s u

nsu

re.




Ola

left

wit

hou

t a

wor

d of

than

ks.H

e fe

lt t

oo w

eary

to s

peak

.He

stu

mbl

ed d

own

th

e m

oun

tain

,an

d it

was

man

y w

eeks

bef

ore

he

had

th

e st

ren

gth

to

take

up

his

fidd

le a

gain

.

Bu

t w

hen

he

did

...

Year

s la

ter,

a sp

ecia

l per

form

ance

too

k pl

ace

in B

erge

n’s

con

cert

hal

l.Pe

ople

cam

e fr

om a

ll ov

er S

can

din

avia

to

hea

r

Ole

Bu

ll,N

orw

ay’s

mos

t fa

mou

s vi

olin

ist.

All

the

crit

ics

agre

ed,“

Ole

Bu

ll h

as n

o pe

er.H

e is

th

e fi

nes

t m

usi

cian

in

Scan

din

avia

.Th

e be

st in

Eu

rope

.Th

e gr

eate

st in

th

e w

orld

.”

At

the

rece

ptio

n a

fter

war

d a

smal

l,od

d-lo

okin

g m

an

wit

h a

mot

tled

gre

en c

ompl

exio

n w

as s

een

hea

pin

g h

is

plat

e at

th

e sm

orga

sbor

d in

bac

k of

the

hal

l.A

Sw

edis

h

cou

nte

ss a

sked

him

,“D

id y

ou e

njo

y th

e co

nce

rt?

It

asto

nis

hes

me

that

a h

um

an b

ein

g ca

n p

osse

ss s

uch

nat

ura

l tal

ent.”

To w

hic

h t

he

odd

littl

e m

an r

eplie

d,“T

alen

t? B

ah! I

t’s

cou

rage

,ded

icat

ion

,an

d h

ard

wor

k.O

la c

ould

n’t

play

a

not

e w

hen

we

bega

n.Y

ou’v

e n

o id

ea w

hat

I w

ent

thro

ugh

just

to

teac

h h

im t

o tu

ne

his

fid

dle!

”

240

250

Ola

an

d t

he

Gri

m327

The

foss

e-g

rim

is a

cre

atu

reo

f fa

nta

sy, b

ut

ho

w is

th

ere

lati

on

ship

bet

wee

n t

he

foss

e-g

rim

an

d O

la r

ealis

tic?

The

rela

tio

nsh

ip

bet

wee

n t

he

foss

e-

gri

m a

nd

Ola

is a

teac

her

-stu

den

t

rela

tio

nsh

ip. O

la is

inte

nse

ly in

tere

sted

in

lear

nin

g t

o p

lay

the

fid

dle

, an

d t

he

foss

e-

gri

m is

an

insp

ired

,

ded

icat

ed t

each

er.

The

con

clu

din

g s

ecti

on

of

the

sto

ry in

Ber

gen

’s c

on

cert

hal

lco

nta

ins

a m

ix o

f fa

ct a

nd

fan

tasy

. Wh

at d

o y

ou

th

ink

isac

tual

ly t

rue

her

e?

Ther

e re

ally

was

an

Ole

Bu

ll, a

nd

he

was

a

real

vio

linis

t. T

he

od

d

littl

e m

an is

fan

tasy

—

pro

bab

ly.

I w

ill p

lay

toge

ther

.Kee

p pl

ayin

g,n

o m

atte

r w

hat

hap

pen

s.

Pla

y u

nti

l I t

ell y

ou t

o st

op.”

Th

e gr

im t

ook

hol

d of

Ola

’s w

rist

an

d fi

nge

rs.T

oget

her

they

beg

an t

o pl

ay:s

ongs

,sca

les,

exer

cise

s.H

our

afte

r h

our.

Ola

’s w

rist

s be

gan

to

cram

p.

“Let

me

rest

,Gri

m! M

y h

ands

ach

e!”

“Kee

p pl

ayin

g!”

Th

e gr

im p

ulle

d O

la’s

arm

bac

k an

d

fort

h.H

e pr

esse

d th

e bo

y’s

fin

gers

on

to t

he

stri

ngs

un

til

blis

ters

ros

e fr

om h

is f

inge

rtip

s.

“Let

me

go,G

rim

! You

’re

tort

uri

ng

me!

Th

is is

mor

e

than

I c

an e

ndu

re!”

“Wh

at a

foo

l you

are

! Did

you

exp

ect

to b

uy g

reat

nes

s

for

a si

de o

fbe

ef?

Pain

is t

he

pric

e of

gen

ius.

Th

e gr

eat

ones

ofth

e w

orld

are

alw

ays

disa

ppoi

nte

d,n

egle

cted

,mis

un

der-

stoo

d.A

nd

still

th

ey k

eep

on.B

ut

look

at

you

! A f

ew li

ttle

blis

ters

an

d yo

u’re

rea

dy t

o qu

it.G

o ah

ead!

Wh

at d

o I

care

?

I h

ave

you

r be

ef.D

olts

like

you

kee

p m

e w

ell f

ed.”

Ola

set

his

jaw

.He

clam

ped

the

fidd

le b

enea

th h

is

chin

.“N

o.I

will

go

on.”

“Th

en p

lay!

”

Ola

an

d th

e gr

im p

laye

d th

rou

gh t

he

nig

ht

un

til t

he

sun

cam

e u

p.B

y th

en,O

la’s

han

ds h

ad t

igh

ten

ed in

to c

law

s,th

e

fidd

le’s

str

ings

had

sn

appe

d,an

d th

e bo

w h

un

g in

pie

ces.

“Bu

t yo

u’re

a r

eal f

iddl

er n

ow,”

said

th

e gr

im.“

Go!

Mak

e yo

ur

way

in t

he

wor

ld.I

hav

e n

oth

ing

mor

e to

teac

h y

ou.”

220

230

326

You

th

e C

riti

cCh

apte

r 8

Wh

at d

oes

th

e g

rim

mea

nw

hen

he

says

, “D

id y

ou

exp

ect

to b

uy

gre

atn

ess

for

a si

de

of

bee

f” (

lines

222–

223)

? D

o y

ou

ag

ree

that

“Pai

n is

th

e p

rice

of

gen

ius”

?

An

swer

s w

ill v

ary.

Stu

den

ts m

ay s

ay t

hat

they

ag

ree

that

pai

n is

the

pri

ce o

f g

eniu

s,

bec

ause

it t

akes

har

d

wo

rk a

nd

pra

ctic

e to

ach

ieve

gre

atn

ess.

On

e

can

no

t b

uy

gre

atn

ess

so e

asily

; gre

atn

ess

com

es f

rom

inn

er

qu

alit

ies

such

as

det

erm

inat

ion

an

d

fort

itu

de.

Ho

w h

as O

la’s

pro

ble

m b

een

reso

lved

?

The

gri

m s

ays

he

is

no

w a

rea

l fid

dle

r.




Gra

ph

ic O

rgan

izer

329

Ola

and

the

Gri

mIn

tera

ctiv

e R

ead

ing

,pag

e 31

8

Go

Bey

on

d a

Lit

erar

y Te

xt

Bio

grap

hic

al N

otes

Res

earc

h t

he

life

ofyo

ur

favo

rite

mu

sici

an.

Fill

in t

he

follo

win

g ch

art

wit

h d

etai

ls y

ou f

ind

in t

he

libra

ry o

ron

line.

Shar

e yo

ur

fin

din

gs w

ith

th

e cl

ass.

Mu

sici

an’s

Nam

e:

Bir

th/D

eath

dat

es:

Wh

ere

bo

rn:

Pare

nts

an

d f

amily

life

:

Edu

cati

on

:

No

tab

le a

cco

mp

lish

men

ts:

Ho

bb

ies:

Qu

ota

tio

n:

Entr

ies

will

var

y.

328

You

th

e C

riti

cCh

apte

r 8

Pers

onal

Wor

d Li

stA

sto

un

d y

ou

r fr

ien

ds

by

usi

ng

th

is s

elec

tio

n’s

wo

rds

in c

on

vers

atio

n. O

f co

urs

e, w

rite

th

e w

ord

s in

yo

ur

Pers

on

al

Wo

rd L

ist.

Pers

onal

Rea

ding

Log

As

you

en

ter

this

fo

lk t

ale

in y

ou

r Pe

rso

nal

Rea

din

g L

og

, no

te t

he

use

s o

f fi

gu

rati

ve la

ng

uag

e th

at y

ou

like

d.

Giv

e yo

urs

elf

ano

ther

4 p

oin

ts o

n t

he

Rea

din

g M

eter

.

Chec

klis

t fo

r St

anda

rds

Mast

ery

Use

th

e C

hec

klis

t fo

r St

and

ard

s

Mas

tery

to

see

ho

w m

uch

yo

u h

ave

lear

ned

th

is y

ear.

Cred

ibili

tyPa

rt o

f th

is f

olk

tal

e is

ob

vio

usl

y fa

nta

sy. T

he

mai

n c

har

-

acte

r, h

ow

ever

, is

bas

ed o

n a

n a

ctu

al p

erso

n. H

ow

cre

dib

le is

th

e

char

acte

r o

f O

la a

s h

e is

po

rtra

yed

in t

he

sto

ry?

Co

nsi

der

his

fee

ling

s

and

his

act

ion

s. T

hin

k ab

ou

t h

is d

ecis

ion

s to

kee

p o

n t

ryin

g. I

s th

is

the

way

a r

eal-

life

char

acte

r w

ou

ld b

ehav

e w

hen

he

or

she

wan

ts

som

eth

ing

ver

y, v

ery

mu

ch?

In a

sen

ten

ce, t

ell h

ow

cre

dib

le o

r co

n-

triv

ed y

ou

fo

un

d t

he

char

acte

r o

f O

la. G

ive

thre

e ex

amp

les

of

his

acti

on

s o

r fe

elin

gs

to s

up

po

rt y

ou

r ev

alu

atio

n.

Eval

uat

ion

of

the

Ch

arac

ter

Ola

Sto

ry d

etai

l 1:

Sto

ry d

etai

l 2:

Sto

ry d

etai

l 3:

Them

eIn

a f

ew s

ente

nce

s, s

um

up

wh

at y

ou

see

as

the

them

e, o

r

mes

sag

e, o

f th

is f

olk

tal

e. D

oes

th

e m

essa

ge

app

ly o

nly

to

art

ists

, or

do

es it

ap

ply

to

eve

ryo

ne?

Cit

e sp

ecif

ic p

assa

ges

fro

m t

he

sto

ry in

you

r an

swer

.



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