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
320 You the CriticChapter 8
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 • • • • • •
Access SE_6-8_Final Confirming 9/24/01 10:58 PM Page 320
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
Ola and the Grim 321
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?
Access SE_6-8_Final Confirming 9/24/01 10:59 PM Page 321
“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
322 You the CriticChapter 8
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 • • • • • •
Access SE_6-8_Final Confirming 9/24/01 10:59 PM Page 322
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
Ola and the Grim 323
• • • • • • Notes • • • • • •
Pause at line 130. What fur-ther problems does Ola havein his quest to learn to playthe fiddle? Underline them.
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“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
324 You the CriticChapter 8
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?
Access SE_6-8_Final Confirming 9/24/01 10:59 PM Page 324
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
Ola and the Grim 325
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?
Access SE_6-8_Final Confirming 9/24/01 11:00 PM Page 325
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
326 You the CriticChapter 8
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?
Access SE_6-8_Final Confirming 9/24/01 11:00 PM Page 326
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
Ola and the Grim 327
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?
Access SE_6-8_Final Confirming 9/24/01 11:00 PM Page 327
328 You the CriticChapter 8
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.
Access SE_6-8_Final Confirming 9/24/01 11:00 PM Page 328
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:
Access SE_6-8_Final Confirming 9/24/01 11:00 PM Page 329
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
108_HRW_ACCESS_GR6TE.PS 9/26/01 1:08 PM Page 108
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
109_HRW_ACCESS_GR6TE.PS 9/26/01 1:08 PM Page 109
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.
117_HRW_ACCESS_GR6TE.PS 9/26/01 1:10 PM Page 117
Pupil Pages with Answers 279
Ola
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that
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them
ran
off
and
wer
e n
owh
ere
to b
e fo
un
d.
From
th
en o
n,O
la p
ract
iced
aw
ay f
rom
th
e fa
rm.H
e
sat
un
der
tree
s in
th
e fo
rest
an
d on
lon
ely
rock
s at
th
e
seas
hor
e.C
rabs
scu
rrie
d in
to t
he
surf
.Sea
ls d
ived
dee
p.Se
a
gulls
scr
eam
ed o
verh
ead.
Bu
t O
la p
ersi
sted
,eve
n w
hen
th
e
seab
irds
spa
tter
ed h
im w
ith
th
eir
drop
pin
gs.H
e ke
pt
saw
ing
away
at
his
fid
dle.
Ola
pra
ctic
ed h
our
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
• •
•
•
• •
Chapter 8Pupil Pages 292–329
Access TE_6-Ch8Anno_Final 10/17/01 4:39 PM Page 280
Pupil Pages with Answers 281
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
• •
•
•
• •
Chapter 8Pupil Pages 292–329
Access TE_6-Ch8Anno_Final 10/17/01 4:39 PM Page 281
282 Interactive Reading: Teacher’s Edition
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.
Chapter 8Pupil Pages 292–329
Access TE_6-Ch8Anno_Final 10/17/01 4:39 PM Page 282
Pupil Pages with Answers 283
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.
Chapter 8Pupil Pages 292–329
Access TE_6-Ch8Anno_Final 10/17/01 4:39 PM Page 283
284 Interactive Reading: Teacher’s Edition
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
.
Chapter 8Pupil Pages 292–329
Access TE_6-Ch8Anno_Final 10/17/01 4:39 PM Page 284