Littérature étrangère en anglais Terminale Corrigés des activités
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Littérature étrangère en anglais
Terminale
Corrigés des activités
Rédaction :
Chantelle De Lisle
Coordination :
Claude Quiniou
Ce cours est la propriété du Cned. Les images et textes intégrés à ce cours sont la propriété de leurs auteurs et/ou ayants droit
respectifs. Tous ces éléments font l’objet d’une protection par les dispositions du code français de la propriété intellectuelle ainsi que
par les conventions internationales en vigueur. Ces contenus ne peuvent être utilisés qu’à des fins strictement personnelles. Toute
reproduction, utilisation collective à quelque titre que ce soit, tout usage commercial, ou toute mise à disposition de tiers d’un cours
ou d’une œuvre intégrée à ceux-ci sont strictement interdits.
©Cned-2013
© Cned - Académie en ligneAnswers
Séquence 1
Crime fiction:
investigating the detective story
1 A startling detective (text A)
Activity 1 Discovering the detective genre
Fact file
Missing words: crime - suspect - police - observation - detective -
denouement - culprit - evidence
Activity 2 Understanding the text
a. Where? On a crime scene, in an interior setting (house?), in Lon-
don – When? In past times = “four wheeled cab drawn by a horse”,
no use of modern forensics tests (DNA tests etc.) b. Who? Sherlock
Holmes (main character); Dr Watson (Holmes’ friend, and narrator);
Lestrade and Gregson (Scotland Yard detectives) c. What events?
A dead body with no wound / blood around the body and the word
‘RACHE’ written in blood on the wall. d. What actions? Sherlock
Holmes examines and inquires about the body and the room / Sher-
lock Holmes comes to a conclusion about how the murderer looks
like and how he killed the man (poison) / Sherlock Holmes wants to
CD 1
question the one who found the body
Listen to the model answer for suggestions.
Enr.1
Activity 3 Identifying the detective genre
a. private detective = Sherlock Holmes; Scotland Yard detective = Les-
trade / Gregson; police officer = John Rance (constable); doctor =
Corrigés des activités de la séquence 1 – AN06 3
© Cned - Académie en ligneWatson; victim = Enoch J. Drebber; (potential) suspect = Stranger-
son. [murderer + witness = not involved in this passage]
b. examination = “feeling, pressing, unbuttoning, examining”; inquiry
= “What did you find in his pockets”; victim’s personal effects =
leather card-case, with cards, pocket edition (book), two letters;
detective’s tools = tape measure [= mètre], magnifying glass [=
loupe]; murder weapon = poison evidence = ‘RACHE’ written in
blood on the wall.
a. The great powers of observation of the detective: “his nimble fin-
gers were flying here, there, and everywhere, feeling, pressing,
unbuttoning, examining,”
Superior mind of the detective: “He came here with his victim in a
four-wheeled cab which was drawn by a horse with three old shoes
and one new one on his fore leg.”
Less clever police: “There is no clue?” said Gregson. “None at all,”
chimed in Lestrade.
Convincing evidence is irrelevant: “’Rache,’ is the German for
‘revenge;’ so don’t lose your time looking for Miss Rachel.”
b.
The detective plot
Sequence of events: 1. catastrophe (murder); 2. introduc-
tion of suspects and clues; 3. the detective shows how the
crime is committed and the motives; 4. identity of the crimi-
nal.
The detective plot
Traditionally, the detective story follows the “Whodu-
nit” [Who has done it?] pattern. The detective’s investigation
consists in solving the mystery about the identity of the cri-
minal (murderer, thief etc.).
However, in some novels, the reader knows the identity of the
criminal from the very beginning. The story then consists in
discovering how the detective manages to catch him/her
(just as in the Columbo TV series starring Peter Falk). It is
then called an inverted plot or a “Howdtheycatch’em”.
Introduction of a series of clues ➠ In this passage, Sherlock Holmes
has only just started his investigation by examining the crime scene and
gathering clues. His interpretation of the clues leads him to get informa-
tion about the murder weapon and the murderer even though he doesn’t
yet know his identity or his motives.
4 Corrigés des activités de la séquence 1 – AN06
© Cned - Académie en lignec. No. The definition is only a guideline giving the main ingredients of a
detective plot. The plot can sometimes be inverted.
Activity 4 Close reading: characterisation
a. Sherlock Holmes is a startling detective because:
he is very precise and meticulous “examined it intently”; “the
minuteness with which [the examination] was conducted”
he uses logic “You are sure that there is no wound? (…) Then, of
course, this blood belongs to a second individual”
he has a great capacity of deduction and interpretation of clues
“ In all probability the murderer had a florid face, and the finger-
nails of his right hand were remarkably long.”
b. through Holmes’ actions: “Sniffed the dead man’s body and glanced
at the soles of his leather boots”; through Holmes’ speech: “Have
you made any inquiries as to this man, Srangerson?”; through
other characters’ reactions: “Gregson and Lestrade” had watched
[him] with considerable curiosity and contempt”, “leaving the two
rivals open-mouthed behind him.”, “I was irresistibly reminded of
a pure-blooded well-trained foxhound” (Watson)
c. Sherlock Holmes is more clever than Gregson and Lestrade, the two
Scotland Yard detectives. They weren’t able to find any clues on
the crime scene (except for the word on the wall) whereas Holmes
managed to draw a detailed portrait of the murderer by interpreting
the clues he found examining the room.
The fact that both detectives are less clever than Holmes empha-
sizes [= accentue] Holmes’ superior and brilliant skills.
d. Watson doesn’t always understand what Holmes is doing (or why
he is doing it) = “measuring with the most exact care the distance
between marks which were entirely invisible to me”. The fact that
even Holmes’ closest friend doesn’t understand him emphasizes
his uniqueness and superior mind.
CD 1
Listen to the model answer for suggestions.
Enr.2
Activity 5 Close reading: the narrator’s voice
In the example below, the text in coloured print corresponds to the
narrator’s voice.
Lestrade was standing by the doorway, and greeted my companion
and myself.
“This case will make a stir, sir,” he remarked. “It beats anything I
have seen, and I am no chicken.”
“There is no clue?” said Gregson.
Corrigés des activités de la séquence 1 – AN06 5
© Cned - Académie en ligne“None at all,” chimed in Lestrade.
Sherlock Holmes approached the body, and, kneeling down, exa-
mined it intently. “You are sure that there is no wound?” he asked,
pointing to numerous gouts and splashes of blood which lay all
round.
a. The story is told in the first person (I). It is a first-person narrative.
b. The narrator is one of the characters: Dr Watson. He is Sherlock
Holmes’ friend.
c. The narrator knows about the story as much as a witness. He
attended the scene at some time (in the past) and is now telling
about it in his narrative ➠ “Lestrade was standing by the doorway,
and greeted my companion and
myself.”
Narration in detective stories He knows about Sherlock Holmes
(his personality and behaviour)
Very often, detective stories are told by a first- because he is his friend and often
person narrator. This gives realism and credibi- sees him in his actions. ➠ “They
lity to the story. It makes the reader believe in evidently failed to appreciate the
the story and helps him consider the story could fact, which I had begun to realize,
well be true. that Sherlock Holmes’ smallest
On a traditional basis, the narrator is the detec- actions were all directed towards
tive’s friend or confident – just like Dr Watson some definite and practical end.”
for Sherlock Holmes. The narrator explains to He only knows about the other
the reader what the detective’s up to. The detec- detectives from what he sees
tive’s friend doesn’t show himself as clever as (their actions, their reactions).
the detective (he can’t interpret clues as skilfully) d. As a narrator, Watson gives his
and this emphasizes the detective’s intelligence personal account of the story. It
and talent. This type of narrator also creates a makes the reader closer to Sher-
connection between the detective and the rea- lock Holmes, as if s/he knew
der. him like a friend, just as Watson
does.
CD 1
Listen to the model answer for suggestions.
Enr.3
Activity 6 Talking about the text
CD 1
Listen to the model answer for suggestions.
Enr.4
6 Corrigés des activités de la séquence 1 – AN06
© Cned - Académie en ligne2 Focus on…
narrative point of view!
Activity 7
LITERARY TECHNIQUES :
THE NARRATOR ’ S POINT OF VIEW
The narrator can tell a story in the first or the third
person.
• I ; inside
• he, she or they (no matter which order) ;
outside.
➠ close to ; distant with ; involve in
a. = first person: I turned; b. = third person: He put / he took…;
c. = third person: The Inspector felt / What a woman! (= his thoughts);
d. = third person: he could no longer see / had so deformed his mind
/ Eva knew this / she wasn’t going to
Activity 8
LITERARY TECHNIQUES :
THE NARRATOR ’ S FIELD OF VISION
• objective
• omniscient
• limited
a. = omniscient narrator (➠ the narrator reveals the thoughts and
feelings of Jane and Tom)
Jane was on the sofa watching television. She wasn’t concentrating on the
programme for she was thinking about Tom and the last argument they’d
had. She was sad. But she didn’t know then that Tom was about to knock
on her door, a bunch of roses in his hand, to apologize.
b. = objective narrator (➠ the narrator doesn’t reveal any of the cha-
racters’ thoughts or feelings; he only reports what it is possible to
see/hear from an external point of view)
c. = limited narrator (➠ only Jane’s thoughts and feelings are revea-
led; the narrator’s vision is limited to Jane only)
Jane was on the sofa watching television. She wasn’t concentrating on the
Corrigés des activités de la séquence 1 – AN06 7
© Cned - Académie en ligneprogramme for she was thinking about Tom and the last argument they’d
had. She was sad. How could they put an end to their story? (= Jane’s inner
thoughts) Suddenly, she heard a knock on the door. When she opened, she
found Tom with a bunch of roses!
Activity 9 Text 1 (limited narrator – thoughts and feelings limited to Susan)
At the bus stop, Susan was waiting to get onto the bus when she sud-
denly felt a grip on her arm and something hard pointed in her back. She
gasped and tried to turn around but couldn’t for the grip was too strong.
She was terrified wondering what was going to happen to her. Then, she
heard a man’s voice in her ear telling her to follow him. She felt as if the
world was coming to an end.
Text 2 (omniscient narrator – thoughts or feelings of both characters)
At the bus stop, Susan was waiting to get onto the bus when she sud-
denly felt a grip on her arm and something hard pointed in her back. She
gasped and tried to turn around but couldn’t for the grip was too strong.
She was terrified, wondering what was going to happen to her. The man,
who had dug his fingers into her back pretending it was a gun, was a
friend of her husbands’. He didn’t like it too much, but he knew Susan’s
husband would be happy, for he had set up this plan to make her come
– unsuspecting – to her birthday surprise party.
3 The perfect crime (text B)
Activity 10 Learning about the author
a. British (English), 20th century – b. novels, short stories and plays;
crime fiction – c. Poirot (detective) and Miss Marple (detective) –
d. well-structured plots and startling denouements (endings)
CD 1
Listen to the model answer for suggestions.
Enr.5
8 Corrigés des activités de la séquence 1 – AN06
© Cned - Académie en ligneThe Golden Age of detective stories
The first detective stories were written during the Victorian era.
The detectives – or sleuths – were Sherlock Holmes created by
Arthur Conan Doyle (UK), C. Auguste Dupin by Edgar Allan Poe
(USA), Sergeant Cuffs by Wilkie Collins (UK), or Ebenezer Gryce by
Anna Katharine Green (USA)
Later on, in the 20’s and the 30’s, the detective story became
popular again with Agatha Christie’s detectives Hercule Poirot or
Miss Marple (among others), Dr John Thorndyke created by R.
Austin Freeman or still S. S. Van Dine’s detective Philo Vance.
The classic detective investigation extended to pure scientific
detection (with Dr John Thorndyke, for instance) or to a judicial
aspect once the criminal had been caught (with the lawyer Everett
Raymond in A. K. Green’s novel The Leavenworth Case).
Activity 11 Understanding the text
Who? Mrs. and Mr. Merrowdene, Inspector Evans and Mary / Where?
At the Merrowdene’s / What actions happen? Mrs. Merrowdene pre-
pares the tea. Mrs. Merrowdene tells her husband off for using the
bowls in his experiments with chemicals. Evans thinks that one of the
teas is poisoned. Evans wants to trap Mrs. Merrowdene before she
kills anyone.
CD 1
Listen to the model answer for suggestions.
Enr.6
Activity 12 Close reading: Characters and characterisation
a. Mrs. Merrowdene = wife to George Merrowdene (suspected mur-
derer); Evans = inspector (suspects Mrs. Merrowdene); Mr. George
Merrowdene = husband + professor (uses chemicals); Mary = the
maid (only mentioned).
b. Mrs. Merrowdene and Inspector Evans are the most important cha-
racters because George Merrowdene eventually leaves the scene
and Mary isn’t present at all (she is only mentioned).
c. Mr. Merrowdene is the one who uses tea bowls for his experiments
= “You’ve been taking these bowls again.” / he makes them a
potential ‘death weapon’ = “One of these days you’ll poison us
all,”; Mary is the one who doesn’t clean the tea bowls after Merrow-
dene’s experiments = “Mary […] never troubles to wash them out”
➠ Both characters are connected to the bowls.
Corrigés des activités de la séquence 1 – AN06 9
© Cned - Académie en ligned. There is a conflict between Mrs. Merrowdene and Inspector Evans:
they are two opposite forces. Mrs. Merrowdene challenges Evans to
come and drink a cup of tea at their place (Was there a faint note of
challenge in her voice?) and Inspector Evans challenges her to drink
her husband’s cup of tea (“I want to see you drink this.”).
CD 1
Listen to the model answer for suggestions.
Enr.7
Activity 13 The detective action
a. 1st part: General setting; from Mrs. Merrowdene turned to the Ins-
pector to she took three small bowls and saucers.
2nd part: Poisonous tea bowls; from “We have some very special
Chinese tea,” to and blew out the flame of the little silver lamp.
3rd part: A well-planned accident; from Evans was puzzled to A
woman of lightning rapidity of thought and action.
4th part: The trap; from He drew a deep breath and leaned forward
to He held his breath.
deliberately; alibi; accident; evidence; preparation; witness; to prove;
suspecting; (inquiring); (unsuspicious) – Most of these words come
from the 4th part: A well-planned accident
a. Because the first bowl isn’t clean – her husband has probably used
it in one of his experiments. (“You’ve been taking these bowls
again”) It most likely has some sort of chemical in it (“You were
using one of them for potassium cyanide the other day”)
b. Someone could drink dangerous/lethal chemicals and get poiso-
ned. (“One of these days you’ll poison us all.”)
c. Evans thinks Mrs. Merrowdene is planning to poison someone and
make it look like an accident. – Inspector Evans thinks that Mrs.
Merrowdene deliberately spoke about her husband’s habit in order
to prepare her alibi (an excuse) in the case someone died “acci-
dentally” from poisoning. (Was this to be the “accident”? Was she
speaking of all this so as deliberately to prepare her alibi before-
hand.)
d. Her alibi (excuse) would be that her husband has the habit of put-
ting chemicals in the bowls (“One of these days you’ll poison us
all.”) and that their maid doesn’t wash them because they don’t
look dirty. ([She] never troubles to wash them out unless they’ve
something very noticeable in them.)
e. Mrs Merrowdene had a smile on her face. (a little strange smile cur-
ved round her lips. It was the smile that did it.)
10 Corrigés des activités de la séquence 1 – AN06
© Cned - Académie en lignef. Her husband – with him [Inspector Evans] here as a witness. (The
other person present is George.)
g. He swaps Mrs. Merrowdene’s cup with her husbands’ and asks her
to drink it. (he substituted it for the other / “I want to see you drink
this.”)
h. If she doesn’t drink it, the cup is poisoned, then she is guilty. If she
does, it means that the cup isn’t poisoned and therefore she is not
guilty.
CD 1
Listen to the model answer for suggestions.
Enr.8
Activity 14 Close reading: the narrator’s voice
a. 3rd person narrative ➠ “They walked there, talking together of
pleasant ordinary things.” The narrator isn’t involved in this scene;
he is outside the scene; he is not one of the characters.
b. Inspector Evans’ thoughts are revealed ➠ The narrator knows what
Inspector Evans thinks just as if he was in his head. Was there a
faint note of challenge in her voice? He thought there was.
Passages revealing Evans’ thoughts:
Was there a faint note of challenge in her voice? He thought there was.
From Evans was puzzled to Stupid of her, if so, because before that –
From It was the smile that did it to A woman of lightning rapidity of
thought and action.
c. The narrator only reveals other characters’ actions and attitude from
an external point of view.
Merrowdene looked a little irritated (attitude) / She broke off, pee-
red into a cup, and exchanged it for another (action) with an excla-
mation of annoyance (attitude)
d. Mrs. Merrowdene’s attitude: with an exclamation of annoyance;
with a half laugh; with a smile; showing her hand; a little strange
smile curved round her lips; She looked inquiring but unsuspicious;
The color slowly drained from her face. George Merrowdene’s atti-
tude: said the professor apologetically; Merrowdene looked a little
irritated; murmuring to himself
➠ George’s attitude doesn’t really change. As for Mrs. Merrowdene,
her attitude changes from being annoyed to smiling, to shocked. Her
attitude changes after Evans asks her to drink George’s tea.
e. The narrator’s vision is limited to Evans. The narrator only has
access to Evans’ inner thoughts. He can only tell about other cha-
racters’ actions and attitudes (reactions) from an external point of
view.
Corrigés des activités de la séquence 1 – AN06 11
© Cned - Académie en lignef. In the passage, a limited narrator adds suspense to the narrative. The
reader doesn’t have access to Mrs. Merrowdene’s thoughts or inten-
tions though she is the key to the story: she detains the truth about her
plans. Nor Evans, nor the reader does.
CD 1
Listen to the model answer for suggestions.
Enr.9
Activity 15 Talking about this passage
CD 1
Listen to the model answer for suggestions.
Enr.10
4 Practise… talking from notes!
Activity 16 Gap fillers and linking words
a.
Gap fillers
Words missing: literally – actually – hum – er –
well – actually – though– let’s
say – basically
a.
Linking words
insisting adding ideas reformulating introducing concluding exemplifying
as a mat- What is also in others words to begin with to conclude such as – for
ter of fact interesting – to put things – in short – example – for
– indeed is – in addtion differently all in all instance
– clearly (to this) –
– what’s what’s more
sure is – apart from
this
12 Corrigés des activités de la séquence 1 – AN06
© Cned - Académie en ligneActivity 18 Rehearsing and improving your skills
CD 1
Listen to the model answer for suggestions.
Enr.14
5 Reaching autonomy (text C)
Activity 19 Close reading a text
The notes below correspond to a possible close reading work on the
passage.
Information about the text and its author
from a novel by Anna Katharine Green (1846-1935)
an American writer (novels and poetry) / one of the first writers
of detective fiction and probably one of the first female writers of
detection / main characters created: Ebenezer Gryce (New York
police) and Amelia Butterworth (amateur detective)
novel written in 1897 (19th century) / includes both detectives
Context about the story
Where: crime scene / next door to Amelia Butterworth’s house; Who:
Coroner, Detective (official) = Gryce, Witness (+ amateur detective) =
Amelia Butterworth; What happens = She gives a piece of paper about
why she thinks it was a murder (and not an accident) to the coroner
(who gives it to the detective in turn) / The Coroner accepts that she
stays and helps them. / They lift the cabinet under which the body is. /
Amelia recognizes the woman she saw the previous night (but the hat
is missing). / They find the hat under the body. / Amelia astonishes
the other men because of her sense of observation (hat) and deduc-
tion (gloves).
Close reading of basic elements (setting, characters and action)
SETTING: crime scene, next door to where Amelia lives (nothing inte-
resting apart from the fact that it could be a horrible scene (crushed
body) ➠ atmosphere is nearly tense)
CHARACTERS:
The Coroner = “curious glances”, “odd but grudging look of admi-
ration”, “with a sly chuckle” / but accepts Amelia: “Two Richmonds
in the field … have to yield their allied forces” // Detective Gryce:
unwilling to accept Amelia but finally acknowledges her cleverness
“Smart woman” / “half-admiring, half-sarcastic voice” // Amelia
Butterworth: seen as weak (“do you feel as if you could endure the
Corrigés des activités de la séquence 1 – AN06 13
© Cned - Académie en lignesight?”) but actually strong (“the cause of justice”; “I did not give
way;” “had been asked to sit down but found that impossible;” “Let
the other Richmond inform you”; startling amateur detective (even
though female) ➠ astonishes others through her great sense of
observation (remembers the way the woman was dressed + her hat
+ the details) and her great sense of deduction (her conclusions of
the crime being a murder; she knew the victim had gloves on and
she deduced that she took them off before she had been attacked).
➠ an evolution in the other characters’ attitudes, regarding Ame-
lia from reluctant to impressed + challenging forces: official vs.
amateur detective; male vs. female detective
ACTION: the discovery of the body under a big clock, investigating
murder + examination of crime scene + body / inquiry of the witness
Narration
1st person narrator: Amelia Butterworth ➠ the amateur detective
(limited to what she sees, thinks and feels ➠ can’t tell the reader
about what the other characters are thinking BUT can tell from the
expressions/reactions on their faces) / She shares her discoveries
with the reader / The reader can feel close to the story itself/crime to
be solved
Amelia Butterworth’s thoughts and feelings: but I found this impos-
sible. / when a sudden thought struck me / I did not care what they
thought of me / That I did not give way is a proof …
Example of other characters’ reactions: Evidently astonished, he took
the paper / the result was an odd but grudging look of admiration
directed towards myself / With a whimsical air
Conclusions
Classic detective novel // All the ingredients for a detective story: the
crime scene, the victim, the body, the witness, the official and the
amateur detective / startling detective (even though female, shows
herself as clever as the official one) / great sense of observation (the
way the woman was dressed + her hat + the details) / great sense of
deduction (the way the lady was dressed, she should have had some
gloves on; from looking at the victim’s clothes, she knew they were
new) / challenging forces: the official detective vs. the amateur detec-
tive
14 Corrigés des activités de la séquence 1 – AN06
© Cned - Académie en ligneGuidelines for close reading
a narrative
When analyzing a text, your task consists in giving your interpretation of
the text’s meaning. Don’t forget that whatever you say must be suppor-
ted with evidence from the text. Personal intuition isn’t enough; you must
prove that your intuition is acceptable. You will find all the answers to
prove what you think in the text you’re studying.
When looking for evidence, keep in mind the following:
How important is the setting in the passage? Does it add anything? Does
it tell anything to the reader?
Is one of the characters revealed to the reader? How important is s/he?
What does it tell the reader? Do other characters add something to the
main character?
From what point of view is the story told? How does it affect the narra-
tive?
What happens in the story? Does the action reveal anything (about the
characters, about the setting)?
Activity 20 Talking about this passage
Listen to the complete model answer for suggestions or listen to each
part separately:
CD 1 CD 1 CD 1
Enr.15 Enr.16 Enr.17
Complete analysis 1. Introducing the text 2. Giving context about the story
CD 1 CD 1 CD 1
Enr.18 Enr.19 Enr.20
3. 1st point = Characters 3. 2nd point = Narration 4. Conclusions
Corrigés des activités de la séquence 1 – AN06 15
© Cned - Académie en ligneAnswers
Séquence 2
Personal writings,
from the “I” of the writer
1 Diary entries
Activity 1 The diary in literature
The diary is one form of personal writings. The person who keeps
CD 1
a diary makes a daily record of his life and puts down his thoughts
and observations – which aren’t normally meant to be read.
Enr.21
Originally, diaries are written by real people. When published, they
are classified as non-fiction. As a matter of fact, when written in
past times, these diaries contain invaluable information for his-
torians as well as ordinary people interested in the past. Indeed,
diaries can reveal information about the way people lived years or
maybe centuries ago, but also crucial information about historical
events recounted from the point of view of someone who really
experienced them.
Diarists such as Samuel Pepys and John Evelyn, who lived during
the 17th century, wrote about great events, among which the
Great Plague or The Great Fire of London. Besides, many other
diaries were kept during war times, such as The Diary of a Young
Girl by Anne Frank during WW2 or The Diary of a Nursing Sister on
the Western Front by an anonymous person during WW1.
The diary form is also used in fiction. The writer of the diary is
a fictional character. In Dracula (by Bram Stoker), the reader
accedes to the story through the main character’s diary.
Bridget Jones’ Diary (by Helen Fielding) or A Journal of the Plague
Year (by Daniel Defoe) are other examples of fictional diaries.
Activity 2 a. Sunday, 2nd September 1666 – Wednesday, 5th September 1666
(4 days);
b. in a bakery in Pudding Lane, the baker failed to turn out the fire in
his oven;
Corrigés des activités de la séquence 2 – AN06 17
© Cned - Académie en lignec. it destroyed a third of the city (13,200 houses, 84 churches and 44
public buildings);
d. by making firebreaks (demolition of houses to stop the fire spread
and eventually stop);
e. Pepys suggested the idea of blowing up houses to quickly contain
the fire and stop it spreading;
f. 1633-1703 (17th century), London;
g. a naval administrator; the Navy Office (London);
h. upper-class;
i. his servants;
j. his diary.
CD 1
Listen to the recording for suggestions.
Enr.22
CD 1
Listen to the recording for suggestions.
Enr.23
Activity 3 a. lane ➠ a narrow street
blowing up ➠ explosion
dial ➠ the face of a clock
porch ➠ the outside entrance to a building
to quench ➠ to extinguish
steeple ➠ a sort of tower
oil cellar ➠ a warehouse in which oil is stocked
brimstone ➠ sulphur
The Exchange ➠ London’s centre of commerce
coal ➠ black carbonaceous rock
wretch ➠ victim
to melt ➠ to dissolve through heat
to buckle ➠ to deform
heat ➠ the condition of being hot
endeavours ➠ efforts
a. 2 a.m. / at the bottom of their lane; b. take his wife, servants and
gold away to protect them from the fire; c. watch [= surveiller] his gold;
d. he went back home and to the Office to see if it hadn’t burnt / he
went up the steeple of Barking Church to see the spreading of the fire
/ he went to Sir Pen’s to eat / he walked the city with two other men to
see the disaster and buy some bread / he went back home and to the
18 Corrigés des activités de la séquence 2 – AN06
© Cned - Académie en ligneOffice to sleep; e. from Woolwich: the whole city almost on fire, from
the top of Barking Church: great fires everywhere, oil-cellars, brims-
tone and other things burning; f. 1) all in dust, 2) nothing standing
there + a cat with no hair left, 3) full of people carrying and keeping
their goods, 4) all burned, 5) in fire, 6) things melted and buckled like
parchment; g. no; h. Barking Church (the fire only burned the dial and
a part of the porch); i. the blowing up of houses and the help of work-
men; j. by watching it and having men ready; k. that the French had
plotted (= planned) it.
CD 1
Listen to the model answer for suggestions.
Enr.26
Activity 4 a. a great threatening fire in London (known today as the Great Fire of
London); b. a diary; c. on Wednesday, September 5th, 1666; d. one day
(from 2 in the morning to night time); e. Samuel Pepys is the author and
the narrator (Diary of Samuel Pepys, 1st person narrative); f. The text is
about a historical event (which really took place): the Great Fire of Lon-
don. The narrator and writer (Samuel Pepys) was a real person as well as
a historical figure (Member of Parliament). The narrative is believable:
there are no strange, illogical or supernatural elements.
Activity 5 a. The first person “at 2 my wife calls me up”; b. The narrator’s point of
view is limited to what he can see and feel: Pepys tells what happened
before his eyes and to his own knowledge; c. The reader feels close(r)
to the event, he can see and experience this event just as if he were
there on that day.
CD 1
Listen to the model answer for suggestions.
Enr.27
Activity 6 a. & b.
Emotions or attitude in the text Adjective
“but, Lord! What sad sight it was by moone-light to
shocked – sad
see the whole City almost on fire,”
“I find the gates shut but no guard kept [it] at all,
troubled
which troubled me”
“I locked up my gold and charged my wife and William
Hewer never to leave the room without one of them in firm / strict
it, night or day.”
“there find greater hopes than I expected”; more hopeful
Corrigés des activités de la séquence 2 – AN06 19
© Cned - Académie en ligneEmotions or attitude in the text Adjective
“my confidence of finding our Office on fire was
such that I durst not ask any body how it was with unconfident – frightful
us till I come and saw it not burned.”
“and there saw the saddest sight of desolation that
sad – desolated
I ever saw;”
“I became afeard to stay there long, and therefore
frightened
[went] down again as fast as I could”,
“The Exchange [was] a sad sight”, sad
“(our feet ready to burn, walking through the towne
physically hurt
among the hot coles)”
“much more was so melted and buckled with the surprised (that hard materiel could deform
heat of the fire like parchment.” as easier as parchment with the heat)
“and yet alive”. surprised
“there good hopes of saving our office but great
hopeful but alert – determined
endeavours of watching all night”
“it is a strange thing to see how long this time did
disturbed
look since Sunday”
“I had forgot almost the day of the week.” disrupted (lost track of time)
c. No, he doesn’t. Most of the time he reports about what he did, where
he went and what he saw without showing his emotions (in an objec-
tive way) ➠ “I got the gates open, and [went] to Shelden’s, where I
locked up my gold”
d. As a whole, Pepys talks in a neutral tone when he enumerates what
he did in his day, but here and there, especially when he sees the
damage caused and the might of the fire, he uses a shocked tone (➠
“oh lord! What a sad sight it was by moone-light to see the whole city
almost on fire”) or sad tone ➠ “there was the saddest sight of deso-
lation that I ever saw.”).
CD 1
Listen to the model answer for suggestions.
Enr.28
20 Corrigés des activités de la séquence 2 – AN06
© Cned - Académie en ligneActivity 7
Personal writings: the diary
A diary is a personal record of events, or thoughts. As each
entry usually corresponds to one day, the information is freshly
depicted, as opposed to a memoir which is written several years
after. Written in the first person, the narrator recounts events
from his own point of view. His vision is limited to what s/he
knows, sees, or can account for.
In this form of literature, narrator and writer are to be associated,
as the one who tells is the one who is supposed to have written the
entry. Therefore, in a fictional diary, the character is seen as the
writer (in the story). The author (who actually invented the story
and wrote the book) uses this technique to make it look real and
make the reader believe that the character ‘really’ wrote it.
As a diary is a personal account of events, the ‘writer’ (real or
fictional) is likely to use a specific tone, adding a personal touch
to the text by revealing his attitude or emotions towards what he
is writing.
Activity 8 Possible ideas:
diary = personal account from day to day
writer = real person talking about an episode in his real life (his
point of view)
writer = narrator ➠ 1st person narrative
tone is not only neutral ➠ shocked and sad
non-fiction ➠ real historical event + real historical figure
Suggestions in written form:
In his diary, Pepys tells about his personal life from day to day. On
September, 5th 1666, he recounts the last night of a disastrous event
that is today part of history and called the Great Fire of London. He
writes about what he did on this day and what he saw.
Pepys is not only a witness of this historical event, but he is also per-
sonally involved in it when “about 2 in the morning, [his] wife calls
[him] up and tells [him] of new cryes of fire.” He is frightened that his
house and his workplace (The Navy Office) catch fire and burn like
many other places and buildings did. So Pepys is the writer, but also
an actor determined to save his wife and gold.
When writing his entry, Pepys is a first person narrator: he recounts the
scene of the disaster from his own point of view. His vision is limited to
what he can see, such as when he tells about streets in dust, houses
all burnt and some still on fire. The reader can closely follow Pepys’
Corrigés des activités de la séquence 2 – AN06 21
© Cned - Académie en lignefootsteps on that night and can discover what he experienced. For
instance, when he says “our feet ready to burn, walking through the
towne among the hot coles”, the reader can sense the heat too.
Even though, Pepys mainly recounts the event in a more or less neutral
tone, like a kind of reporter, he now and then what he feels (“which
troubled me”, “I became afeard”). He is especially shocked and sad
when he realises what disaster it is, seeing the damage caused by the
might of the fire. He depicts it as the “saddest sight of desolation that
[he] ever saw.”
So, Pepys makes a very personal account of the disaster by letting out
his true emotions. [303 words]
2 Focus on… Tone
Activity 9
L ITERARY TECHNIQUES : TONE
To understand the true meaning of a text, it is essential to correctly interpret its tone; this is to
say the writer’s attitude .
When listening to someone, it is quite easy to know if the person is angry,
sad, friendly, mocking, enthusiastic or simply happy . For instance, if a person says fantas-
tic! one can understand that this person is enthusiastic, whereas if he says fantastic! one can
understand that he is being sarcastic, and really means «It – is – not – fantastic – at – all !»
Now, when reading a text, tone is not that easy to spot. You have to ima-
gine the writer’s attitude when ‘speaking’ or maybe ask yourself how he actually
feels towards what he is writing. Context as well as knowledge about the writer may give some
other clues.
Activity 10 a. enthusiastic (excited, impatient); b. sympathetic [= compatissant];
c. nostalgic
Activity 11 outraged and angry
First, the writer is outraged because he feels it unjust or wrong that
there aren’t any poems from WWI (to him, they have been excluded for
a bad reason), and he is also angry with Yeats (20th century Irish poet)
because he is the one who decided not to include any.
[The writer wanted to read poems from World War I by Wilfried Owen
and Siegfried Sassoon BUT in his book of poems, there were none
because the author deliberately decided to exclude such poetry.]
22 Corrigés des activités de la séquence 2 – AN06
© Cned - Académie en ligne Paragraphs 1 and 2 = outraged
They let a man named Yeats make the ➠ to let someone do something = to allow / in a
choosings. neutral tone: “a man named Yeats made the choo-
sings”
Who is he – and what does he know ➠ meaning “What allows him to do so?”
about verse?
There weren’t any – not one. ➠ insistence on the lack of poems
And do you know why not? ➠ rhetorical question
Because this Mr Yeats said – he said ➠ in a neutral tone: “Ø Mr Yeats said”
Because this Mr Yeats said – he said ➠ repetition = insistence
Paragraph 3 = angry
Passive Suffering? Passive Suffering! ➠ question then exclamation
I could have hit him. ➠ You want to hit something/someone when you are
angry
What’s passive about that, I’d like to ➠ repetition = insistence (What’s passive about that?
know? I’d like to know what’s passive about that.)
That’s exactly how they do die. ➠ emphasis
I saw it in my own eyes ➠ emphasis
I say to hell with Mr Yeats ➠ “go to hell” is an impolite expression used towards
someone who is annoying you and with whom you
don’t want to deal anymore.
Activity 12 Situation 1: I’ve had enough! I can’t stand my neighbour! At 2.00 in
the morning, he turned his television on and it was so loud that I woke
up with a start. Is he mad? I got up and went marching to his door in
my dressing-gown and my slippers. But when I knocked, there was no
reply. Of course there wasn’t any reply! He couldn’t possibly hear me! So,
there I was, in the middle of the night, thumping on his door to make him
open… And do you know what? Some other neighbours shouted at me
to stop the terrible racket I was making! I hate the man. I hate my neigh-
bours. [112 words]
Situation 2: What a wonderful day! My friends and I went to the beach
for the day and we played football. My team didn’t win but I had so much
fun. My friend Sam was our goal keeper and he decided to try acrobatic
moves each time he intended to push the ball away. It didn’t work but it
was hilarious, I couldn’t stop laughing. We were all in good spirits and
went to Benny’s for an ice-cream after the match. He makes the best ice-
Corrigés des activités de la séquence 2 – AN06 23
© Cned - Académie en lignecreams in the world! I love these kinds of days with my friends. Tomorrow,
we’re going for a game of paintball. That will be interesting! [108 words]
3 Letters and personal
correspondence
Activity 14 a. Mary Ann Shaffer (American writer, 21st century) and Annie Barrows
(American writer, 21st century), in 2008; b. The “Guernsey Literary and
Potato Peel Pie Society” is a compound noun. It is mainly a society
(main noun). All the other words work like adjectives defining that
society. It is in Guernsey, it is literary and it is “Potato Peel Pie”. Potato
peel pie is another compound noun. It is a pie [= tarte] made of the
peels [= épluchures] of potatoes [= pommes de terre]. During the war,
people used to cook potato peels. In the book, the members of the
society used to gather around a meal to talk about books. c. a series
of letters = epistolary novel; d. fiction (invented); e. in 1946, after the
German Occupation (after World War 2), between England and Guern-
sey (in the Channel Islands).
Activity 15 20th February 1946
Dear Mr Adams,
How did you know that I like white lilac above all flowers? I always have, and
now here they are, plumed over my desk. They are beautiful, and I love having
them – the appearance, the delicious scent and the surprise of them. At first I
thought, How on earth did he find these in February, and then I remembered that
the Channel Islands are blessed by a warm Gulf Stream.
Mr Dilwyn appeared at my door with your present early this morning. He said he
was in London on business for his bank. He assured me it was no trouble at all to
deliver the flowers – there wasn’t much he wouldn’t do for you because of some
soap you gave Mrs Dilwyn during the war. She still cries every time she thinks of
it. What a nice man he is – I am sorry he didn’t have time for coffee.
1. service, help Due to your kind offices1, I have received lovely long letters from Mrs Maugery
and Isola Pribby. I hadn’t realised that the Germans permitted no outside news
at all, not even letters, in Guernsey. It surprised me so much. It shouldn’t have
– I knew the Channel Islands had been occupied, but I never, not once, thought
what might have entailed. Wilful ignorance is all I can call it. So, I am off to the
London library to educate myself. The Library suffered terrible bomb damage, but
the floors are safe to walk on again, all the books that could be saved are back
on the shelf, and I know they have collected copies of The Times from 1900 to –
2. to study hard yesterday. I shall mug up2 on the Occupation.
I want to find some travel or history books about the Channel Islands too. Is it
really true that on a clear day, you can see the cars on the French coast roads? So
it says in my encyclopaedia, but I bought it second-hand for 4s and I don’t trust
24 Corrigés des activités de la séquence 2 – AN06
© Cned - Académie en ligneit. There I also learnt that Guernsey is ‘roughly 7 miles long and 5 miles wide with
a population of 42,000’. Strictly speaking, very informative, but I want to know
more than that.
Miss Pribby told me that your friend Elizabeth McKenna had been sent to a prison
camp on the Continent and has not yet returned. It knocked the wind of out me.
Ever since your letter about the roast-pig dinner, I had been imagining her there
among you. Without even knowing it, I depended upon one day receiving a letter
from her too. I am sorry. I will hope for her early return.
Thank you again for my flowers. It was a lovely thing for you to do.
Yours ever,
Juliet Ashton
P.S. You may consider this a rhetorical question if you want to, but why did Mrs
Dilwyn weep over a cake of soap?
The Guernsey Literary and Potato Peel Pie Society,
by Mary Ann Shaffer and Annie Barrows.
Activity 16 a. a letter, features of a letter ➠ date (20th February 1946), greeting
(Dear Mr Adams), closing (Yours ever), signature (Juliet Ashton),
Postcript (P.S. You may consider this…);
b. Juliet Ashton (signature), Dawsey Adams (“Dear Mr Adams”), to
thank him for sending her flowers (“How did you know that I like
white lilac above all flowers?”, “Thank you again for my flowers. It
was a lovely thing for you to do”);
c. In 1946 (“20th February 1946”), about 9 months after WW2 which
ended in May 1945 (Guernsey was officially liberated on the 9th);
Elements which show that the war is recent:
“She still cries every time she thinks of [the soap]”,
“The Library suffered terrible bomb damage, but the floors are
safe to walk on again”,
“your friend Elizabeth McKenna had been sent to a prison camp
on the Continent and has not yet returned”
d. Dawsey Adams’ friends or acquaintances from Guernsey;
e. Suggestions: §1: I received beautiful flowers; §2: I was given the
flowers by Mr Dilwyn (from Guernsey); §3: I didn’t realise what the
Occupation had been like and will learn more from the library; §4: I
have learnt about Guernsey in my encyclopaedia; §5: I didn’t know
your friend had been sent to a prison camp and has not yet retur-
ned.
CD 1
Listen to the model answer for suggestions.
Enr.32
Corrigés des activités de la séquence 2 – AN06 25
© Cned - Académie en ligneActivity 17 a. Dawsey: he sent Juliet flowers (her favourite ones), he lives in the
Channel Islands (Guernsey), he helped out Mr and Mrs Dilwyn (who
are still grateful today) during the war, he asked people from Guern-
sey (namely, Mrs Maugery and Miss Pribby) to send Juliet letters ➠
Dawsey = someone kind and thoughtful; b. Juliet: she loves white lilac
flowers, she lives in London, she appreciates Mr Dilwyn with whom
she had a chat, she doesn’t know much about Guernsey, nor the Occu-
pation but is willing to learn, she doesn’t trust her cheap second-hand
encyclopaedia, she is curious and wonders why Mrs Dilwyn is still
moved by the soap; c. Juliet and Dawsey have a friendly relationship
even though they don’t seem to be close friends (yet). Dawsey sent
Juliet flowers, and Juliet writes in an informal way but still calls Dawsey
“Mr Adams” and signs in her full name “Juliet Ashton”.
CD 1
Listen to the model answer for suggestions.
Enr.33
Activity 18 a. Tone in the letter: §1: surprised, delighted; §2: friendly; §3: grate-
ful, ashamed (by her ignorance); §4: inquisitive, curious; §5: shocked,
sympathetic; b. warm and friendly; c. By the complimentary tones
Juliet uses in each paragraph, she adds a personal touch to the letter.
She shows her emotions towards what she is writing. However, she
stays warm and friendly when thanking Dawsey for the flowers or up-
dating him on what her life’s about.
CD 1
Listen to the model answer for suggestions.
Enr.34
Activity 19
Personal writings:
letters and personal correspondence
In a letter, the writer directs a message to a particular person.
The letter usually starts with “Dear X,” and the writer will use the
second person ‘you’ to address this person afterwards.
A letter is an insight on the writer’s life. It tells about events which
happened in his life, or reveals inner thoughts he confides in the
addressee – depending on his relationship with this person. Being
told from the writer’s own point of view (I), it also echoes his dee-
pest personality. A whole correspondence, which is a regular
exchange of letters, will tell even more about the writer, and espe-
cially his development.
The tone of a letter reveals the state of mind in which the writer
is when writing it. It is interesting to look at the date to know when
the letter was written. The historical context may explain the wri-
ter’s attitude or some of his comments.
26 Corrigés des activités de la séquence 2 – AN06
© Cned - Académie en ligneActivity 20 Possible ideas:
letter = personal message, addressed to another person (a “friend”),
personal signature
writer = narrator ➠ 1st person narrative
tone ➠ warm and friendly
fiction ➠ fictional characters but realistic events (historical context
of WW2)
Suggestion in written form:
This letter From Juliet to Dawsey is a passage from The Guernsey Lite-
rary and Potato Peel Pie Society, a book published in 2008. The story
and the characters are fictional, for they were drawn from the imagi-
nation of two American authors: Mary Ann Shafer and her niece Annie
Barrows. The story takes place just after WW2 in 1946 between Lon-
don and Guernsey.
Juliet, the narrator, writes in the first person ‘I’ and addresses Dawsey
using the second person ‘you’ to. They appear to have a friendly rela-
tionship for Juliet writes in a warm tone, and tells him about her life.
Yet, they aren’t close friends, for Juliet still calls Dawsey “Mr Adams”
and signs in her full name “Juliet Ashton”.
Even though Juliet sent this letter to Dawsey to thank him for the
flowers he had sent her, she keeps him in touch with what happens in
her life, as friends would normally do. Juliet opens up to Dawsey and
expresses many different emotions all along the letter, from being gra-
teful for the flowers, or ashamed not to know about the life under the
Occupation, to even shocked when it comes to Elisabeth, who has not
yet come back from a prison camp. She says “it knocked the wind out
of [her].” Many other clues in the text show that the war is a very recent
event, still affecting their lives. For example, Juliet talks about the Lon-
don library which “had suffered terrible bomb damage”. The historical
context of World War 2 adds a realistic dimension to the letter, with
the bombing of London or the German Occupation in Guernsey.
Even though this passage is a work of fiction, the epistolary form of
writing adds a personal touch to the story. Indeed, Juliet is the one
who personally wrote the letter, who personally addresses a message
to another character, just like anybody would do in real life. This form
of writing brings life to Juliet as a character. The reader can imagine her
writing and signing the letter. So, through what she says about her life
or how she is affected by what she learns, the reader gets an insight
on Juliet’s personality, this is to say, who she ‘really’ is. [371 words]
Corrigés des activités de la séquence 2 – AN06 27
© Cned - Académie en ligne4 Practise… quoting the text
Activity 22 &
1. When Mr Fossey says “I hunted all through the book […] There weren’t
any – not one,” it shows that he expected there to be poems written
by Owen and Sassoon
2. Yeats decided not to include poems from WW1, as he claims that “Pas-
sive suffering is not a theme for poetry.”
3. Mr Fossey is furious with Yeats. To quote an example, he says “Passive
Suffering? Passive Suffering! I could have hit him.”
4. By saying, “Who is he – and what does he know about verse?” (talking
about Yeats) Mr Fossey clearly believes that he is incompetent.
5. Mr Fossey is outraged by Yeats’ statement when he argues that “[He]
saw it with [his] own eyes.”
6. Mr Fossey is sometimes aggressive. For instance, he says “I could have
hit him”, or “to hell with Mr Yeats.”
5 Reaching autonomy
Activity 23 a. 1. Nettie is the clever one in this bunch. (missing verb)
2. Pa calls me. “Celie,” he said. (no subject-verb agreement, dialo-
gue punctuation, tense)
3. He is fat and playful, all the time munching on something. (mis-
sing verb)
4. He said, “What are you doing that for?” (tense, punctuation, mis-
sing auxiliary)
5. It didn’t mean anything to him. (missing subject, double negation)
6. She just gives them everything they ask for is the only problem.
(missing subject, no subject-verb agreement, phonetic spelling)
7. We are both hitting Nettie’s schoolbooks pretty hard, because
we know we have got to be smart to get away. (inappropriate per-
sonal pronoun, verb form, missing auxiliary, phonetic spelling)
b. Celie speaks in non-standard English. It is a technique used by the
author to create realism. It gives realism to Celie’s character: the
reader can “hear” Celie’s accent and get an insight on her social
background. Because it is her personal way of speaking, it gives the
impression that her character and the letter are real. Also, she speaks
in an oral/informal way – just as if she were talking to a friend – which
adds a personal and real touch to the letter even more.
28 Corrigés des activités de la séquence 2 – AN06
© Cned - Académie en ligne In her letter to God, Celie talks about her life. We learn that she likes
learning very much even though she doesn’t go to school anymore:
her father – who doesn’t consider her at all – thinks that “[she is] too
dumb”. Yet, Celie needs to learn and be educated to be able to run
away. One day, Mr –, who truly loves her sister - came to have another
look at Celie, having the intention to marry her. But he is neither res-
pectful, nor courteous.
Activity 24 , & Below, you will mainly find ideas which you can develop and/
or illustrate:
a. Information about the text (author, genre, century etc.)
Author: Alice Walker (American, born in 1944, 20th century), activist in
the civil rights’ movement.
The Colour Purple: 1982, fiction, epistolary novel (a series of letters
written mostly to God),
Prizes = the Pulitzer Prize for Fiction and a National Book Award
Story takes place in the 30’s, in the South of The Unites States.
b. Text summary (setting, main characters, main action)
A letter from Celie, the main character, to God.
She tells God about her sister Nettie, their will to learn and also the
day Mr. comes to see her.
Her father is a hard man: he thinks she is an idiot and doesn’t care
about her
She is close to her sister Nettie (seen as the pretty and intelligent one).
Nettie goes to school and has schoolbooks. She teaches Celie.
c. Narrative mode
First-person narrative
Celie = narrator (limited to what she feels, and sees)
Her private life
d. Style and tone
It is written in non-standard English, giving realism to Celie’s narrative.
Confessional tone and narrative tone
e. Form of the text
Letter but also a sort of diary
Written in letter form (“Dear God”, but no signature)
Personal ➠ Celie confides in God (even though not real), personal
way of expression (non-standard English)
Appears like an entry in a diary or a journal (confessions) but still a
letter
Gives realism to the story
Corrigés des activités de la séquence 2 – AN06 29
© Cned - Académie en ligneActivity 25 Suggestions in written form:
The Color Purple was written by Alice Walker, an American writer in 1982.
With this book, Alice Walker won the Pulitzer Prize for Fiction and a Natio-
nal Book Award. It is an epistolary novel in which Celie, the main charac-
ter, writes letters to God. It takes place in the South of the United States.
Through her letter addressed to God, Celie speaks in the first person
about what happens in her life, from her own point of view.
In the first part of the passage, Celie tells God about her sister Nettie and
her will to learn, for she thinks it will help her the day she runs away. Her
father had stopped her from going to school believing her “too dumb”
to go. Her father is a hard man who doesn’t consider Celie at all because
he thinks she is an idiot and doesn’t care about her. She is close to her
sister Nettie and admires her. Nettie goes to school and teaches what
she learns to Celie in turn.
In the second part of the passage, she talks about Mr. --, of whom we
don’t know the name, and recounts the day he eventually comes to see
her. He is neither respectful, nor courteous. He asks to have a look at
Celie again, and looks at her like an object. Celie’s father doesn’t care,
and even asks Celie to step forward and turn round to let Mr -- have a
better look at her.
Celie writes in a confessional tone. She opens up, without any limits,
telling about her life. Some comments show complementary tones. For
instance, when Celie says “But Nettie never give up” it echoes her admi-
ration towards her sister’s determination.
This form of literature adds a personal as well as a realistic dimension to
the story. Celie confides in God. She tells him what is most personal in
her life. God is not real (not even in the book) so he won’t really read the
letter, nor reply to it. Therefore, it seems like this letter is more like an
entry in a diary or a journal. [353 words]
■
30 Corrigés des activités de la séquence 2 – AN06
© Cned - Académie en ligneYou can also read
