“Lamb to the Slaughter” by Roald Dahl. “Lamb to the Slaughter” R1E: Develop vocabulary through text. Use context clues. R1E: Develop vocabulary through

“Lamb to the Slaughter”

by Roald Dahl

“Lamb to the Slaughter”

by Roald Dahl

““Lamb to the Slaughter”Lamb to the Slaughter”““Lamb to the Slaughter”Lamb to the Slaughter”

R1E: Develop vocabulary through R1E: Develop vocabulary through text.text.

Use context clues.Use context clues.

R1E: Develop vocabulary through R1E: Develop vocabulary through text.text.

Use context clues.Use context clues.


R1F: Apply pre-reading strategies to R1F: Apply pre-reading strategies to aid comprehension.aid comprehension.

Make predictions based on title.Make predictions based on title.

R1F: Apply pre-reading strategies to R1F: Apply pre-reading strategies to aid comprehension.aid comprehension.

Make predictions based on title.Make predictions based on title.


R1G: During reading, utilize R1G: During reading, utilize strategies to self-question and strategies to self-question and correct, infer, visualize, predict, and correct, infer, visualize, predict, and check using cueing systems: check using cueing systems: meaning, structure, visual.meaning, structure, visual.

Make predictions.Make predictions.

Revise predictions.Revise predictions.

R1G: During reading, utilize R1G: During reading, utilize strategies to self-question and strategies to self-question and correct, infer, visualize, predict, and correct, infer, visualize, predict, and check using cueing systems: check using cueing systems: meaning, structure, visual.meaning, structure, visual.

Make predictions.Make predictions.

Revise predictions.Revise predictions.


R1H: Apply post-reading skills to R1H: Apply post-reading skills to comprehend and interpret text comprehend and interpret text questions to clarify, reflect, analyze, questions to clarify, reflect, analyze, draw conclusions, summarize, and draw conclusions, summarize, and paraphrase.paraphrase.

R1H: Apply post-reading skills to R1H: Apply post-reading skills to comprehend and interpret text comprehend and interpret text questions to clarify, reflect, analyze, questions to clarify, reflect, analyze, draw conclusions, summarize, and draw conclusions, summarize, and paraphrase.paraphrase.


R1I: Compare, contrast, analyze, R1I: Compare, contrast, analyze, and evaluate connections.and evaluate connections.R1I: Compare, contrast, analyze, R1I: Compare, contrast, analyze, and evaluate connections.and evaluate connections.

““Lamb to the Slaughter”Lamb to the Slaughter”““Lamb to the Slaughter”Lamb to the Slaughter”R2A: Locate, interpret, and apply R2A: Locate, interpret, and apply information in title, table of contents, information in title, table of contents, and glossary, and recognize the text and glossary, and recognize the text features of fiction, poetry, and drama features of fiction, poetry, and drama in grade-level text.in grade-level text.

Understand situational and dramatic irony.Understand situational and dramatic irony.

Analyze situational and dramatic irony.Analyze situational and dramatic irony.

R2A: Locate, interpret, and apply R2A: Locate, interpret, and apply information in title, table of contents, information in title, table of contents, and glossary, and recognize the text and glossary, and recognize the text features of fiction, poetry, and drama features of fiction, poetry, and drama in grade-level text.in grade-level text.

Understand situational and dramatic irony.Understand situational and dramatic irony.

Analyze situational and dramatic irony.Analyze situational and dramatic irony.

““Lamb to the Slaughter”Lamb to the Slaughter”““Lamb to the Slaughter”Lamb to the Slaughter”R2C: Use details from text to analyze R2C: Use details from text to analyze character, plot, setting, point of view, and character, plot, setting, point of view, and development of theme; evaluate development of theme; evaluate proposed solutions; analyze the proposed solutions; analyze the development of a theme across genres; development of a theme across genres; evaluate the effect of author’s style and evaluate the effect of author’s style and complex literary techniques.complex literary techniques.

Write a character analysis.Write a character analysis.

R2C: Use details from text to analyze R2C: Use details from text to analyze character, plot, setting, point of view, and character, plot, setting, point of view, and development of theme; evaluate development of theme; evaluate proposed solutions; analyze the proposed solutions; analyze the development of a theme across genres; development of a theme across genres; evaluate the effect of author’s style and evaluate the effect of author’s style and complex literary techniques.complex literary techniques.

Write a character analysis.Write a character analysis.


ambiguityambiguity

Ambiguous situations have different Ambiguous situations have different possible results.possible results.

ambiguityambiguity

Ambiguous situations have different Ambiguous situations have different possible results.possible results.

Origin of the titleOrigin of the title

Origin of the titleOrigin of the title

Excerpt from a 1950s Home Economics Textbook

Compiled by Ms. Leslie BlankshipColumbus, Ohio

Have dinner ready: Plan ahead even the night before to have a delicious meal on time. This is a way of letting him know that you have been thinking about him and are concerned about his needs. Most men are hungry when they come home and the prospects of a good meal are part of the warm welcome needed.

Excerpt from a 1950s Home Economics Textbook

Compiled by Ms. Leslie BlankshipColumbus, Ohio

Have dinner ready: Plan ahead even the night before to have a delicious meal on time. This is a way of letting him know that you have been thinking about him and are concerned about his needs. Most men are hungry when they come home and the prospects of a good meal are part of the warm welcome needed.

Prepare yourself: Take 15 minutes to rest so you will be refreshed when he arrives. Touch up your makeup, put a ribbon in your hair and be fresh looking. He has just been with a lot of work-wary people. Be a little gay and a little more interesting. His boring day may need a lift.

Prepare yourself: Take 15 minutes to rest so you will be refreshed when he arrives. Touch up your makeup, put a ribbon in your hair and be fresh looking. He has just been with a lot of work-wary people. Be a little gay and a little more interesting. His boring day may need a lift.

Clear away the clutter: Make one last trip through the main part of the house just before your husband arrives, gathering up school books, toys, paper, etc. Then run a dust cloth over the tables. Your husband will feel he has reached a haven of rest and order, and it will give you a lift, too.

Clear away the clutter: Make one last trip through the main part of the house just before your husband arrives, gathering up school books, toys, paper, etc. Then run a dust cloth over the tables. Your husband will feel he has reached a haven of rest and order, and it will give you a lift, too.

Prepare the children: Take a few minutes to wash the children's hands and faces (if they are small), comb their hair, and if necessary, change their clothes. They are little treasures and he would like to see them playing the part.

Prepare the children: Take a few minutes to wash the children's hands and faces (if they are small), comb their hair, and if necessary, change their clothes. They are little treasures and he would like to see them playing the part.

Minimize all noise: At the time of his arrival, eliminate all noise of washer, dryer, dishwasher, or vacuum. Try to encourage the children to be quite. Be happy to see him. Greet him with a warm smile and be glad to see him.

Some don'ts: Don't greet him with problems or complaints. Don't complain if he's late for dinner. Count this as minor compared with what he might have gone through that day.

Minimize all noise: At the time of his arrival, eliminate all noise of washer, dryer, dishwasher, or vacuum. Try to encourage the children to be quite. Be happy to see him. Greet him with a warm smile and be glad to see him.

Some don'ts: Don't greet him with problems or complaints. Don't complain if he's late for dinner. Count this as minor compared with what he might have gone through that day.

Make him comfortable: Have him lean back in a comfortable chair or suggest he lie down in the bedroom. Have a cool or warm drink ready for him. Arrange his pillow and offer to take off his shoes. Speak in a low, soft soothing and pleasant voice. Allow him to relax-unwind.

Make him comfortable: Have him lean back in a comfortable chair or suggest he lie down in the bedroom. Have a cool or warm drink ready for him. Arrange his pillow and offer to take off his shoes. Speak in a low, soft soothing and pleasant voice. Allow him to relax-unwind.

Listen to him: You may have a dozen things to tell him, but the moment of his arrival is not the time. Let him talk first.

Make the evening his: Never complain if he does not take you out to dinner or to other places of entertainment. Instead, try to understand his world of strain and pressure, his need to be home and relax.

Listen to him: You may have a dozen things to tell him, but the moment of his arrival is not the time. Let him talk first.

Make the evening his: Never complain if he does not take you out to dinner or to other places of entertainment. Instead, try to understand his world of strain and pressure, his need to be home and relax.

The goal: Try to make your home a place of peace and order where your husband can renew himself in body and spirit.

Source: http://www.coax.net/people/lwf/TEXTBOOK.HTM

The goal: Try to make your home a place of peace and order where your husband can renew himself in body and spirit.

Source: http://www.coax.net/people/lwf/TEXTBOOK.HTM

Now it’s time to read…Now it’s time to read…

Dark HumorDark HumorDark HumorDark Humor

Dark humor is the use of the grotesque, Dark humor is the use of the grotesque, morbid, or absurd for darkly comic morbid, or absurd for darkly comic

purposes. purposes.

Dark humor is the use of the grotesque, Dark humor is the use of the grotesque, morbid, or absurd for darkly comic morbid, or absurd for darkly comic

purposes. purposes.


Dark humor became widespread in Dark humor became widespread in popular culture, especially in literature and popular culture, especially in literature and

film, beginning in the 1950s; it remains film, beginning in the 1950s; it remains popular toward the end of the twentieth popular toward the end of the twentieth

century. century.

Joseph Heller’s novel Joseph Heller’s novel Catch-22Catch-22 (1961) is (1961) is one of the best-known examples in one of the best-known examples in

American fiction. American fiction.

Dark humor became widespread in Dark humor became widespread in popular culture, especially in literature and popular culture, especially in literature and

film, beginning in the 1950s; it remains film, beginning in the 1950s; it remains popular toward the end of the twentieth popular toward the end of the twentieth

century. century.

Joseph Heller’s novel Joseph Heller’s novel Catch-22Catch-22 (1961) is (1961) is one of the best-known examples in one of the best-known examples in

American fiction. American fiction.


The image of the cheerful housewife The image of the cheerful housewife suddenly smashing her husband’s skull suddenly smashing her husband’s skull with the frozen joint of meat intended for with the frozen joint of meat intended for his dinner is itself darkly humorous for its his dinner is itself darkly humorous for its

unexpectedness and the grotesque unexpectedness and the grotesque incongruity of the murder weapon. incongruity of the murder weapon.

The image of the cheerful housewife The image of the cheerful housewife suddenly smashing her husband’s skull suddenly smashing her husband’s skull with the frozen joint of meat intended for with the frozen joint of meat intended for his dinner is itself darkly humorous for its his dinner is itself darkly humorous for its

unexpectedness and the grotesque unexpectedness and the grotesque incongruity of the murder weapon. incongruity of the murder weapon.


There is a morbid but funny double There is a morbid but funny double meaning, too, in Mary’s response to her meaning, too, in Mary’s response to her grocer’s question about meat: “I’ve got grocer’s question about meat: “I’ve got

meat, thanks. I got a nice leg of lamb from meat, thanks. I got a nice leg of lamb from the freezer.”the freezer.”

There is a morbid but funny double There is a morbid but funny double meaning, too, in Mary’s response to her meaning, too, in Mary’s response to her grocer’s question about meat: “I’ve got grocer’s question about meat: “I’ve got

meat, thanks. I got a nice leg of lamb from meat, thanks. I got a nice leg of lamb from the freezer.”the freezer.”


She did indeed get a leg of lamb from the She did indeed get a leg of lamb from the freezer, and after she used it as a club, freezer, and after she used it as a club,

she found herself with a rather large she found herself with a rather large portion of dead meat on her living-room portion of dead meat on her living-room

floor. floor.

She did indeed get a leg of lamb from the She did indeed get a leg of lamb from the freezer, and after she used it as a club, freezer, and after she used it as a club,

she found herself with a rather large she found herself with a rather large portion of dead meat on her living-room portion of dead meat on her living-room

floor. floor.


Also darkly funny is the grocer’s question Also darkly funny is the grocer’s question about what she plans to give her husband about what she plans to give her husband

“afterwards,” that is, for dessert. From “afterwards,” that is, for dessert. From Mary’s point of view, Patrick has already Mary’s point of view, Patrick has already

gotten his “just desserts,” and there will be gotten his “just desserts,” and there will be no more “afterwards” for him! no more “afterwards” for him!

Also darkly funny is the grocer’s question Also darkly funny is the grocer’s question about what she plans to give her husband about what she plans to give her husband

“afterwards,” that is, for dessert. From “afterwards,” that is, for dessert. From Mary’s point of view, Patrick has already Mary’s point of view, Patrick has already

gotten his “just desserts,” and there will be gotten his “just desserts,” and there will be no more “afterwards” for him! no more “afterwards” for him!


The ultimate example of dark humor in The ultimate example of dark humor in “Lamb to the Slaughter” is, of course, the “Lamb to the Slaughter” is, of course, the spectacle of the policemen and detectives spectacle of the policemen and detectives sitting around the Maloney kitchen table, sitting around the Maloney kitchen table,

speculating about the murder weapon speculating about the murder weapon while they unwittingly devour it.while they unwittingly devour it.

The ultimate example of dark humor in The ultimate example of dark humor in “Lamb to the Slaughter” is, of course, the “Lamb to the Slaughter” is, of course, the spectacle of the policemen and detectives spectacle of the policemen and detectives sitting around the Maloney kitchen table, sitting around the Maloney kitchen table,

speculating about the murder weapon speculating about the murder weapon while they unwittingly devour it.while they unwittingly devour it.

SettingSettingSettingSetting

The setting is symbolic: Its domestic The setting is symbolic: Its domestic primness implies Mary’s having bought primness implies Mary’s having bought

into a rather boring version of middle class into a rather boring version of middle class happiness. happiness.

The setting is symbolic: Its domestic The setting is symbolic: Its domestic primness implies Mary’s having bought primness implies Mary’s having bought

into a rather boring version of middle class into a rather boring version of middle class happiness. happiness.

SymbolsSymbolsSymbolsSymbols

The frozen leg of lamb is also symbolic The frozen leg of lamb is also symbolic and indeed constitutes the central symbol and indeed constitutes the central symbol of the story. The piece of meat is already a of the story. The piece of meat is already a token of violence: an animal traditionally token of violence: an animal traditionally viewed as meek and gentle slaughtered viewed as meek and gentle slaughtered

for carnivorous consumption. for carnivorous consumption.

The frozen leg of lamb is also symbolic The frozen leg of lamb is also symbolic and indeed constitutes the central symbol and indeed constitutes the central symbol of the story. The piece of meat is already a of the story. The piece of meat is already a token of violence: an animal traditionally token of violence: an animal traditionally viewed as meek and gentle slaughtered viewed as meek and gentle slaughtered

for carnivorous consumption. for carnivorous consumption.

SymbolsSymbolsSymbolsSymbols

The notion of a lamb, moreover, resonates The notion of a lamb, moreover, resonates with biblical symbols, such as the with biblical symbols, such as the

scapegoat mentioned in Leviticus, the ram scapegoat mentioned in Leviticus, the ram that substitutes for Isaac in the tale of that substitutes for Isaac in the tale of

Abraham and Isaac, or Jesus himself, “the Abraham and Isaac, or Jesus himself, “the Lamb of God.” Lamb of God.”

But Dahl’s story reverses the connotation But Dahl’s story reverses the connotation of these biblical images.of these biblical images.

The notion of a lamb, moreover, resonates The notion of a lamb, moreover, resonates with biblical symbols, such as the with biblical symbols, such as the

scapegoat mentioned in Leviticus, the ram scapegoat mentioned in Leviticus, the ram that substitutes for Isaac in the tale of that substitutes for Isaac in the tale of

Abraham and Isaac, or Jesus himself, “the Abraham and Isaac, or Jesus himself, “the Lamb of God.” Lamb of God.”

But Dahl’s story reverses the connotation But Dahl’s story reverses the connotation of these biblical images.of these biblical images.

ThemesThemesThemesThemes

BETRAYALBETRAYAL

Patrick Maloney’s unexplained decision to Patrick Maloney’s unexplained decision to leave his pregnant wife. This violation of leave his pregnant wife. This violation of the marriage-vow is obviously not the only the marriage-vow is obviously not the only betrayal in the story, however. betrayal in the story, however.

Mary’s killing of her husband is perhaps Mary’s killing of her husband is perhaps the ultimate betrayal. the ultimate betrayal.

Her elaborately planned alibi and Her elaborately planned alibi and convincing lies to the detectives also convincing lies to the detectives also constitute betrayal.constitute betrayal.

BETRAYALBETRAYAL

Patrick Maloney’s unexplained decision to Patrick Maloney’s unexplained decision to leave his pregnant wife. This violation of leave his pregnant wife. This violation of the marriage-vow is obviously not the only the marriage-vow is obviously not the only betrayal in the story, however. betrayal in the story, however.

Mary’s killing of her husband is perhaps Mary’s killing of her husband is perhaps the ultimate betrayal. the ultimate betrayal.

Her elaborately planned alibi and Her elaborately planned alibi and convincing lies to the detectives also convincing lies to the detectives also constitute betrayal.constitute betrayal.

ThemesThemesThemesThemesIDENTITYIDENTITY

At the level of popular psychology, Dahl At the level of popular psychology, Dahl makes it clear through his description of makes it clear through his description of the Maloney household that Mary has the Maloney household that Mary has internalized the middle class ideal of a internalized the middle class ideal of a young mid-twentieth-century housewife, young mid-twentieth-century housewife, maintaining a tidy home and catering to maintaining a tidy home and catering to her husband; pouring drinks when the her husband; pouring drinks when the man finishes his day is a gesture that man finishes his day is a gesture that comes from movies and magazines of the comes from movies and magazines of the day. day.

IDENTITYIDENTITY

At the level of popular psychology, Dahl At the level of popular psychology, Dahl makes it clear through his description of makes it clear through his description of the Maloney household that Mary has the Maloney household that Mary has internalized the middle class ideal of a internalized the middle class ideal of a young mid-twentieth-century housewife, young mid-twentieth-century housewife, maintaining a tidy home and catering to maintaining a tidy home and catering to her husband; pouring drinks when the her husband; pouring drinks when the man finishes his day is a gesture that man finishes his day is a gesture that comes from movies and magazines of the comes from movies and magazines of the day. day.


Mary’s sudden murderous action shatters Mary’s sudden murderous action shatters the image that we have of her and that the image that we have of her and that she seems to have of herself. Dahl she seems to have of herself. Dahl demonstrates, in the deadly fall of the demonstrates, in the deadly fall of the frozen joint, that “identity” can be fragile. frozen joint, that “identity” can be fragile.

IDENTITYIDENTITY

Mary’s sudden murderous action shatters Mary’s sudden murderous action shatters the image that we have of her and that the image that we have of her and that she seems to have of herself. Dahl she seems to have of herself. Dahl demonstrates, in the deadly fall of the demonstrates, in the deadly fall of the frozen joint, that “identity” can be fragile. frozen joint, that “identity” can be fragile.


Once she shatters her own identity, Mary Once she shatters her own identity, Mary must carefully reconstruct it for protective must carefully reconstruct it for protective purposes, as when she sets up an alibi by purposes, as when she sets up an alibi by feigning a normal conversation with the feigning a normal conversation with the grocer.grocer.

IDENTITYIDENTITY

Once she shatters her own identity, Mary Once she shatters her own identity, Mary must carefully reconstruct it for protective must carefully reconstruct it for protective purposes, as when she sets up an alibi by purposes, as when she sets up an alibi by feigning a normal conversation with the feigning a normal conversation with the grocer.grocer.


Dahl appears to suggest that, in essence, Dahl appears to suggest that, in essence, human beings are fundamentally nasty human beings are fundamentally nasty and brutish creatures capable of and brutish creatures capable of precipitate and bloody acts. precipitate and bloody acts.

IDENTITYIDENTITY

Dahl appears to suggest that, in essence, Dahl appears to suggest that, in essence, human beings are fundamentally nasty human beings are fundamentally nasty and brutish creatures capable of and brutish creatures capable of precipitate and bloody acts. precipitate and bloody acts.


Then there are the police detectives, who Then there are the police detectives, who pride themselves on their ability to solve a pride themselves on their ability to solve a crime, but whom Mary sweetly tricks into crime, but whom Mary sweetly tricks into consuming the main exhibit. consuming the main exhibit.

Their identity, or at least their competency, Their identity, or at least their competency, is thrown into doubt.is thrown into doubt.

IDENTITYIDENTITY

Then there are the police detectives, who Then there are the police detectives, who pride themselves on their ability to solve a pride themselves on their ability to solve a crime, but whom Mary sweetly tricks into crime, but whom Mary sweetly tricks into consuming the main exhibit. consuming the main exhibit.

Their identity, or at least their competency, Their identity, or at least their competency, is thrown into doubt.is thrown into doubt.

ThemesThemesThemesThemesLOVE AND PASSIONLOVE AND PASSION

At the beginning of “Lamb to the Slaughter,” At the beginning of “Lamb to the Slaughter,” Mary Maloney feels love and physical Mary Maloney feels love and physical passion for her husband Patrick. passion for her husband Patrick.

She luxuriates in his presence, in the “warm She luxuriates in his presence, in the “warm male glow that came out of him to her,” and male glow that came out of him to her,” and adores the way he sits, walks, and behaves. adores the way he sits, walks, and behaves.

LOVE AND PASSIONLOVE AND PASSION

At the beginning of “Lamb to the Slaughter,” At the beginning of “Lamb to the Slaughter,” Mary Maloney feels love and physical Mary Maloney feels love and physical passion for her husband Patrick. passion for her husband Patrick.

She luxuriates in his presence, in the “warm She luxuriates in his presence, in the “warm male glow that came out of him to her,” and male glow that came out of him to her,” and adores the way he sits, walks, and behaves. adores the way he sits, walks, and behaves.


Even far along into her pregnancy, she Even far along into her pregnancy, she hurries to greet him, and waits on him hand hurries to greet him, and waits on him hand and foot — much more attentively, it appears and foot — much more attentively, it appears from his reactions, than he would like. from his reactions, than he would like.


Even far along into her pregnancy, she Even far along into her pregnancy, she hurries to greet him, and waits on him hand hurries to greet him, and waits on him hand and foot — much more attentively, it appears and foot — much more attentively, it appears from his reactions, than he would like. from his reactions, than he would like.


Patrick is presumably motivated to leave his Patrick is presumably motivated to leave his wife by an overriding passion for something wife by an overriding passion for something or someone else. or someone else.

Mary’s mention of his failure to advance at Mary’s mention of his failure to advance at work, and his own wish that she not make a work, and his own wish that she not make a “fuss” about their separation because “It “fuss” about their separation because “It wouldn’t be very good for my job” indicate wouldn’t be very good for my job” indicate that it may be professional success that he that it may be professional success that he desires. desires.

His treatment of his wife does not suggest His treatment of his wife does not suggest that he loves her.that he loves her.


Patrick is presumably motivated to leave his Patrick is presumably motivated to leave his wife by an overriding passion for something wife by an overriding passion for something or someone else. or someone else.

Mary’s mention of his failure to advance at Mary’s mention of his failure to advance at work, and his own wish that she not make a work, and his own wish that she not make a “fuss” about their separation because “It “fuss” about their separation because “It wouldn’t be very good for my job” indicate wouldn’t be very good for my job” indicate that it may be professional success that he that it may be professional success that he desires. desires.

His treatment of his wife does not suggest His treatment of his wife does not suggest that he loves her.that he loves her.

ThemesThemesThemesThemesPASSIVITYPASSIVITY

The concept of passivity figures in the story.The concept of passivity figures in the story.

The first pages of the story portray Mary’s The first pages of the story portray Mary’s existence as almost mindlessly passive: she existence as almost mindlessly passive: she sits and watches the clock, thinking that each sits and watches the clock, thinking that each minute brings her husband closer to her. minute brings her husband closer to her.

PASSIVITYPASSIVITY

The concept of passivity figures in the story.The concept of passivity figures in the story.

The first pages of the story portray Mary’s The first pages of the story portray Mary’s existence as almost mindlessly passive: she existence as almost mindlessly passive: she sits and watches the clock, thinking that each sits and watches the clock, thinking that each minute brings her husband closer to her. minute brings her husband closer to her.

ThemesThemesThemesThemesPASSIVITYPASSIVITY

She is content to watch him closely and try to She is content to watch him closely and try to anticipate his moods and needs. anticipate his moods and needs.

Patrick’s predictability up to this point is part Patrick’s predictability up to this point is part of this passivity. of this passivity.

The two are living a clockwork life against The two are living a clockwork life against which, in some way, each ultimately rebels. which, in some way, each ultimately rebels.

Passivity appears as the repression of Passivity appears as the repression of passion, and passion finds a way to reassert passion, and passion finds a way to reassert itself.itself.

PASSIVITYPASSIVITY

She is content to watch him closely and try to She is content to watch him closely and try to anticipate his moods and needs. anticipate his moods and needs.

Patrick’s predictability up to this point is part Patrick’s predictability up to this point is part of this passivity. of this passivity.

The two are living a clockwork life against The two are living a clockwork life against which, in some way, each ultimately rebels. which, in some way, each ultimately rebels.

Passivity appears as the repression of Passivity appears as the repression of passion, and passion finds a way to reassert passion, and passion finds a way to reassert itself.itself.

ThemesThemesThemesThemesJUSTICE AND INJUSTICEJUSTICE AND INJUSTICE

The question of justice and injustice is The question of justice and injustice is directly related to the question of revenge. directly related to the question of revenge. “Lamb to the Slaughter” narrates a train of “Lamb to the Slaughter” narrates a train of injustices, beginning with Patrick’s betrayal of injustices, beginning with Patrick’s betrayal of Mary and their marriage, peaking with Mary’s Mary and their marriage, peaking with Mary’s killing of Patrick, and finding its denouement killing of Patrick, and finding its denouement in Mary’s deception of the investigating in Mary’s deception of the investigating officers. officers.

JUSTICE AND INJUSTICEJUSTICE AND INJUSTICE

The question of justice and injustice is The question of justice and injustice is directly related to the question of revenge. directly related to the question of revenge. “Lamb to the Slaughter” narrates a train of “Lamb to the Slaughter” narrates a train of injustices, beginning with Patrick’s betrayal of injustices, beginning with Patrick’s betrayal of Mary and their marriage, peaking with Mary’s Mary and their marriage, peaking with Mary’s killing of Patrick, and finding its denouement killing of Patrick, and finding its denouement in Mary’s deception of the investigating in Mary’s deception of the investigating officers. officers.

ThemesThemesThemesThemesJUSTICE AND INJUSTICEJUSTICE AND INJUSTICE

Patrick acts unjustly (or so it must be Patrick acts unjustly (or so it must be assumed on the basis of the evidence) in assumed on the basis of the evidence) in announcing his abandonment of Mary, for this announcing his abandonment of Mary, for this breaks the wedding oath; Mary acts unjustly, breaks the wedding oath; Mary acts unjustly, in a way far exceeding her husband’s in a way far exceeding her husband’s injustice, in killing Patrick, and she injustice, in killing Patrick, and she compounds the injustice by concealing it from compounds the injustice by concealing it from the authorities.the authorities.

JUSTICE AND INJUSTICEJUSTICE AND INJUSTICE

Patrick acts unjustly (or so it must be Patrick acts unjustly (or so it must be assumed on the basis of the evidence) in assumed on the basis of the evidence) in announcing his abandonment of Mary, for this announcing his abandonment of Mary, for this breaks the wedding oath; Mary acts unjustly, breaks the wedding oath; Mary acts unjustly, in a way far exceeding her husband’s in a way far exceeding her husband’s injustice, in killing Patrick, and she injustice, in killing Patrick, and she compounds the injustice by concealing it from compounds the injustice by concealing it from the authorities.the authorities.


ambiguityambiguity

A wolf is trapped near town. Wildlife A wolf is trapped near town. Wildlife rescuers set it free in the mountains rescuers set it free in the mountains so it won’t bother the townspeople. so it won’t bother the townspeople. Will the wolf eventually cause trouble Will the wolf eventually cause trouble for these townspeople?for these townspeople?

ambiguousambiguous

ambiguityambiguity

A wolf is trapped near town. Wildlife A wolf is trapped near town. Wildlife rescuers set it free in the mountains rescuers set it free in the mountains so it won’t bother the townspeople. so it won’t bother the townspeople. Will the wolf eventually cause trouble Will the wolf eventually cause trouble for these townspeople?for these townspeople?

ambiguousambiguous


ambiguityambiguity

A student needs at least a B on a test A student needs at least a B on a test to pass a class and stay on the to pass a class and stay on the basketball team. He studies hard and basketball team. He studies hard and gets a 90 on his test. Does he stay on gets a 90 on his test. Does he stay on the basketball team?the basketball team?

unambiguousunambiguous

ambiguityambiguity

A student needs at least a B on a test A student needs at least a B on a test to pass a class and stay on the to pass a class and stay on the basketball team. He studies hard and basketball team. He studies hard and gets a 90 on his test. Does he stay on gets a 90 on his test. Does he stay on the basketball team?the basketball team?

unambiguousunambiguous


ambiguityambiguity

A quality that allows readers to A quality that allows readers to interpret a story or other work in more interpret a story or other work in more than one way.than one way.

ambiguityambiguity

A quality that allows readers to A quality that allows readers to interpret a story or other work in more interpret a story or other work in more than one way.than one way.


verbal

(saying something)

irony

(the opposite of what is expected)

verbal irony

(saying something that is the opposite of what is expected or true)

Academic vocabulary


situational irony

Academic vocabulary


dramatic irony

Academic vocabulary


verbal irony

Academic vocabulary


contradiction

Academic vocabulary


ambiguous

Academic vocabulary


subtleties

Academic vocabulary


mood

Academic vocabulary


tone

Academic vocabulary


reliability of sources

Academic vocabulary


bias

Academic vocabulary


analogy

Academic vocabulary


prefix

Academic vocabulary


suffix

Academic vocabulary


root word

Academic vocabulary


plot

Academic vocabulary


synonym

Academic vocabulary

“Lamb to the Slaughter”“Lamb to the Slaughter”

text structure

Academic vocabulary


inference

Academic vocabulary


cause and effect

Academic vocabulary


antonym

Academic vocabulary


When you come across an When you come across an unfamiliar word, look for clues unfamiliar word, look for clues in the context—the words in the context—the words surrounding the unknown surrounding the unknown word.word.

Context clues


In the following examples, the In the following examples, the context clues help you figure context clues help you figure out the meaning of the out the meaning of the unknown word.unknown word.

Context clues


Similarly, when you are asked Similarly, when you are asked to write a sentence using a new to write a sentence using a new word, you should include a word, you should include a context clue to demonstrate context clue to demonstrate that you understand the word.that you understand the word.

Context clues


DEFINITIONDEFINITION

Her Her instinctinstinct, or automatic , or automatic response, is to run away.response, is to run away.

Context clues


RESTATEMENTRESTATEMENT

She knows what the She knows what the penaltypenalty is is and will accept her and will accept her punishment.punishment.

Context clues


EXAMPLEEXAMPLE

Her action might bring Her action might bring reliefrelief——for example, it would end the for example, it would end the anger she felt.anger she felt.

Context clues


COMPARISONCOMPARISON

Ice cubes Ice cubes clinkingclinking in a glass in a glass sound like pencils tapping on a sound like pencils tapping on a table.table.

Context clues


CONTRASTCONTRAST

Although she looks Although she looks tranquiltranquil, , she doesn’t feel peaceful.she doesn’t feel peaceful.

Context clues


administered

Vocabulary


premises

Vocabulary


luxuriate

Vocabulary


placid

Vocabulary


precinct

Vocabulary


hospitality

Vocabulary


anxiety

Vocabulary


consoling

Vocabulary

Documents

“Lamb to the Slaughter” by Roald Dahl. “Lamb to the Slaughter” R1E: Develop vocabulary through text. Use context clues. R1E: Develop vocabulary through