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MAKING MEANINGPlaywrightsThe Diary of Anne Frank, Act IIConcept VocabularyAs you conduct your first read of The Diary of Anne Frank, Act II, you willencounter these words. Before reading, note how familiar you are witheach word. Then, rank the words in order from most familiar (1) to leastfamiliar (6).WORDYOUR RANKINGforebodingapprehensionFrances Goodrich andAlbert HackettintuitionmountingrigidinsistentAfter completing the first read, come back to the concept vocabulary andreview your rankings. Mark changes to your original rankings as needed.First Read DRAMAApply these strategies as you conduct your first read. You will have anopportunity to complete the close-read notes after your first read. STANDARDSReading LiteratureBy the end of the year, read andcomprehend literature, includingstories, dramas, and poems, atthe high end of grades 6–8 textcomplexity band independently andproficiently.156 UNIT 2 THE HOLOCAUSTNOTICE whom the story isabout, what happens, whereand when it happens, andwhy those involved react asthey do.ANNOTATE by markingvocabulary and key passagesyou want to revisit.CONNECT ideas withinthe selection to what youalready know and what youhave already read.RESPOND by completingthe Comprehension Check andby writing a brief summary ofthe selection.Copyright SAVVAS Learning Company LLC. All Rights Reserved.Tool KitFirst-Read Guide andModel Annotation
ANCHOR TEXT DRAMAThe Diary ofAnne Frank, Act IICopyright SAVVAS Learning Company LLC. All Rights Reserved.Frances Goodrich and Albert HackettBACKGROUNDIn Act I, Anne Frank’s father visits the attic where his family andfour others hid from the Nazis during World War II. As he holds hisdaughter’s diary, Anne’s offstage voice draws him into the past asthe families begin their new life in hiding. As the months drag on,fear and lack of privacy in the attic rooms contribute to increasingtension among the family members.Scene 1123[In the darkness we hear Anne’s Voice, again reading from thediary.]Anne’s Voice. Saturday, the first of January, nineteen fortyfour. Another new year has begun and we find ourselves stillin our hiding place. We have been here now for one year, fivemonths and twenty-five days. It seems that our life is at astandstill.[The curtain rises on the scene. It is late afternoon. Everyone isbundled up against the cold. In the main room Mrs. Frank istaking down the laundry which is hung across the back. Mr. FrankSCAN FORMULTIMEDIANOTESCLOSE READANNOTATE: In paragraph 2,mark words that refer to dateand time.QUESTION: Why do theplaywrights include thesedetails?CONCLUDE: What is the effectof these details?The Diary of Anne Frank, Act II 157
sits in the chair down left, reading. Margot is lying on the couchwith a blanket over her and the many-colored knitted scarf aroundher throat. Anne is seated at the center table, writing in her diary.Peter, Mr. and Mrs. Van Daan and Dussel are all in their ownrooms, reading or lying down.4561. V-for-Victory signal three shortrings and one long one (theletter V in Morse code).789101112131415158 UNIT 2 THE HOLOCAUSTAs the lights dim on, Anne’s Voice continues, without a break.]Anne’s Voice. We are all a little thinner. The Van Daans’“discussions” are as violent as ever. Mother still does notunderstand me. But then I don’t understand her either. Thereis one great change, however. A change in myself. I readsomewhere that girls of my age don’t feel quite certain ofthemselves. That they become quiet within and begin tothink of the miracle that is taking place in their bodies. I thinkthat what is happening to me is so wonderful . . . not onlywhat can be seen, but what is taking place inside. Each time ithas happened I have a feeling that I have a sweet secret.[We hear the chimes and then a hymn being played on the carillonoutside. The buzzer of the door below suddenly sounds. Everyone isstartled. Mr. Frank tiptoes cautiously to the top of the steps andlistens. Again the buzzer sounds, in Miep’s V-for-Victory signal.1]Mr. Frank. It’s Miep![He goes quickly down the steps to unbolt the door. Mrs. Frankcalls upstairs to the Van Daans and then to Peter.]Mrs. Frank. Wake up, everyone! Miep is here![Anne quickly puts her diary away. Margot sits up, pulling theblanket around her shoulders. Mr. Dussel sits on the edge of hisbed, listening, disgruntled. Miep comes up the steps, followed byMr. Kraler. They bring flowers, books, newspapers, etc. Annerushes to Miep, throwing her arms affectionately around her.]Miep . . . and Mr. Kraler . . . What a delightful surprise!Mr. Kraler. We came to bring you New Year’s greetings.Mrs. Frank. You shouldn’t . . . you should have at least oneday to yourselves. [She goes quickly to the stove and brings downteacups and tea for all of them.]Anne. Don’t say that, it’s so wonderful to see them! [Sniffingat Miep’s coat] I can smell the wind and the cold on yourclothes.Miep. [Giving her the flowers] There you are. [Then to Margot,feeling her forehead] How are you, Margot? . . . Feeling anybetter?Margot. I’m all right.Anne. We filled her full of every kind of pill so she won’tcough and make a noise. [She runs into her room to put theCopyright SAVVAS Learning Company LLC. All Rights Reserved.NOTES
flowers in water. Mr. and Mrs. Van Daan come from upstairs.Outside there is the sound of a band playing.]1617181920Mr. Kraler. [Giving a bouquet of flowers to Mrs. Van Daan] Withmy hope for peace in the New Year.Peter. [Anxiously] Miep, have you seen Mouschi? Have youseen him anywhere around?Miep. I’m sorry, Peter. I asked everyone in the neighborhoodhad they seen a gray cat. But they said no.[Mrs. Frank gives Miep a cup of tea. Mr. Frank comes up thesteps, carrying a small cake on a plate.]Mr. Frank. Look what Miep’s brought for us!22Mrs. Frank. [Taking it] A cake!24252627Copyright SAVVAS Learning Company LLC. All Rights Reserved.Mrs. Van Daan. Well, hello, Miep. Mr. Kraler.21232829Mr. Van Daan. A cake! [He pinches Miep’s cheeks gaily andhurries up to the cupboard.] I’ll get some plates.[Dussel, in his room, hastily puts a coat on and starts out to jointhe others.]Mrs. Frank. Thank you, Miepia. You shouldn’t have done it.You must have used all of your sugar ration for weeks.[Giving it to Mrs. Van Daan] It’s beautiful, isn’t it?Mrs. Van Daan. It’s been ages since I even saw a cake. Notsince you brought us one last year. [Without looking at thecake, to Miep] Remember? Don’t you remember, you gave usone on New Year’s Day? Just this time last year? I’ll neverforget it because you had “Peace in nineteen forty-three”on it. [She looks at the cake and reads] “Peace in nineteenforty-four!”Miep. Well, it has to come sometime, you know. [As Dusselcomes from his room] Hello, Mr. Dussel.Mr. Kraler. How are you?Mr. Van Daan. [Bringing plates and a knife] Here’s the knife,liefje. Now, how many of us are there?30Miep. None for me, thank you.31Mr. Frank. Oh, please. You must.32Miep. I couldn’t.333435NOTESCLOSE READANNOTATE: In paragraph 26,mark details that show whatMiep wrote on two cakes shebrought to the Secret Annex.QUESTION: Why do theplaywrights include thesedetails?CONCLUDE: What do thesedetails show about the war, thecharacters’ situation, and Miep’scharacter?Mr. Van Daan. Good! That leaves one . . . two . . . three . . .seven of us.Dussel. Eight! Eight! It’s the same number as it always is!Mr. Van Daan. I left Margot out. I take it for granted Margotwon’t eat any.The Diary of Anne Frank, Act II 159
36Anne. Why wouldn’t she!37Mrs. Frank. I think it won’t harm her.3839Mr. Van Daan. All right! All right! I just didn’twant her to start coughing again, that’s all.Dussel. And please, Mrs. Frank should cut thecake.Mr. Van Daan. What’s the difference?4041Dussel. Mrs. Frank divides things better.42 Mrs. Van Daan. [Going to Dussel]What are you trying to say?[Together] Mr. Van Daan. Oh, come on! Stopwasting time!Ration cards, the kind Miep Gies might haveused to get food for the Franks.4344Mr. Van Daan. Forget it, Kerli.45Mrs. Van Daan. No. I want an answer! Don’t I?46Dussel. Yes. Yes. Everybody gets exactly the same . . . exceptMr. Van Daan always gets a little bit more.47[Mr. Van Daan advances on Dussel, the knife still in his hand.]48Mr. Van Daan. That’s a lie!49[Dussel retreats before the onslaught of the Van Daans.]505152Mr. Frank. Please, please! [Then to Miep] You see what a littlesugar cake does to us? It goes right to our heads!Mr. Van Daan. [Handing Mrs. Frank the knife] Here you are,Mrs. Frank.Mrs. Frank. Thank you. [Then to Miep as she goes to the table tocut the cake] Are you sure you won’t have some?53Miep. [Drinking her tea] No, really, I have to go in a minute.54[The sound of the band fades out in the distance.]5556160 UNIT 2 THE HOLOCAUSTMrs. Van Daan. [To Dussel] Don’t I always giveeverybody exactly the same? Don’t I?Peter. [To Miep] Maybe Mouschi went back to our house . . .they say that cats . . . Do you ever get over there . . .? Imean . . . do you suppose you could . . .?Miep. I’ll try, Peter. The first minute I get I’ll try. But I’mafraid, with him gone a week . . .Copyright SAVVAS Learning Company LLC. All Rights Reserved.NOTES[Together] Mrs. Van Daan. It’s not Mrs. Frank’scake, is it, Miep? It’s for all of us.
5758Mrs. Frank. [To Miep] This is delicious, Miep!60Mrs. Van Daan. [Eating hers] Delicious!6263646566676869707172737475NOTES[Peter is furious, inarticulate. He starts toward Dussel, as if to hithim. Mr. Frank stops him. Mrs. Frank speaks quickly to ease thesituation.]5961Copyright SAVVAS Learning Company LLC. All Rights Reserved.Dussel. Make up your mind, already someone has had a nicebig dinner from that cat!Mr. Van Daan. [Finishing it in one gulp] Dirk’s in luck to get agirl who can bake like this!Miep. [Putting down her empty teacup] I have to run. Dirk’staking me to a party tonight.Anne. How heavenly! Remember now what everyone iswearing, and what you have to eat and everything, so youcan tell us tomorrow.Miep. I’ll give you a full report! Good-bye, everyone!Mr. Van Daan. [To Miep] Just a minute. There’s something I’dlike you to do for me.[He hurries off up the stairs to his room.]Mrs. Van Daan. [Sharply] Putti, where are you going? [Sherushes up the stairs after him, calling hysterically.] What do youwant? Putti, what are you going to do?Miep. [To Peter] What’s wrong?Peter. [His sympathy is with his mother.] Father says he’s goingto sell her fur coat. She’s crazy about that old fur coat.Dussel. Is it possible? Is it possible that anyone is so silly asto worry about a fur coat in times like this?Peter. It’s none of your darn business . . . and if you say onemore thing . . . I’ll, I’ll take you and I’ll . . . I mean it . . . I’ll . . .[There is a piercing scream from Mrs. Van Daan above. She grabsat the fur coat as Mr. Van Daan is starting downstairs with it.]Mrs. Van Daan. No! No! No! Don’t you dare take that! Youhear? It’s mine! [Downstairs Peter turns away, embarrassed,miserable.] My father gave me that! You didn’t give it to me.You have no right. Let go of it . . . you hear?[Mr. Van Daan pulls the coat from her hands and hurriesdownstairs. Mrs. Van Daan sinks to the floor, sobbing. AsMr. Van Daan comes into the main room the others look away,embarrassed for him.]CLOSE READANNOTATE: Mark words andphrases in paragraphs 67–74that show Mrs. Van Daan’sreaction to her husband’sdecision to sell her coat.QUESTION: Why do theplaywrights include thesedetails?CONCLUDE: What conflicts dothese details reveal?Mr. Van Daan. [To Mr. Kraler] Just a little—discussion overthe advisability of selling this coat. As I have often remindedMrs. Van Daan, it’s very selfish of her to keep it when peopleThe Diary of Anne Frank, Act II 161
outside are in such desperate need of clothing . . . [He gives thecoat to Miep.] So if you will please to sell it for us? It shouldfetch a good price. And by the way, will you get mecigarettes. I don’t care what kind they are . . . get all you can.7677787980Mr. Kraler. I’d better not.Mr. Van Daan. You’re still feeling badly? What does yourdoctor say?82Mrs. Frank. Now, Mr. Kraler! . . .858687Mr. Kraler. [Sitting at the table] Oh, I tried. But you can’t getnear a doctor these days . . . they’re so busy. After weeks Ifinally managed to get one on the telephone. I told him I’dlike an appointment . . . I wasn’t feeling very well. You knowwhat he answers . . . over the telephone . . . Stick out yourtongue! [They laugh. He turns to Mr. Frank as Mr. Frank comesback.] I have some contracts here . . . I wonder if you’d lookover them with me . . .Mr. Frank. [Putting out his hand] Of course.Mr. Kraler. [He rises] If we could go downstairs . . . [Mr. Frankstarts ahead; Mr. Kraler speaks to the others.] Will you forgiveus? I won’t keep him but a minute. [He starts to followMr. Frank down the steps.]Margot. [With sudden foreboding] What’s happened?Something’s happened! Hasn’t it, Mr. Kraler?[Mr. Kraler stops and comes back, trying to reassure Margot witha pretense of casualness.]88Mr. Kraler. No, really. I want your father’s advice . . .89Margot. Something’s gone wrong! I know it!909192162 UNIT 2 THE HOLOCAUSTMrs. Frank. Are you sure you won’t have some cake,Mr. Kraler?Mr. Kraler. I haven’t been to him.84apprehension (ap rih HEHNshuhn) n. fearful feelingabout what will happennext[She goes. Mr. Frank follows her down the steps to bolt the doorafter her. Mrs. Frank gives Mr. Kraler a cup of tea.]8183foreboding (fawr BOH dihng)n. sudden feeling thatsomething bad is going tohappenMiep. It’s terribly difficult to get them, Mr. Van Daan. But I’lltry. Good-bye.93Mr. Frank. [Coming back, to Mr. Kraler] If it’s something thatconcerns us here, it’s better that we all hear it.Mr. Kraler. [Turning to him, quietly] But . . . the children . . . ?Mr. Frank. What they’d imagine would be worse than anyreality.[As Mr. Kraler speaks, they all listen with intense apprehension.Mrs. Van Daan comes down the stairs and sits on the bottom step.]Copyright SAVVAS Learning Company LLC. All Rights Reserved.NOTES
949596Mr. Kraler. That’s the man. A couple of weeks ago, when Iwas in the storeroom, he closed the door and asked me . . .how’s Mr. Frank? What do you hear from Mr. Frank? I toldhim I only knew there was a rumor that you were inSwitzerland. He said he’d heard that rumor too, but hethought I might know something more. I didn’t pay anyattention to it . . . but then a thing happened yesterday . . .He’d brought some invoices to the office for me to sign. As Iwas going through them, I looked up. He was standingstaring at the bookcase . . . your bookcase. He said he thoughthe remembered a door there . . . Wasn’t there a door therethat used to go up to the loft? Then he told me he wantedmore money. Twenty guilders2 more a week.Mr. Van Daan. Blackmail!98Mr. Frank. Twenty guilders? Very modest blackmail.99Mr. Van Daan. That’s just the beginning.101102103104105106107108109NOTESMr. Frank. He was from Utrecht?97100Copyright SAVVAS Learning Company LLC. All Rights Reserved.Mr. Kraler. It’s a man in the storeroom . . . I don’t knowwhether or not you remember him . . . Carl, about fifty, heavyset, nearsighted . . . He came with us just before you left.Dussel. [Coming to Mr. Frank] You know what I think? Hewas the thief who was down there that night. That’s how heknows we’re here.Mr. Frank. [To Mr. Kraler] How was it left? What did youtell him?Mr. Kraler. I said I had to think about it. What shall I do? Payhim the money? . . . Take a chance on firing him . . . or what?I don’t know.Dussel. [Frantic] Don’t fire him! Pay him what he asks . . .keep him here where you can have your eye on him.2. guilders (GIHL duhrz)n. monetary unit of theNetherlands at the time.CLOSE READANNOTATE: Inparagraphs 97–109, markdetails that show the characters’responses to Mr. Kraler’s news.QUESTION: Why do theplaywrights include this rangeof reactions?CONCLUDE: How does thispassage increase suspense forreaders?Mr. Frank. Is it so much that he’s asking? What are theypaying nowadays?Mr. Kraler. He could get it in a war plant. But this isn’t a warplant. Mind you. I don’t know if he really knows . . . or if hedoesn’t know.Mr. Frank. Offer him half. Then we’ll soon find out if it’sblackmail or not.Dussel. And if it is? We’ve got to pay it, haven’t we?Anything he asks we’ve got to pay!Mr. Frank. Let’s decide that when the time comes.Mr. Kraler. This may be all my imagination. You get to apoint, these days, where you suspect everyone andThe Diary of Anne Frank, Act II 163
everything. Again and again . . . on some simple look orword, I’ve found myself . . .110111112113114115116117118119120121122123124164 UNIT 2 THE HOLOCAUST[The telephone rings in the office below.]Mrs. Van Daan. [Hurrying to Mr. Kraler] There’s thetelephone! What does that mean, the telephone ringing on aholiday?Mr. Kraler. That’s my wife. I told her I had to go over somepapers in my office . . . to call me there when she got out ofchurch. [He starts out.] I’ll offer him half then. Goodbye . . .we’ll hope for the best![The group calls their good-byes halfheartedly. Mr. Frank followsMr. Kraler to bolt the door below. During the following scene,Mr. Frank comes back up and stands listening, disturbed.]Dussel. [To Mr. Van Daan] You can thank your son for this . . .smashing the light! I tell you, it’s just a question of time now.[He goes to the window at the back and stands looking out.]Margot. Sometimes I wish the end would come . . . whateverit is.Mrs. Frank. [Shocked] Margot![Anne goes to Margot, sitting beside her on the couch with herarms around her.]Margot. Then at least we’d know where we were.Mrs. Frank. You should be ashamed of yourself! Talking thatway! Think how lucky we are! Think of the thousands dyingin the war, every day. Think of the people in concentrationcamps.Anne. [Interrupting] What’s the good of that? What’s thegood of thinking of misery when you’re already miserable?That’s stupid!Mrs. Frank. Anne![As Anne goes on raging at her mother, Mrs. Frank tries to breakin, in an effort to quiet her.]Anne. We’re young, Margot and Peter and I! You grownupshave had your chance! But look at us . . . If we begin thinkingof all the horror in the world, we’re lost! We’re trying to holdonto some kind of ideals . . . when everything . . . ideals,hopes . . . everything, are being destroyed! It isn’t our faultthat the world is in such a mess! We weren’t around when allthis started! So don’t try to take it out on us! [She rushes off toher room, slamming the door after her. She picks up a brush fromthe chest and hurls it to the floor. Then she sits on the settee, tryingto control her anger.]Copyright SAVVAS Learning Company LLC. All Rights Reserved.NOTES
125126127Peter. She left her cake. [He starts for Anne’s room with thecake. There is silence in the main room. Mrs. Van Daan goes up toher room, followed by Mr. Van Daan. Dussel stays looking out thewindow. Mr. Frank brings Mrs. Frank her cake. She eats it slowly,without relish. Mr. Frank takes his cake to Margot and sits quietlyon the sofa beside her. Peter stands in the doorway of Anne’sdarkened room, looking at her, then makes a little movement to lether know he is there. Anne sits up, quickly, trying to hide the signsof her tears. Peter holds out the cake to her.] You left this.Anne. [Dully] Thanks.129[Peter starts to go out, then comes back.]131132133134Peter. I thought you were fine just now. You know just howto talk to them. You know just how to say it. I’m no good . . .I never can think . . . especially when I’m mad . . . ThatDussel . . . when he said that about Mouschi . . . someoneeating him . . . all I could think is . . . I wanted to hit him.I wanted to give him such a . . . a . . . that he’d . . . That’s whatI used to do when there was an argument at school . . . That’sthe way I . . . but here . . . And an old man like that . . . itwouldn’t be so good.QUESTION: Why have theplaywrights included thesedetails?CONCLUDE: What is the effectof these details, especiallyin showing how Peter haschanged?[Dussel leaves the window, going to his room.]Peter. I think you’re just fine . . . What I want to say . . . if itwasn’t for you around here, I don’t know. What I mean . . .[Peter is interrupted by Dussel’s turning on the light. Dusselstands in the doorway, startled to see Peter. Peter advances towardhim forbiddingly. Dussel backs out of the room. Peter closes thedoor on him.]Anne. Do you mean it, Peter? Do you really mean it?136Peter. I said it, didn’t I?137Anne. Thank you, Peter!139CLOSE READANNOTATE: In paragraphs127–135, mark details thatrelate to Peter’s struggle toexpress himself in words. Markother details that show what hedoes—his actions.Anne. You’re making a big mistake about me. I do it allwrong. I say too much. I go too far. I hurt people’s feelings . . .135138NOTES[He spots Anne’s cake. As he starts to take it, Peter anticipateshim.]128130Copyright SAVVAS Learning Company LLC. All Rights Reserved.Mr. Van Daan. She talks as if we started the war! Did we startthe war?[In the main room Mr. and Mrs. Frank collect the dishes and takethem to the sink, washing them. Margot lies down again on thecouch. Dussel, lost, wanders into Peter’s room and takes up abook, starting to read.]Peter. [Looking at the photographs on the wall] You’ve got quitea collection.The Diary of Anne Frank, Act II 165
141142143144145146147148149150151152166 UNIT 2 THE HOLOCAUSTAnne. Wouldn’t you like some in your room? I could giveyou some. Heaven knows you spend enough time in there . . .doing heaven knows what . . .Peter. It’s easier. A fight starts, or an argument . . . I duckin there.Anne. You’re lucky, having a room to go to. His lordship isalways here . . . I hardly ever get a minute alone. When theystart in on me, I can’t duck away. I have to stand there andtake it.Peter. You gave some of it back just now.Anne. I get so mad. They’ve formed their opinions . . . abouteverything . . . but we . . . we’re still trying to find out . . . Wehave problems here that no other people our age have everhad. And just as you think you’ve solved them, somethingcomes along and bang! You have to start all over again.Peter. At least you’ve got someone you can talk to.Anne. Not really. Mother . . . I never discuss anything seriouswith her. She doesn’t understand. Father’s all right. We cantalk about everything . . . everything but one thing. Mother.He simply won’t talk about her. I don’t think you can bereally intimate with anyone if he holds something back,do you?Peter. I think your father’s fine.Anne. Oh, he is, Peter! He is! He’s the only one who’s evergiven me the feeling that I have any sense. But anyway,nothing can take the place of school and play and friends ofyour own age . . . or near your age . . . can it?Peter. I suppose you miss your friends and all.Anne. It isn’t just . . . [She breaks off, staring up at him for asecond.] Isn’t it funny, you and I? Here we’ve been seeing eachother every minute for almost a year and a half, and this isthe first time we’ve ever really talked. It helps a lot to havesomeone to talk to, don’t you think? It helps you to let offsteam.Peter. [Going to the door] Well, any time you want to let offsteam, you can come into my room.Anne. [Following him] I can get up an awful lot of steam.You’ll have to be careful how you say that.153Peter. It’s all right with me.154Anne. Do you mean it?155Peter. I said it, didn’t I?Copyright SAVVAS Learning Company LLC. All Rights Reserved.140NOTES
156157158Copyright SAVVAS Learning Company LLC. All Rights Reserved.159[He goes out. Anne stands in her doorway looking after him. AsPeter gets to his door he stands for a minute looking back at her.Then he goes into his room. Dussel rises as he comes in, andquickly passes him, going out. He starts across for his room. Annesees him coming, and pulls her door shut. Dussel turns backtoward Peter’s room. Peter pulls his door shut. Dussel standsthere, bewildered, forlorn.The scene slowly dims out. The curtain falls on the scene.Anne’s Voice comes over in the darkness . . . faintly at first, andthen with growing strength.]Anne’s Voice. We’ve had bad news. The people from whomMiep got our ration books have been arrested. So we havehad to cut down on our food. Our stomachs are so empty thatthey rumble and make strange noises, all in different keys.Mr. Van Daan’s is deep and low, like a bass fiddle. Mine ishigh, whistling like a flute. As we all sit around waiting forsupper, it’s like an orchestra tuning up. It only needsToscanini3 to raise his baton and we’d be off in the Ride of theValkyries.4 Monday, the sixth of March, nineteen forty-four.Mr. Kraler is in the hospital. It seems he has ulcers. Pim sayswe are his ulcers. Miep has to run the business and us too.The Americans have landed on the southern tip of Italy.Father looks for a quick finish to the war. Mr. Dussel iswaiting every day for the warehouse man to demand moremoney. Have I been skipping too much from one subject toanother? I can’t help it. I feel that spring is coming. I feel itin my whole body and soul. I feel utterly confused. I amlonging . . . so longing . . . for everything . . . for friends . . . forsomeone to talk to . . . someone who understands . . .someone young, who feels as I do . . .NOTESCLOSE READANNOTATE: A soliloquy is aspeech in which a character,usually alone on stage,expresses his or her privatethoughts or feelings aloud. Inparagraphs 157–159, markwords that indicate how thestage should look and soundduring Anne’s soliloquy.QUESTION: Why might theplaywrights have included thesedetails?CONCLUDE: What mood dothese stage directions create?3. Toscanini (TOS kuh NEE nee)Arturo Toscanini, a famousItalian orchestra conductor.4. Ride of the Valkyries (VAL kihreez) stirring selection from anopera by Richard Wagner, aGerman composer.[As these last lines are being said, the curtain rises on the scene.The lights dim on. Anne’s Voice fades out.] Scene 21[It is evening, after supper. From outside we hear the sound ofchildren playing. The “grownups,” with the exception of Mr. VanDaan, are all in the main room. Mrs. Frank is doing somemending. Mrs. Van Daan is reading a fashion magazine.Mr. Frank is going over business accounts.The Diary of Anne Frank, Act II 167
3456In his room Peter is sitting before the mirror, smoothing his hair.As the scene goes on, he puts on his tie, brushes his coat and puts iton, preparing himself meticulously for a visit from Anne. On hiswall are now hung some of Anne’s motion picture stars.In her room Anne too is getting dressed. She stands before themirror in her slip, trying various ways of dressing her hair. Margotis seated on the sofa, hemming a skirt for Anne to wear.In the main room Dussel can stand it no longer. He comes over,rapping sharply on the door of his and Anne’s bedroom.]Anne. [Calling to him] No, no, Mr. Dussel! I am not dressedyet. [Dussel walks away, furious, sitting down and burying hishead in his hands. Anne turns to Margot.] How is that? Howdoes that look?7Margot. [Glancing at her briefly] Fine.8Anne. You didn’t even look.9Margot. Of course I did. It’s fine.10Anne. Margot, tell me, am I terribly ugly?11Margot. Oh, stop fishing.12Anne. No. No. Tell me.131415Margot. Of course you’re not. You’ve got nice eyes . . . and alot of animation, and . . .Anne. A little vague, aren’t you?[She reaches over and takes a brassiere out of Margot’s sewingbasket. She holds it up to herself, studying the effect in the mirror.Outside, Mrs. Frank, feeling sorry for Dussel, comes over,knocking at the girls’ door.]16Mrs. Frank. [Outside] May I come in?17Margot. Come in, Mother.1819202122168 UNIT 2 THE HOLOCAUSTDussel, in his dentist’s jacket, is pacing up and down, impatient toget into his bedroom. Mr. Van Daan is upstairs working on a pieceof embroidery in an embroidery frame.Mrs. Frank. [Shutting the door behind her] Mr. Dussel’simpatient to get in here.Anne. [Still with the brassiere] Heavens, he takes the room forhimself the entire day.Mrs. Frank. [Gently] Anne, dear, you’re not going in againtonight to see Peter?Anne. [Dignified] That is my intention.Mrs. Frank. But you’ve already spent a great deal of time inthere today.Copyright SAVVAS Learning Company LLC. All Rights Reserved.2NOTES
NOTESThis photo shows a re-creation of the room Anne shared withMr. Dussel.2324Mrs. Frank. Aren’t you afraid you’re disturbing him?25Anne. Mother, I have some intuition.262728Copyright SAVVAS Learning Company LLC. All Rights Reserved.Anne. I was in there exactly twice. Once to get the dictionary,and then three-quarters of an hour before supper.29303132Mrs. Frank. Then may I ask you this much, Anne. Pleasedon’t shut the door when you go in.intuition (ihn too IHSH uhn)n. ability to see the truthof something immediatelywithout reasoningAnne. You sound like Mrs. Van Daan! [She throws the brassiereback in Margot’s sewing basket and picks up her blouse,putting it on.]Mrs. Frank. No. No. I don’t mean to suggest anything wrong.I only wish that you wouldn’t expose yourself to criticism . . .that you wouldn’t give Mrs. Van Daan the opportunity to beunpleasant.Anne. Mrs. Van Daan doesn’t need an opportunity to beunpleasant!Mrs. Frank. Everyone’s on edge, worried about Mr. Kraler.This is one more thing . . .Anne. I’m sorry, Mother. I’m going to Peter’s room. I’m notgoing to let Petronella Van Daan spoil our friendship.[Mrs. Frank hesitates for a second, then goes out, closing the doorafter her. She gets a pack of playing cards and sits at the centertable, playing solitaire. In Anne’s room Margot hands the finishedskirt to Anne. As Anne is putting it on, Margot takes off herhigh-heeled shoes and stuffs paper in the toes so that Anne canwear them.]The Diary of Anne Frank, Act II 169
34353637383940414243444546475. run the gauntlet (GAWNT liht)literally, to pass between tworows of men who struck atthe offender with clubs ashe passed; here, a series oftroubles or difficulties.170 UNIT 2 THE HOLOCAUSTMargot. [To
The Diary of Anne Frank, Act II Concept Vocabulary As you conduct your first read of The Diary of Anne Frank, Act II, you will encounter these words. Before reading, note how familiar you are with each word. Then, rank the words in order from most familiar (1) to least familiar (6). WORD YO
